SW Oregon Architect

Connecting Communities: Investing in Quality Growth

2012-01-26T07:36:00.000-08:00

Mark your calendar! Plan toattend this morning session to learn about the challenges and opportunities thatface communities as they strive toward development and revitalization. Qualitygrowth can spark a healthier social, economic, cultural, and vibrant community.

Keynote speakers Christopher Leinberger from the Brookings Institution inWashington, D.C., and John Robert Smith, President and CEO of ReconnectingAmerica and former mayor of the City of Meridian, Mississippi, will share theirexperiences and innovative ideas to help our community not only survive, butthrive.

The morning also will include a local panel to discuss opportunities,innovations, and work in progress in our own community.

To attend this free conference, register by Friday, February 3 by e-mailing LTDat rsvp@ltd.org or by calling 541-682-6106. Seating is limited.

What: Connecting Communites: Investing in Quality Growth

When: Thursday, February 16, 2012 - 7:30 AM to 10:30 AM

Where: Hilton Eugene And Conference Center

Pedaling for Affordable Housing

2012-01-20T07:00:00.000-08:00

Bike & Build is anorganization that empowers young adults by raising their social consciousnessthrough efforts to spread awareness about the need for affordable housing. Eachsummer, team members cycle across the country, working on affordable housing projectsalong the way while promoting the cause.

According to itswebsite, Bike & Build has contributed $3,387,200 to housing groups to fundprojects planned and executed by the participants. Its program introduces youngadults (mostly college-aged) to the affordable housing issue, engages them in aunique and interesting way, and creates a prolonged and intimate connection. Byfunding building projects involving students and young adults, Bike & Buildtaps the unlimited potential of this crucial demographic.

Most importantly,Bike & Build instills leadership and philanthropic service among itsparticipants. The riders represent our future; the program captures their energy anddirects it toward a worthy cause. Many Bike & Build alumni will undoubtedlyremain committed to a lifetime of civic engagement.

A youngfriend of mine, Alex Caves, will be amongthose pedaling for affordable housing with Bike & Build. Alex is anincredibly creative, energetic, and motivated individual. He is thrilled by theprospect of riding with Bike & Build this summer. I have no doubt that Alexwill serve as an exemplary ambassador for the organization.

Bike &Build produces eight cross-country events: CentralUnited States, NorthernUnited States, Providenceto Seattle, Providenceto California, SouthernUnited States, North Carolina toSan Diego, Maineto Santa Barbara and South Carolina toSanta Cruz. Alex will be one of the riders on the North Carolina to San Diegoroute.

Bike &Build is a 501(c)(3) independent nonprofit organization. In order toparticipate in Bike & Build, each rider agrees to raise a minimum of $4,500in donations. Cyclists raise this money in a variety of ways. I’m helping Alexwith his fundraising by promoting Bike & Build on SW Oregon Architect. Ifyou’re interested in helping Alex meet his goal of raising $4,500 in donations,click the following link to make a tax-deductible contribution.

http://alexcaves-bikeandbuild2012.posterous.com/

Alex planson filming his entire Bike & Build experience to share the story of how thegoodwill of donors is being put to use. He will post pictures and videoson his blog documenting the progress of his North Carolinato San Diegoteam so that we can all follow along.

I’m lookingforward to tracking Alex’s progress this summer. Support Alex and Bike &Build by making a donation today!

Breakfast of Energy Champions

2012-01-18T09:13:00.000-08:00

The Eugene Water &Electric Board invites design professionals and builders to its Breakfast ofEnergy Champions, an informational event about Oregon energy tax credits andEWEB's programs for residential and commercial energy-efficiency improvements.

The free breakfast presentationwill take place at the EWEB’s headquarters on February 1 at 8:00 a.m.

Attend to learn from knowledgeable Oregon Department of Energy representativesabout revisions to the State's residential and business energy tax credits. Inaddition, EWEB’s Energy Management Services Team will discuss how contractorscan add value to projects by helping their customers save energy and money.

What: EWEB’s Breakfast of Energy Champions

When: February 1, 8:00-10:00 am

Where: North Building at EWEB Headquarters, 500 E. 4thAvenue, Eugene OR 97401

Envisioning Biophilic Cities

2012-01-15T06:00:00.000-08:00

I learned of an upcoming lecture that sounds fascinating from the latest issue of the Eugene Weekly.Noted urban planner and sustainability author Timothy Beatley will advocatethe greening of cities in a talk this Tuesday, January 17 at Fenton Hall on theUniversity of Oregon campus.

Beatley is a 1981 Master’s in Urban Planning graduate of the University of Oregon(which means that he and I no doubt crossed paths, although I’ve never met him)and secured his PhD in City and Regional Planning from the University of North Carolina at Chapel Hill. He presently teaches as the TeresaHeinz Professor of Sustainable Communities at the University of Virginia.

He is the author of BiophilicCities: Integrating Nature into Urban Design and Planning (Island Press2010), a book in which he outlines the essential elements of a biophilic city.These include being a place that learns from nature and emulates naturalsystems, incorporates natural forms and images into its buildings andlandscapes, and designs and plans in conjunction with nature. According toBeatley, a biophilic city cherishes the natural features that already exist butalso works to restore and repair what has been lost or degraded.

In a conversation withWeekly editor Ted Taylor, Beatley commented about how thearchitecture community is largely oriented to buildings, but he would like tosee the discussion go beyond just the design of structures. “We need that bondwith nature,” he said. “The evidence is pretty convincing that we carry withus, in our ancient brains, the need for connection with the natural world inorder to be happy, healthy and productive.”

Because of other commitments next Tuesday, I unfortunately won’tbe able to attend Beatley’s lecture. If any of you do attend, I’d welcome yourcomments on my blog about your impressions and what you may have learned.

What: EnvisioningBiophilic Cities, a lecture by Timothy Beatley

When: Tuesday, January 17, 2012 – 5:30 PM

Where: Fenton Hall, room 110, on the University of Oregon campus

Cost: Free

A Case Study – Part 2: Cultural Transformation

2012-01-14T14:04:00.000-08:00

This is the second post of a series dedicated to a casestudy of a single project—the VA Roseburg Healthcare System Community LivingCenter (CLC) Expansion— designed by Robertson/Sherwood/Architects. Click on “A Case Study” in the Labels list at right for the full series.

The VA Roseburg Healthcare System has provided first-rate Alzheimer’s and dementia care toveterans for many years through the Protected Care Unit (PCU) on its maincampus in Roseburg, Oregon. Unfortunately, the PCU is physicallydeficient in many ways, particularly with respect to a recent mandate from theDepartment of Veterans Affairs to transform the mode of care to a morepatient-centered approach. This post describes the impact of that “culturaltransformation” upon our design for the new CLC Expansion, which will entirely replacethe old PCU.

The transformationinvolves a move away from the traditional nursing home paradigm —characterizedas a system that fosters dependence by keeping residents well cared for, safeand powerless— to a “regenerative” model. This innovative model is alsoreferred to as “resident-centered” care because a goal is to increase theresident’s autonomy and sense of control. The VA is a late-adopter, only nowcatching up with the private sector and the trend toward this enlightenedphilosophy of care.

The VA has a hugesuite of design guidelines for its healthcare facilities, which we’re obligedto follow. These guidelines prescribe everything from goals for energyreduction to the exact size of spaces devoted to storage of clean linens. Periodically,these guidelines become outdated and in need of renewal. For the CLC Expansionproject, our design team found itself on the cusp of a major update thatresulted in the current Design Guide for Community Living Centers. We initiated design of the project and meetingswith the PCU staff without the benefit of the new guide. At the time, we didn’tknow we would be thrust into the middle of a contentious culturaltransformation debate pitting in-the-trenches caregivers againstwell-intentioned policy-makers in Washington, D.C.

The consequences offinding ourselves in the middle of this transformation were significant. We started,stopped, and then started again the programming and design processes.(1) Initially, the program called forseparate memory-care and hospice suites totaling 22,000 gross square feet; withthe changes wrought by the transformation, the VA reduced the overall projectscope and abandoned plans for the 10-bed hospice. Ultimately, the program wouldrequire 20 Alzheimer’s/dementia patient beds housed within a facility totalingapproximately 18,000 square feet.

Most importantly, ournew charge was to focus our programming effort upon the quality of life to beprovided to the patients, rather than upon achieving machine-like efficiencyand maximum staff convenience. This is not to diminish the importance of functionality;rather, it reflected a desire by the VA to honor and provide its residentveterans with as dignified, de-institutionalized, and life-enhancing anenvironment as possible.

It’s difficult tooverstate the magnitude of this shift in focus. The Roseburg VA’sexcellent staff knows what works for them when it comes to delivering care toits PCU patients. The challenges the nurses face everyday—from dealing with inappropriateoutbursts, paranoia, and violent behavior, to assisting with everyday taskslike eating, bathing, and dressing—cannot be ignored. It’s no surprise thattheir world-view is filtered through a lens that focuses upon operationalefficiency. They must contend with issues that few of us outside of theirprofession can fully appreciate. Nevertheless, the latest research regarding Alzheimer’sdisease and related dementias highlights the importance of good design as atreatment factor.

Functional Relationship Diagram from the Design Guide for Community Living Centers, June 2011

Fundamentally, the newprogram objective involves mitigating the realities of aging, including issuesrelated to rehabilitative, memory, and palliative care by providing asupportive and comfortable environment. This means creating a real home forthose being cared for in a house-like setting. Accordingly, our design for theCLC Expansion project will promote a culture of care that is patient-centeredrather than staff-centric. This direction is supported by critical research andevidence-based observation.

Keys to this new modelof care are the following principles:

Understandable architecture
Sensory stimulation
Safety
Wayfinding
Minimizing confusion
Settings for small groups
Providing residents with options

The cognitivelyimpaired patients in the CLC will likely be divided into two sub-populations:

Thosewho suffer from diminished memory and flawed judgment but are active and fairlyphysically adept.
Thosewho are profoundly physically and mentally impaired.

There are severalnational models of culture change in the housing of memory-care patients thatour team looked to. The common thread is a philosophy that supports residentchoice, the creation of individualized living spaces, and respect for eachperson’s individual needs. Planetreeand the Green House Project are twoof these models.

The new programfollows both the Planetree and Green House design models by requiring aresidential-style kitchen, a fireplace, and plenty of natural light throughwindows and skylights. The staff and patients will use the kitchen in each “house”for baking cookies, making coffee, toast, etc. The CLC staff does not envisionfull preparation of meals at these kitchens as this would be handled byDietetics, located in a neighboring building on the campus. In this regard, theoperation of the kitchen in each of the houses will not fully conform to somepatient-centered care models because meals are not cooked on site. Regardless,meals prepared by Dietetics will be brought to the residential kitchens andserved family style or consumed by patients in accordance with their ownschedules.

In addition to theprivate bathrooms within the patient suites, the CLC Expansion will include ashared grooming room with a bath spa in each house. This will allow residentsthrough restorative care to maintain (for as long as possible) their ability toperform basic activities, such as combing their hair and brushing their teeth.

The CLC Expansion willalso feature a salon and a home for a companion dog that will have the samefree access to the secure courtyard outdoors that the residents would haveaccess to while being contained by an attractive fence.

An importantconsideration is the need to control unauthorized exiting from the facility.Intentionally or otherwise, residents may attempt to leave their home.Accordingly, the project will incorporate access control systems, such asproximity card readers, delayed egress at emergency exits, and a sallyportvestibule at the gatehouse entrance to the secure courtyard. Other measureswill include camouflaging of doors not normally intended for use by theresidents.

The design will becomprised of distinct and home-like units. These will best meet the needs ofcognitively impaired residents who are mobile and energetic, and/or restless orparticularly disoriented. Such a concept eliminates long corridors and makes iteasy to include small, family-scaled gathering spaces.

Each unit will be staffed by a team of universal workers,known as Shahbazim, rather thanregistered nurses. Shahbazim willperform personal care, meal preparation, light housekeeping, and laundry tasks.The VA will provide a clinical support team, which will include nurses,therapists, physicians, dietary professionals, and pharmacists. The assigned nurseswill be available to each home on a 24-hour basis. The other clinicalprofessionals on the team will visit the houses regularly and as individualresidents require.

Patients and staff will collaborate to create a dailyroutine that meet an individual patient’s needs. There is no predeterminedroutine, facilitating patients’ independence to the greatest degree possible.

Altogether, the effectsof the cultural transformation mandate upon our design for the CLC Expansionhave been huge. The mandate fundamentally shaped our response to the challengeof providing a respectful home for veterans tragically afflicted by the ravagesof Alzheimer’s disease and dementia. Read the forthcoming posts in this series;my expectation is that you’ll easily grasp how meaningfully the VA’s paradigmshift has impacted our design solution.

Next in the Case Studyseries: The Tree of Life

(1) We originally initiated programmingin March of 2010, proceeding through site selection, conceptual design,schematic design, and completing design development before the VA asked us tohalt work in February of 2011 because of the new mandate. Since restarting, ourteam has revisited the functional program and carried the project through allof the subsequent phases. We’re presently preparing the construction documents.The VA hopes to solicit bids for the project this April, with constructionbeginning by mid-Summer.

A Case Study – Part 1: Introduction

2012-01-09T07:00:00.000-08:00

Community Living Center Expansion, VA Roseburg Medical Center (Schematic Design image by Robertson/Sherwood/Architects)

Wikipediadefines a case study as an intensive analysis ofan individual unit (e.g., a person, group, or event) stressing developmentalfactors in relation to context. Wikipedia further describes a case study as ameans to explore causation in order to find underlying principles. Dissecting theprocess by which an architectural design problem is outlined and its resultantsolution identified provides a classic case study subject.

I am currentlyinvolved with a project that presents an ideal occasion for such a case study. Theclient is the Department of Veterans Affairs. The assignment is to design a newhome for Alzheimer’s and dementia patients at the VA Roseburg (Oregon) Medical Center. My intent is to illuminate how Robertson/Sherwood/Architects (RSA) andour team of collaborators are trying to create a work of architecture.

Theprimary reason I decided to present a case study of this project (for whichdesign remains in progress) is that it so clearly offers an opportunity toinhere meaning in built form. I’ll explain this in greater detail throughout theseries of posts I plan to write about the project and its design process. Thefocus of this first essay is to outline how rich this opportunity is.

Nearlyall design problems today are burdened with considerations so complex andconstraints so severe that our ability to consciously apply principledintentions toward them is diminished or precluded altogether. Too often the resultsare merely competent (or sometimes less than competent) solutions to measurableconcerns. We and our clients are pleased when we get the basics right: theproject comes in on budget; the building achieves its performance goals; the usersare happy with how their new spaces function; and so on. However, most of uswill acknowledge that transcendent architecture is expected to do much more.

Becauseof our necessary focus on all that is measurable, we sometimes lose sight ofthe poetry in what Louis Kahn defined as the unmeasurable. He believed thehuman condition requires a balance between the two, between knowledge andintuition, between the temporal and the eternal. According to Kahn,acknowledging the presence of the unmeasurable is a necessary step towardcreating architecture that helps us understand the world in which we live.

For mypart, I have described good architecture as life-affirming and springing fromoptimism. Good architecture also aspires to be lasting and significant, serveas an interpreter of our existence, and act as a medium for narrating andrepresenting space.

We recognizedthe potential of the new VA Roseburg Alzheimer’s and dementia patient facilityas soon as we became aware of the project. Here was a prospective commissionwith a long-time client, for a program with well-defined needs, and for whichthe science of care was rapidly evolving. Also, the project fell neatly into asweet spot for RSA: not so small that it would be difficult to fully explorethemes of interest to us, nor so large that we would have to team up with alarger firm and concede some design control. We pursued the job aggressivelyand the VA rewarded us with the design contract.

Ourfirm has worked on projects for the VA Roseburg Healthcare System since the mid-1980s;I’ve had the good fortune to be our firm’s primary contact with the VA for muchof that time. Invariably, everyone at the VA I’ve worked with has been genuinelyappreciative of what we bring to the table as design professionals. The VA’scontracting officers, staff engineers, and project managers contend with anenormous bureaucracy and its attendant foibles, but they do so effectively andwith good humor. They provide us with welcome support and encouragement, if notalways the most generous budgets. They understand their own limitations. Thebottom line is the folks at the VA Roseburg Healthcare System are a pleasure towork with and a client most every architect would covet.

Setting for the CLC Expansion (my photo)

The VAchristened the future new home for its Alzheimer’s and dementia patients as the“Community Living Center (CLC) Expansion” because it will augment the existingTransitional Care Unit and form a residential care precinct on the RoseburgMedical Center campus. As I will discuss in a subsequent post in this series, theVA charged us with identifying the most suitable site for the project. The spotwe ultimately selected is packed with promise, a fact we did not fully graspuntil after we were well underway with developing our scheme.

Anotheraspect of this design problem that makes it so noteworthy is the VA’s goal oftruly creating a home for those who served their country and now requirecompassionate care in return. Our duty as architects is to provide these men (anda growing number of female veterans in the future) with as supportive, respectful,non-institutional, and rich a setting as possible in which to live theirremaining days. We regard this duty as an honor and do not take it lightly.

The VA also directedour team to design the CLC Expansion project to comply with the federalSustainable Design and Energy Reduction Manual for New Construction and useLEED’s Healthcare Rating System as a guideline for documentation and compliance.The reasons include long-term operational savings for the VA, a healthier workand patient environment, and a desire to contribute toward the reduction ofgreenhouse gases generated by the manufacture and transport of constructionproducts. We’re pleased the VA embraces sustainability as an ethos and endorsesLEED certification for the project.

All inall, the CLC Expansion presents a synergistic convergence of factors—a “Goldilocks”commission, perfect for RSA; a supportive client; a serendipitous site; a worthycause; and a mandate for sustainability—which together form the kind of designchallenge architects dream of. It’s a project for which we hope to create genuinelymeaningful architecture. We’re embracing this opportunity by applying as muchcare and intellect as possible.

VA Roseburg Medical Center

Hopefully,no one will read this case study series and think of me as overly boastful orbigheaded. I’m simply proud of the project and our approach to it. If anything,our solution will appear thoroughly unassuming because that happens to be theappropriate response to this design problem.

Futureposts in this series will each address a specific aspect of the project,beginning with its functional brief, and progressing to site selection, conceptualdesign, sustainability, and so forth. While the initial entries are a record ofwhat has already passed (we’re presently in the Construction Documents phase),subsequent posts will occur in “real time” as the project moves forward.

Uponits completion, this case study will serve as a chronicle of our design processfor the VA Roseburg CLC Expansion project. If I’m skillful enough, it will offera glimpse into how we think as architects and at the same time tell acompelling story. The design process is still unfolding and chapters remain tobe written before we know if the tale will have a happy ending. I hope readersenjoy the case study series of posts and regularly visit SW Oregon Architect tofind out.

Next in the Case Study series: Cultural Transformation.

CSI BUILD: January 24

2012-01-07T08:39:00.000-08:00

Mark your calendars: BUILD 2012, oneof the biggest events on the local construction industry calendar, takes placeon Tuesday, January 24 at the Hilton Hotel & Conference Center in Eugene!

Hosted and organized each year by the Willamette Valley Chapter of the Construction Specifications Institute, BUILD is youropportunity to attend free educationalseminars and an always excellent construction products show. The event’sgenerous sponsors include Turner Construction, CH2M Hill, Dea-Mor, Twin Rivers Plumbing, and FM Sheet Metal.

BUILD’s education seminars are a greatway to earn AIA CEUs (one learning unitfor each session) and enhance your technical knowledge. Nine differentseminars will offer a compelling range of construction-related topics. Nopre-registration is necessary—just show up and attend!

BUILD takes the place of the regularJanuary AIA-Southwestern Oregon chapter meeting. CSI Willamette Valley annuallyinvites AIA-Southwestern Oregon and other design and construction industryorganizations to BUILD’s dinner program, which has typically focused oneconomic forecasts for the coming year. 2012 is no exception, and this year’sprogram features Dr. Timothy Duy, Director of the Oregon Economic Forum, whowill address the question “Are We There Yet?”

Because seating is limited, you dohave to RSVP to reserve a spot for the dinner presentation. If you plan toattend, let Tana Baker of Chambers Construction know by reaching her via emailat tbaker@chambersconstruction.com.

BUILD is not only a day of richtechnical education, but also a vibrant social and networking opportunity forthe entire design and construction community. Celebrate the optimism of the NewYear and connect with your colleagues: the architects, engineers, contractors, suppliers,bankers, owners, insurers, attorneys, and accountants that BUILD our community.Attend BUILD 2012!

What: BUILD2012

When: Tuesday,January 24, 2012

Seminars &Product Show 1:00-5:00 pm
SocialHour 5:00 pm
Dinner& Program 6:30 pm

Where: HiltonHotel & Conference Center, Eugene

Cost: Educationseminars & product show: FREE. Dinner& program: $30 (students: $10)

Happy New Year!

2011-12-31T12:05:00.000-08:00

The holidayskeep me busier and amp up my stress level more than most any other time of theyear. Not surprisingly, December has typically been the month during which Igenerate the fewest blog posts. This final one for 2011 is admittedly aboutstat-padding; my motivation in part is to exceed last year’s overall number of posts.

Myinspiration for this entry comes from Bob Borson and his blog Life of an Architect. Bob is a prolific,plain-spoken, and entertaining blogger. His accessible and self-deprecating writingstyle is totally absent of snobbish posturing and pretense. Not surprisingly, hehas become immensely popular and a social media guru (at least among asignificant subset of Web 2.0 navigators interested in architecture and design).Life of an Architect is easily amongthe best blogs written by an architect.

Bobrecently listed his favorite posts for 2011 and the top ten Life of an Architect entries as trackedby Google Analytics.(1) I decided to dosomething similar because I am: a) lazy; and b) intent on posting anything toattain my goal of topping 2010’s post count. In my case however I’m listing thefive SW Oregon Architect pagesmost-visited through 2011 (though not necessarily written during the past year). Click each post title below to jump directly to the actual page:

House VI by Peter Eisenman

1. Influences: Christopher Alexander & Peter Eisenman
Far andaway, more eyeballs found my post about Christopher Alexander and PeterEisenman than any other during 2011. I attribute this to blogging about botharchitects at once: their infamous 1982 debate at Harvard’s Graduate School ofDesign prompts those interested in that event to search for both. My post consequentlyrises to the top of web searches about the two architects. It’s amazing tothink that serious scholars seeking insight about Alexander and/or Eisenman maybe reading my blog.

Matthew Knight Arena (my photo)

2. Matthew Knight Arena Sneak Peek
Myaccount of the construction-period open house at the now-completed MatthewKnight Arena in Eugene is actually the most popular post overall since Istarted blogging back in 2008. The Oregonian newspaper linked my blog to anarticle it published about the arena at the same time. For several daysthereafter, hundreds of visitors clicked the link on the Oregonian’s page andfound their way to SW Oregon Architect.Visitors are still regularly finding that post as evidenced by its number tworanking for 2011.

John Jaqua Academic Center for Student Athletes (my photo)

3. June AIA-SWO Chapter Meeting Recap
TheJune AIA-SWO chapter meeting featured another new University of Oregon building,the John E. Jaqua Academic Center forStudent Athletes. I characterized the project as a “lightning rod in the escalating debate that has pitted athletics againstacademics on the University of Oregon campus.” That it is, but the design byZGF is also the recipient of numerous awards including a National Honor Award forInterior Architecture from the American Institute of Architects and an AIA-SWOPeople’s Choice Award.

Benton County Historical Society & Museum (rendering by Allied Works Architecture)

4. A Museum for Corvallis
Interestin the work by Brad Cloepfil and his firm Allied Works Architecture (AWA) isgrowing, particularly since the completion of several commissions for prominentmuseums across the country (including the Clyfford Still Museum in Denver andthe Museum of Arts & Design in New York). This may be why my post about AWA’sunbuilt design for the very modest Benton County Historical Society &Museum in Corvallis garnered so many hits.

Lane Community College Downtown Campus (Robertson/Sherwood/Architects with the SRG Partnership and Pyatok Architects)

5. Filling the Pit
Thispost about the conceptual design phase for the new Downtown Campus for LaneCommunity College is among the most satisfying that I have written. This is becauseI am a member of the project team and proud of the design and the promise itbodes for a revitalized Eugene city core. I will continue to chronicle itsprogress as it moves through construction and occupancy.

Surprisingly,I did not actually write any of these most-visited posts during 2011. I’m notsure if this is a product of the cumulative effects of search engineoptimization or a reflection of the quality of my posts of the past year; Ilike to think the former is the reason.(2)

I’mhopeful that 2012 will afford me greater opportunities to blog regularly. I wrote a post shortly after I started blogging about how enjoyable the pastimeis for me. I truly believe writing SWOregon Architect (as well as for My Green Palette’s Green Blog) helps me be a better architect. I expect the comingyear to provide me with plenty of blogging fodder and look forward to writingabout both local building news and architecture in general.

Bestwishes to all of you in the New Year!

(1) According to Google,Google Analytics is “the enterprise-class web analytics solution that gives yourich insights into your website traffic and marketing effectiveness.”

(2) Earlier posts seem toappear more frequently in and higher on search results lists.

Downtown Springfield Design Charrette: Final Report

2011-12-22T21:44:00.000-08:00

Pin-up time at the Downtown Springfield Design Charrette (photo by SeenEugene)

Ipreviously blogged about the successful Downtown Springfield Design Charretteorganized by Design|Spring. The group’s charrette committee has now completedits final report documenting the event, which you can find at the followinglink: http://www.box.com/s/q04fn4vlvxkfifn2y8vq.

Theorganizers thank each of the more than 30 citizens, business owners, and designprofessionals who took part in the November 12 event. The final report capturesthe ideas generated by the participants during the 3-hour workshop.

Site plan suggestions for Main Street's 500 block

Design|Springencourages you to contact them at DesignSpringEP@gmail.com with any questions or comments you mayhave about the charrette.

Teaching

2011-12-18T17:04:00.000-08:00

The University of Oregon’s Department of Architecture has offeredme several opportunities over the years to teach at the school; however, dueto professional commitments I was never able to accept an appointment. Thestars have finally aligned, so for the Winter 2012 academic quarter starting inJanuary, I will be an adjunct member of the faculty, assisting AssociateProfessor Roxi Thoren with Arch 4/517 Context of the Professions.

Roxi’s course description outlines the content of the classand its objectives:

The professional degreecurriculum largely follows the historic model of the academy: history, theory,composition, human, and ecological contexts inform why we make places,and are taught through readings, lectures, and labs.

The professional internshiplargely follows the historic model of the guild: material technology,construction, and business management explain how we make places, andare taught through hands-on experience.

This course bridges between theacademy and the guild. Context of the Professions introduces students to theprofessional practice of architecture, landscape architecture, interior design,and related careers. . .

. . . The purpose of this courseis to introduce students to key aspects of professional practice; to teachbasic professional skills; and to provide a setting for students to discuss their careers and begin to createthe documents necessary for a professional career.

The National Architectural Accreditation Board (NAAB) mandatesthat schools of architecture include a professional practice curriculum to ensure continuing accreditation. NAAB stipulates the number of credithours and the overall degree programs’ general content, and also periodically scrutinizesthe schools’ curricula to validate conformance with minimum accreditationrequirements. Every student pursuing a first professional degree from Oregon’sDepartment of Architecture must successfully complete the Context of the Professions course before graduation.

A class that prepares students for professional life byintroducing them to the subject is clearly valuable. Providing students withthe opportunity to interact with current practitioners would likewise beconstructive. The Winter class will be the first Roxi hastaught with assistance from a team of adjunct instructors who are practitioners.Previously, she relied upon graduate teaching fellows, some of whom did notpossess significant real-world experience.(1)

Besides me, the members of Roxi’s new teaching team will beTravis Miller of atelier corbeau – art & architecture; Liza Lewellen ofPIVOT Architecture; and Michael Sanchez of Shirmer Satre Group. Travis is anold classmate of mine (we attended Oregon together) who practiced for manyyears in Juneau, Alaska. He and I will lead lab sections for the studentsmajoring in architecture. Liza will do the same with the interior architecturemajors, and Michael will be assigned the landscape architecture students.Travis, Liza, and Michael have all previously held adjunct positions at theschool.

The four of us sat down recently with Roxi to review our teachingresponsibilities. These include attendance at twice-weekly lectures or paneldiscussions, as well as meeting with two separate groups of students in labsettings per week. Roxi estimates our time commitments as .2 FTE, or 88 hoursfor the course, divided among lectures, labs, readings, grading, coursedevelopment, and teaching team coordination meetings. The lab sectionssegregate undergraduate and graduate students from one another (the schoolexpects graduate students to engage in a higher number of hours per creditearned, primarily through a greater commitment to individual readings and labassignments).

College kids look younger than ever to me.

My greatest concern is whether I will successfullyconnect and communicate with younger students.

Roxi commented about how "Millennials"(2) are sodigital that those of us raised in an analog age do not always understand howtheir minds work. For example, fewer and fewer students choose to meet withfaculty during open office hours. They are most comfortable text messaging, favoringdigital interaction over face-to-face contact. They possess their own socialrules and unique sets of values. Some social scientists even claim the minds oftoday’s students are wired to process information differently than oldergenerations.

I haven’t spent a lot of time around college-aged kids since Imyself was one more than a generation ago (I definitely stand on the oppositeside of the proverbial “generation gap”). To say the least, theinstructor-student dynamic will be revealing for me.

The University does offer a Teaching Effectiveness Program (TEP).I’ll take advantage of TEP and its wide range of workshops and individualconsultations to hone my teaching skills. The programwill help me provide students with the education, guidance, andfeedback they deserve.

It doesn't hurt that I have been a visiting critic at UO student design reviews formany years. I’ve always enjoyed the role of reviewer; my enthusiasm foracademic exchange and the spirit of inquiry will now serve me well as aninstructor.

This will be an opportunity toshare my professional experience with fledgling design professionals eager to make their wayin a rapidly changing world. I look forward to instilling in the students arespect for the professions they will soon enter, as well as a greaterawareness of the opportunities that await them. They should understandprofessional ethics, the legal context within which they will practice, and theirduty as leaders of the future.

I want to fulfill everyone’s expectations: Roxi’s, those of myfellow teaching team members, and most importantly the expectations of thestudents who will be placed under my charge. I fully expect teaching will be arewarding experience, one that will make me a better architect all-around.

(1) Roxi did enlist seasoned design professionals to participate in lectures and panel discussions.

(2) Generally characterized as young adults born after 1982.

AIA-Northwest & Pacific Region Associate Director

2011-12-10T08:34:00.001-08:00

Ourillustrious AIA Northwest & Pacific Region Directors (Greg Kessler, AIA andBill Seider, AIA) have issued a call for nominations to the position of Northwest& Pacific Region Associate Director (RAD). The outgoing RAD isAIA-Southwestern Oregon’s own Shawn Jenkins, Associate AIA. Shawn is completinghis two-year term of service at the end of this year.

If you’rean Associate member of the AIA assigned to one of the components (chapters)within the Region, you are eligible for this appointment. It is an excellentopportunity to become involved with the American Institute of Architects whilerepresenting the interests of your fellow emerging professionals.

The main job of the RAD is to carrythe flag for the Northwest & Pacific Region as a member of the National AssociatesCommittee (NAC). In this role, the RAD provides information and leadership to AIAAssociate members throughout the Region. The RAD addresses local, regional andnational issues and contributes to the shaping of new governance policies.

The RAD serves as a resource to AIANational regarding issues that affect Associate members, by providing regionalfeedback and comment. He or she maintains regular contact with the NAC Chair,NAC ExCom, and other RADs. The RAD also fosters expanded interest in theprogram, encourages growth of the profession, acts as a mentor, buildsrelationships, creates goals for the Region, and disseminates knowledge.

The RAD receives some financialsupport from the Northwest & Pacific Region and AIA National. Additionalfunding for attending meetings needs to come from other sources such as the RAD’splace of employment. The selected candidate is required to attend the NACConference, Grassroots Leadership Conference, AIA Convention, and the NWPRRegion Conference.

This is great opportunity for anyonewho enjoys traveling and meeting new people. The chance to get to know one’speers from around the country and make lasting friendships is a tangible rewardfor serving as the RAD.

For more information about all theresponsibilities of the RAD please click here.

Gregand Bill encourage all Associate members to review the application materialsand consider applying for this important position. If you have questions pleasedo not hesitate to contact AIANorthwest & Pacific Region Executive Director Stan Bowmanfor further information.

Automobiles and Architecture

2011-12-04T17:46:00.001-08:00

Section analysis of Le Corbusier's Voiture Minimum (from the book Voiture Minimum. Le Corbusier and the Automobile by Antonio Amado Lorenzo)

The time has come for me and my wife to get anew car. Buying a car is not something I look forward to because there’s alwaysthe fear that we will spend more than we should or end up with a vehicle we’reless than happy with. My dread of buyer’s remorse hovers menacingly over theentire affair. There’s also my predisposition to paralyzing over-analysis, a byproductof my background and training as an architect. It’s a draining and angst-riddenexperience.(1)

Do we really need a new car? We’ve always hadtwo (we even had three vehicles between the two of us for a brief while). If wecould truly be responsible stewards of the environment, we’d make do with onlyone. Cars pollute. They’re rapacious consumers of non-renewable resources. Theyisolate us from our communities by fostering an alienating and unsustainable landscapeof placeless strip malls and freeway interchanges. And yet North Americans areaddicted to their autos.

Regrettably, we’re no exceptions. We do relyon two cars because our individual commitments and schedules require them. The dilemmain this country is that our urban environments are not conducive to abandoningour motoring ways nor has there been the will to develop comprehensive alternativemodes of transportation that might overcome the primacy of the automobile.

On the plus side, we do eke out every milepossible from each one we’ve owned. Our new vehicle will replace a now decrepit1989 Honda Civic DX 4-door sedan. It’s served us very well for over 23 years(we purchased it new in 1988) but its time has come. Our other car is a 2001Subaru Outback wagon, which we hope will be serviceable for nearly as long.

Being an architect, I tend to obsess moreabout form and function than the average car buyer. For me, purchasing a newcar is similar to the process of architectural design. Like a building designproblem, we need to settle upon a functional brief, a program so to speak. Whatkind of vehicle do we need? What model do we want? Are we looking for a coupe, asedan, or an SUV? How important is performance? How much can we afford tospend?

Then there is the matter of design. I cannot separateappearance from utility. They should be mutually supportive. I find beauty inthe elegant resolution of problems, wherein the maximum effect is achieved withan economy of means. I appreciate the prudent application of innovativeconcepts, so I favor cutting- but not bleeding-edge technologies. I try toavoid the whims of style and fashion; instead, I prefer more timeless andorganic notions of what looks good such as those based upon proportion,symmetry, and harmony. I abhor self-indulgence and opulence for its own sake.

Buildings convey meaning and so doautomobiles. The dawn of the motoring age famously inspired the architecture ofLe Corbusier and Frank Lloyd Wright among others.(2) In his book Automobiles by Architects, Ivan Margolius wrote about how theseductive beauty of the latest car models beguiled and influenced the earlymodernists:

“A number of well-known architects liked to pairthe architecture of their houses with their favorite automobiles in order toillustrate the close functional and aesthetic relationship between them. Somebelieved that their cars had to 'look becoming to' their architecture, andincluded automobiles in perspective views and photographs of their completedbuildings, the result being a harmonizing composition of the two elements thatstressed their close affinity.”

Buckminster Fuller's Dymaxion Car

Le Corbusier and noteworthy architects since haveunderstood the iconic power of automobiles tosymbolize the prevailing zeitgeist. Manyapplied the principles of automotive technology and design to theirarchitecture. Some like Corb, Wright, Walter Gropius, Buckminster Fuller, andmost recently Zaha Hadid even proposed their own motorcar designs.

Zaha Hadid's Z.Car

Because they are (usually) lessexpensive than buildings and automotive design evolves more quickly than architecture,it’s possible that cars more precisely reflect who their owners are at a given stationin their lives than, say, the owners’ homes. Architects are notoriously image-conscious;by association, their choice of wheels probably says something about the kindof architects they are.

So, what type of car should my wife and I buy?What kind of architect am I?

I’m image-conscious but it’s not my goal topurchase a vehicle to make a statement or as a status symbol. This is much moreof a problem-solving exercise: we need to replace an old car with a new onethat similarly provides economical, safe, and functional transportation. I dohowever want it to look good at the same time.

We’re leaning toward purchasing a hybridvehicle, specifically the 2012 Honda Civic Hybrid sedan. We’ve considered andtest-driven several other vehicles, including the Honda Insight, Toyota Prius, Ford Escape Hybrid, and Ford Fusion Hybrid. The bottom line is that it appears theCivic offers us the best combination of features we’re looking for.

The Civic Hybrid’s fuel economy is very good(44 city/44 highway/44 combined EPA rating) but not as good as the Prius.Nevertheless, the Civic’s combination of handling, style, and fuel economyswayed us. If our own past experience is any guide, Honda will again live up toits reputation for reliability and we’ll enjoy many years of happy driving ifwe end up purchasing one.

We originally thought we’d get a Prius but quicklychanged our mind. Contrary to some reviews I read, we did not find the Prius accelerated,stopped, or maneuvered as well as the Civic Hybrid. The Prius felt sluggish offthe line and Toyota’s regenerative braking system exhibited excessive fade. Italso felt much heavier than the Civic, most notably in turns. The decidingfactor, however, was the Prius’ incredibly poor rear and rear quarter window visibility.It simply felt unsafe driving the vehicle. The Prius is a bad design in thisregard.

In hindsight I don’t think the Prius is anaesthetically pleasing car. This opinion is admittedly colored by ourexperience test-driving the vehicle. Regardless, it is somewhat clunky looking andpatently different. It’s commonly known Toyota developed the Prius’ signature lookso everyone instantly correlates the car with a sustainably minded ethos thataspires to save the planet by consuming less gasoline and generating feweremissions.

Conversely, the Civic’s appearance is by nomeans idiosyncratic. If anything, the design borders on the generic for compactsedans. If you didn’t know what to look for, you wouldn’t recognize that thecar is a hybrid. On the other hand, I find its form pleasingly spare and absentof pretense. It looks aerodynamic because it is. The Civic most closely matcheswhat we’re looking for.

We did consider a conventional Honda Civic aswell. Why spend thousands more for a hybrid if a conventional motor deliversonly a marginal fuel economy penalty? It’s questionable whether we’d make upthe cost difference in fuel savings over the life of the car. Nevertheless, we’rebetting on the likelihood of rising gasoline prices in the future, which seemsinevitable. Gloomily pessimistic, sure, but I fear paying more at the pump willbe the least of our worries as humankind moves forward.

The 2012 Honda Civic Hybrid

I’m hardly an automotive enthusiast. On theother hand, being an architect means I do have a level of discernment useful toevaluating the merits of various car models. The ability to appreciate gooddesign has universal applications. The skills required to evaluate architectureare equally applicable to the design of cars. We’ve done our research andallowed both sides of our brains to have their say. I’m hopeful we will havemade the correct choice when we purchase the Honda Civic Hybrid.

(1) With the explosion of car buying andcomparison information available on the Internet, the experience needn’t be as stressfulas it almost always used to be. Access to pricing information helps to levelthe playing field.

(2) Le Corbusier’s enthrallment for les voitures was rooted in his fascinationwith industrial production processes and modern technology. He went so far asto dub his mass-produced single-family house prototype—his “machine for living”—theMaison Citrohan, a homonymic play onthe name of the automaker Citroen. Frank Lloyd Wright’s love affair with the automobileprompted a different response. For better or worse, Wright foresaw how the carwould open up the American landscape and how the freedom it promised would cometo be regarded a birthright. His wider vision became Broadacre City, which if fullyrealized would have been the apotheosis of suburban sprawl: a totallyautomobile-reliant development pattern.

AIA-SWO Intern Tour: Falling Sky Brewing

2011-11-26T09:21:00.001-08:00

Interior under construction (photo plucked from the Falling Sky Brewing Facebook page)

The next in the ongoing series of AIA-SWOconstruction project tours features the creation of a new brew pub in Eugene,Falling Sky Brewing. Like the previous tours, the intent is to allowarchitectural interns who may not otherwise regularly visit building sitesto see firsthand a construction project in progress. Here are the details:

What: Falling Sky Brewing

When: Tuesday,December 6th at 11:55 am

Where: 1334 Oak Alley, Eugene

Architect: NirPearlson Architect, Inc.

After nearly a decadeof providing exceptional service and products for home brewers and winemakers,Valley Vintner & Brewer, 30 E 13th Avenue in downtown Eugene, changed itsname to Falling Sky Brewing. With theassistance of Nir Pearlson Architect, Inc. Falling Sky is expanding into abeautiful adjacent space.

Ultimatelyencompassing over 3000 square feet, the result will transform an old warehouseinto a refined setting featuring the old barrel-vaulted ceiling structure, an outdoorbeer garden, a full kitchen, and German-made brewery equipment. The stunning copper-cladbrewing tanks will be visible behind a wall of reclaimed industrial windows. Thecook-line will be open to the service counter, integrating the brewing andcooking processes into the dining experience. Oversized windows and a glazedroll-up door provide direct indoor/outdoor links and access to the south-facingdining patio.

Falling Sky Brewing’s debut isset for next January, so this is a great time to visit the project as it takesshape.

Please RSVP by Tuesday, December 2nd to Julie Romig at romig@bdarch.net or 541-683-8661 extension 3. Space is limited.

Reflections on Craftsmanship

2011-11-21T21:27:00.001-08:00

Travis Sheridan, Associate AIA (my photo)

One of the highlights ofthe 2011 AIA-SWO Craftsmanship Awards event last Wednesday was the keynotespeech delivered by Travis Sheridan, Associate AIA. I don’t know Travis at allas he is a relative newcomer to Eugene and AIA-Southwestern Oregon. I do knowthat he works with Will Dixon, AIA and that Will speaks highly of Travis’ passionfor architecture. This passion was evident as Travis addressed the CraftsmanshipAwards gathering.

The following is atranscript of Travis’ insightful speech. He first thanks John Lawless, AIA forintroducing him and then offers his reflections on the meaning of craftsmanship:

Thanks,John for that gracious introduction. Thank you to all of our sponsorsand the Ford Alumni Center.

Andthank all of you forattending the 2011 Craftsmanship Awards this evening. What a wonderful event tohonor some of this region’s outstanding men and women. Each of you truly earnedyour place here tonight. As John mentioned, I’ve been asked by the SouthwesternOregon chapter of the American Institute of Architects to present a few wordsreflecting on craftsmanship.

WhenI first began thinking about what I would say here tonight, Ifound myself repeatedly asking a very basic question, “What is a craftsman?” Weall probably have different ideas of what one is and what one does. Surely, aswe can see tonight, there is a wide array of people who fill the shoes of craftsman.So, I decided to start at the beginning, with the word “craft.” I find thatreflecting on that word alone can open oneself to reflections on one’s ownpractice.

Myunderstanding of craft relates to one’s ability to plan andbuild, both of which require authenticity. The words dexterity and ingenuityare both used to define craft. Dexterity, curiously enough, stems from thespatial relationship of the body to the hand—the right hand of mankind—an almostrighteous or holy shield protecting all that is good. To be dexterous is topossess such skills of the hand indispensible to our cultural and physicalsurvival. Your touch in turn touches the hearts and minds of others, reachingwell beyond your physical grasp. Ingenuity describes a freeborn status of thewill, a high-minded cleverness at inventing things, especially of a curious orunexpected nature. Ingenuity is also frank and candid, qualities so oftenoverlooked. The honest ability inside each of us is what truly inspires people,and we fulfill our needs for expression by placing faith in the truly gifted.Both dexterity and ingenuity exhibit a quality of universalism. That is to sayyou can be born anywhere or to anyone and still, no matter the circumstance,the calling is within you. Not everyone is called and not everyone who iscalled answers.

Allof you here being honored tonight for your craftsmanship have beenrecognized by colleagues in the trade—folks who depend greatly on you and yourcontributions. It is no simple task to create our physical world. The vitalityof your role in that development is unquestionable. Like myself, I’m sure thateach and every day you aspire to improve upon that world. But time createscircumstances that prove difficult to follow, and keeping ahead more difficultstill. With all aspects of human existence experiencing exponential growth, onecan easily become lost. Living and growing in our system also has its share ofdisadvantages with perplexing and, at times, absurd challenges. So to riseabove all of that and produce an ever-improving body of work is a remarkableachievement. If my experiences thus far in our shared professions have shown meat least one thing, it would be that good work is actually not at all too hardto come by, but great work is.

AsI looked deeper into the definition of craft I was surprised to findat the root of the Oxford description were three words: strength, power, and force. This seems tosuggest that it is not necessarily what you craft, but most importantly how youcraft. And how you create can be far-reaching into people’s lives, layingunquantifiable positive impact upon the community at large. Most of you herehave never met me before tonight, yet my skills are measured against the powerof your achievements. The force of your conviction has instilled itself into mysense of identity and duty and I can draw upon the strength of your characterfor inspiration and resolve.

Exploringthis exercise further, imagine if you can a society without individuals ofhigh-mindedness such as yourselves. We would still produce artifacts I’m sure,since we all need to eat, but I could not imagine any tools lasting long orworking well. Nor could I foresee any spaces that provided function, beauty oreven adequate shelter. Quite literally, craftsmanship, being above “well enough”saves humankind from utter infrastructure failure.

Neverinsignificant, your work does more than inspire, itprovides real solutions to people’s everyday lives. This cannot be understated.How you do anything is how you do everything. The requirements and pressuresplaced on each of you every day are astonishing. You’re faced with a googolplexof details from the tedium to the sublime. You can roll with all the punches,like keeping track of the changing design intentions of a project, compilingeffective building schedules, understanding code changes, researching andtesting new materials, satisfying practical domestic needs, deciding whichcolor produces a deeper spiritual introspection. And endless questions: Whathappens when the clients change their minds? Will this hold up in the rain? Isthis material strong enough? When can I pay for all of this? How long will ittake to build? In the end of all the discussion, the built environment existsbecause you stand up to take on the noble role of craftsman.

Ishare these reflections on craftsmanship with the hope ofreflecting back to you the honorably straight-forward nature of what you do ascraftsmen. Through your strength you influence those like me who follow in yourfootsteps, striving to be better and to search out higher standards. To soak inmore beauty, to live and make living better: by you I am affected immeasurably,and so is our design community.

Thankyou again for the work you do. May that work continue to provide us with yetanother chance to experience superb craftsmanship.

Presentedby Travis Sheridan ©Sirideon

16November 2011

2011 AIA-SWO Craftsmanship Awards at the Ford Alumni Center (photo by Jenna Fribley, AIA)

Thank you Travis for yourarticulate tribute to those who dedicate their working lives to giving materialshape to our designs. You spoke on behalf of all AIA-SWO members who trulyappreciate and recognize fine craftsmanship. I look forward to hearing morefrom you on matters related to design, architecture, building, and community.

November AIA-SWO Chapter Meeting Recap

2011-11-20T10:23:00.001-08:00

The nominees for the 2011 AIA-SWO Craftsmanship Awards (all photos mine)

Over130 design and construction industry members packed the University of Oregon’snew Ford Alumni Center to attend the November AIA-SWO chapter meeting and honorthe nominees for and recipients of this year’s Craftsmanship Awards. The eventwas my profession’s opportunity to extol the virtues of fine craftsmanship andrecognize those considered by the jury to be exemplary craftsmen or women. Itwas a wonderful evening that celebrated the best of the best.

Attendees enjoying the delicious food at the buffet

The overarching purpose of the awardsprogram is to ensure that the time-honored ideals of craftsmanship aresustained and passed along. Its success is dependent upon nominations of thoseindividuals that local architects believe exemplify the highest standards ofcraftsmanship.

TheSouthwestern Oregon chapter of the American Institute of Architects considersanyone in the building trades—cost estimator, fine cabinet maker, job sitesuperintendent, and all the others—worthy of this recognition if they haveconsistently taken that extra step to ensure a finely crafted building. Thesuccess of the most excellent architecture would not be possible without thededication and skill of these individuals.

John Lawless, AIA served as emcee for the program.

Thefollowing is the complete list of the nominees for the 2011 CraftsmanshipAwards:

AnnahJames – Annah James Studio

CalebBruce – Foci

ChrisO'Sheedy – Innovative Air

DanaFuller – 2G Construction

DaveKrull – Chambers Construction

DaveVeldhuizen – Six Degrees Construction

DavidRoberts – Gormley Plumbing & Mechanical

DennisCoduti – Dennis Coduti G.C.

DonBrockman – Chambers Construction

FrankGoin – Bridgeway Contracting

GaryBartel – Benny Bartel Company

JesseElliot – 2G Construction

JohnBurbee – EC Company

KellyWillis – John Hyland Construction

LeeHansen – Lee Hansen Painting

MartinGrant – Heartwood Carving Studios

MattImlach – Wildish Building Co.

MikeNowak – 2G Construction

RandyTeeney – Marion Construction

RichardShields – Rubenstein’s

ScottBrown – Scott Brown Construction

TimCoslow – Tim Coslow Woodworking

TomAllen – Smith Sheet Metal

Theawards jury was pleased that the nominees for the 2011 Craftsmanship Awardsrepresented a broad spectrum of skill sets and experience, and offered thefollowing remarks:

We, the jury for the 2011 AIASouthwestern Oregon Craftsmanship Awards, were very impressed with both thebroad range and skill of the nominees. As architects, we are well awarethat these craftsmen are just a few of the many that are so important tobuilding our homes and community with quality and beauty. To have beennominated for this award is a reward in itself. It speaks to the fact thattheir skills were recognized for honor by our members and/or their peers—andall nominees should feel proud and honored—we congratulate you all.

Nominations were reviewed representingtrades or skills reflecting the wide and varied contributions to the design andconstruction industry. This of course makes judging the nomineesdifficult, as direct comparisons are not possible, nor appropriate. Thus,each nominee was judged on the merits of their body of work as illustrated ordescribed in the nomination submission, and the range of support and commentfor each nomination.

The nominees singled out by the jury fora Craftsmanship Award were those that stood out as exemplary within their tradeor profession, possessing a demonstrated dedication or passion for the workthat they do and the contributions they make. We are very pleased to havemade our selections for award from such an impressive field of nominees, andcongratulate the finalists receiving their Awards this evening.

The juryselected the following individuals as the deserving recipients of the 2011Craftsmanship Awards:

Annah James with Kurt Albrecht, AIA, AIA-SWO President-Elect

AnnahJames – Annah James Studio (Art Glass)

Annah brings a unique combination of artglass artistry and architectural sensitivity to her work. It is rare to findthat blend of cross disciplinary experience when collaborating to integrate artand architecture. Annah exemplifies the highest measure of that gift.

She works to understand the essence of aproject and reflects it beautifully into her artwork and thus the architecture. Annah’sability to collaborate with architects and clients to draw out the inspirationfor the work has connected her clients more closely with their own projects.

Caleb Bruce with Kurt Albrecht, AIA

CalebBruce – Foci (Cabinet Maker)

Caleb is recognized for his ability tocreate complex cabinetry/interior panel rooms and spaces with precision,enthusiasm and distinction. To each project he brings enthusiasm,knowledge and an abundance of skills. Whether the budget for the scope ofwork is $10,000 or $300,000 his professionalism, attention to details, andcraftsmanship never waver.

As a collaborator, he is a giftedcommunicator able to take an initial idea from paper to the level of functionalart in the built environment. Without exception, when clients see theproduct he provides, a smile develops in realizing the gift they have received.

David Roberts

DavidRoberts – Gormley Plumbing (Pipe Fitter)

Dave’s work sequence and fine qualitycraftsmanship as a pipe fitter is a pleasure to observe in the field. Heis strategic in planning the placement of tanks and piping so as to allow forfuture service and maintenance.

He has a personal commitment toexcellence in his work. He is great to work with and pays exceptional attentionto quality and detail. It has been suggested that his work be used as astandard of excellence for other pipe fitters when they are ready to embark onfuture boiler replacements.

Don Brockman

DonBrockman – Chambers Construction (Superintendent)

Don provides superior and consistentleadership during construction projects. He is a great communicator and histhoughtful, proactive approach to orchestrating the entire design andconstruction team is invaluable.

His expectations for quality are highand he continually delivers the best results. Don inspires everyone on hisjob sites to feel ownership for their parts of the project. As asuperintendent he treats his work as would a great craftsman, with an eye fordetail and a desire for perfection.

Michael Nowak

MichaelNowak – 2G Construction (Superintendent)

Michael has worked in the constructionindustry for over thirty years as a carpenter, project manager andsuperintendent. He is known for his conscientiousness, for his sensitivityto clients’ concerns, and for his absolute commitment to quality workmanshipand safe performance.

His problem solving skills and hisability to overcome significant logistical issues are outstanding and greatlyappreciated by both architects and clients.

Randy Teeney

RandyTeeney – Marion Construction (Concrete Form & Finish)

Randy provides excellent leadershipduring fabrication of tilt- up concrete panels. His crews assemble formworkwith the precision and care typically found in finish carpentry. He worksdiligently to ensure a high-quality finish and a great looking finished product.

He is a pleasure to work with,communicates and coordinates very well with other members of the constructionteam, and with his many years of construction knowledge and attention to detailhe provides quality work placed safely and efficiently.

Richard Shields

RichardShields – Rubenstein’s (Quantity Estimator)

Richard has demonstrated terrificworkmanship and is a hidden jewel of craftsmanship. Hhe has been aquantity estimator for 25 years and has estimated up to 40,000 projects duringthat period. He is the one that is sought for complicated work or to back-checkothers and he might be one of the best in his field in the world.

He is typically hidden behind the scenesof a project but he looks ahead to anticipate potential problems. His magic isoften in what you do not see or hear about. He is always cheerful andfriendly. He is an estimator extraordinaire.

Scott Brown

ScottBrown – Scott Brown Construction (Concrete Finisher)

Scott is skilled at forming, pouring andcreating beautifully finished concrete flatwork and walls. He is able tosatisfy structural requirements with aesthetically pleasing results.

He provides a high quality level of workeven while working with the often challenging layout of curvilinearprojects. He has great technical construction knowledge and has shown awillingness and ability to collaborate with artists to integrate his work withtheirs. Scott is a true craftsman when it comes to working withconcrete.

Tom Allen

TomAllen – Smith Sheet Metal (Sheet Metal Fabrication)

Tom has shown an exceptional attentionto craft and detail and also a collaborative spirit when working with bothdesign and construction teams. He seeks to make sure that the sheet metalwork is done well: straight, true flat and tight.

He is hard working, solution oriented,proactive and well organized. He is a pleasure to work with and hisemphasis on quality and craftsmanship is evident in all his work. Tom is serious about his work and demonstrates a commitment to pursue thehighest standards of his craft.

The juryalso chose to present a distinctive award to an individual who has dedicatedhis career to the cause of excellence in the construction industry. Thatindividual is my good friend Gary Bartel:

Following in thefootsteps of his father, Benny Bartel, who was also an award winner, we arepleased to present Gary Bartel with the 2011 AIA/SWO SPECIAL ACHIEVEMENT AWARD,to thank him for his decades of excellent service to our industry. Gary Bartelhas been managing Benny Bartel Company since 1983 when he took over for hisfather, Benny Bartel (a previous Craftsmanship Award Winner).

Under Gary's management the company expanded from plastering to drywall andthen to acoustic ceilings, demountable partitions, metal studs, access flooringand sound wall systems. Even as the newer products emerged that required lessability of a true craftsman, Gary emphasized the quality of the finishedproduct. Loyalty was automatic with well-trained plasterers working for BennyBartel Company. It was not uncommon to find a supervisor or plasterer that hadbeen with the company 20 or more years.

Tonight, Gary is recognized by the American Institute of Architects – SouthwesternOregon Chapter with this SPECIAL ACHIEVEMENT AWARD for his career as not only aplaster craftsman but also for his life-long dedication to helping educate hisfellow trades people and to better the design and construction community as awhole. Thank you, Gary.

Gary Bartel

I’ve considered Gary a professionalmentor since I first met him back in 1988. All of the other architects who haveknown Gary for as long as I have (and longer) hold him in the highest regard asa construction professional. There’s no one more deserving of this award or anicer guy than Gary.

The 2011 Craftsmanship Awards programwas a great success due to the efforts of the organizing committee, the jury,and most significantly all of the award recipients and nominees.Congratulations to everyone involved!

Downtown Springfield Design Charrette

2011-11-13T15:12:00.001-08:00

Generating ideas at Table 6 - Downtown Springfield Design Charrette (all photos mine unless otherwise noted)

The local emerging design professionals group Design|Spring produced its first community design charrette this past Saturday. The goal of the successful charrette was to offer ideas for improving a six-block stretch of Main Street between Pioneer Parkway West and 8th Street in downtown Springfield. Design|Spring believed the event could be a spark that leads to real improvements for the pedestrian experience along Main Street, which is the historic center of commercial life in the downtown.

The Southwestern Oregon chapter of the American Institute of Architects (AIA-SWO) sponsored the charrette, with additional support from the Neighborhood Economic Development Corporation (NEDCO).

The workshop attracted fifty business owners, community members, and design professionals, who gathered at the Academy of Arts and Academics for the three-hour-long event. Design|Spring divided the participants into six teams, each of which was tasked with developing ideas to improve the pedestrian experience for two contiguous blocks. Design|Spring assigned a design professional to each team as a facilitator. The facilitator’s responsibilities included leading a tour of the assigned focus area and fostering a thought-provoking discussion about ways to transform Main Street.

Main Street, Springfield, OR (image from Discover Downtown Springfield)

Design|Spring’s introductory report for the charrette characterized downtown Springfield as having many great qualities but being in need of “a little rejuvenation.” The report noted that the width of Main Street’s roadway has increased over the years and as a result the space between the street curb and the building faces has diminished. The reduced sidewalk width requires creative solutions to make the streetscape more pedestrian-friendly and inviting.

Forty-nine buildings line the 200-700 blocks of Main Street. These building contain 65 individual storefronts, of which approximately 80% are occupied. Five of the buildings are on the historic registry. Some of the buildings are in disrepair while others have historical features masked by unsympathetic remodels.

A majority of the buildings are not owned by the businesses that occupy them. Because many of the buildings are paid for and lease rates are depressed, the owners lack incentives for investing in their properties. Consequently, the charrette guidelines explicitly favored low-cost, incremental solutions.

This charge forced the teams to come up with façade and streetscape improvements that businesses and property owners could implement at minimal expense. These included the predictable, such as freshening up facades by repainting them, adding planters, improving signage, creating pocket parks, enlarging storefront windows, and power-washing awnings and sidewalks. However, they also included ideas I hadn’t previously considered, such as granting façade easements to the City of Springfield (empowering the city to make changes to the privately owned building fronts) or forming a Main Street advocacy group that could work on behalf of all merchants to pool resources or represent them on matters of contention (such as uneven enforcement of the sign code by the City).

Natalie Dreyer of Design|Spring introduces the charrette

Most agreed that visible success will be a key to sustaining any revitalization effort.

Of course, numerous past and ongoing efforts have likewise attempted to identify paths toward rejuvenating Main Street.(1) Design|Spring’s charrette may not have broken new ground. Nevertheless, it was a worthwhile exercise.

Lana Sadler, AIA of Robertson/Sherwood/Architects presents the results of her team's efforts.

The value of a properly organized community charrette is in bringing together a diverse group of people to share a wide range of experiences and perspectives in the service of a common goal. The potential inherent in collaboration trumps that of individuals working in isolation. There’s no doubt the Downtown Springfield Design Charrette generated more meaningful ideas in a brief amount of time than would have otherwise been possible. This was also the first charrette for many of the participants and perhaps the first time they interacted with design professionals. The workshop was as much an exercise in community education as it was a brainstorming session.

Each charrette team posted its ideas on the wall.

The charrette also served as proving ground for the emerging professionals of Design|Spring. I offer my kudos to Natalie Dreyer, Jenni Rogers, and Mariko Blessing for spearheading the group’s effort. They demonstrated their ability to produce a successful and engaging community design event. They displayed bona fide leadership and can be proud of the outcome, even if changes to Main Street don't happen right away.

I'm looking foward to the prospect of future Design|Spring projects.

(1) Recent accomplishments include the City of Springfield’s Downtown District Plan and the Oregon Main Streets program.

Aren't Kids Great?!!!!

2011-11-09T09:31:00.000-08:00

I had the great honor last Wednesday to speak to a wonderful group of kindergarteners from the Big Little School, a nonprofit preschool here in Eugene. Lee Bramwell of the Big Little School informed me the children were fascinated by the construction activity at the site of the future Lane Community College Downtown Campus and wanted to learn more about the project. She asked me if I could answer questions from my perspective as a member of the design team. I told her I would be more than happy to do so.

I met the preschoolers and their grownup entourage at the Eugene Public Library, located directly across the street from the LCC Downtown Campus property. We trekked upstairs to the Singer Conference Room, which provided a cozily safe front-row view through an expansive window of the hustle and bustle.

Aerial view of the Lane Community College Downtown Campus project (photo courtesy of Lease Crutcher Lewis, LLC)

I explained what the project is all about. I pointed to the brightly colored plans I brought with me, detailing what would go where in the building. I rattled off pertinent specifications: the number of student apartments and classrooms, the elapsed time of construction, the green building strategies being implemented. Moving to the window, I waved my arms about wildly as I described what the dozens of safety vest-clad workers were up to. I talked about what it is I do every day as an architect.

I rattled through my spiel quickly, careful to leave time for what was certain to be a flurry of questions. I opened the floor, anticipating an earnestly inquisitive query. I didn’t expect what followed.

Crickets.

No questions? Not a one? Surely I had enthralled at least a few of these bright-eyed youngsters. Didn’t any of them find my presentation so interesting that he or she had to learn more about the project or about what an architect does? Wasn’t anyone paying attention?

Finally, after much prompting, Kelsey raised her hand to ask me a question.

“What’s your last name?”

“Umm . . . Nishimura,” I replied.

“Good! I’m going to call you ‘Nishimura’ from now on! Nishimura! Hey, Nishimura!”

“This is going well . . . not” I thought to myself. It was painfully clear to me that I was out of my depth when it comes to communicating with five-year-olds.

Grant asked the next question: “What kind of wheels are those?”

Huh? Wheels? “What wheels?”

It took me a while to figure out what he was talking about. Grant mistook the trees on the site plan as wheels. After all, they were drawn as green circular things with what looked like spokes. Yeah, I could see that. The drawing was no longer a depiction of the podium level of the LCC Downtown Campus and its proposed site improvements. Instead, it was a fantastical and magical many-wheeled machine rolling through an imaginary landscape.

I changed tactics. Maybe if I asked the questions, they’d become more engaged.

“Does anyone know how many years of school it takes to become an architect?”

“Ten thousand years,” Gavin replied. Hmmm. Exactly how old does he think I am?

So, question period was a bit of a bust. I had better luck offering each of the kids the opportunity to have his or her photo taken while wearing my hardhat. Each put the oversized lid on and grinned for the camera before passing it along. They became restive, crawling over the backs of their chairs for a better view of the action. Going with the flow, I encouraged them to press their noses against the glass as we all watched the huge crane in action. “Whoa!” Chase exclaimed. “That’s how the porta-potty got up there!” They waved at the construction workers, and the workers waved back.

Up, up, and away! (my photo)

Less than thirty minutes after I began my presentation, my visit with the kindergartners from the Big Little School was over. Their teacher, Lori Brodie, and the accompanying parents thanked me. The kids thanked me too. “Bye, Nishimura!”

* * * * * *

John Bramwell, Lee’s husband and a co-worker at Robertson/Sherwood/Architects, reported the next day that according to Lee I was a hit with the children. Apparently, commanding the interest of five-year-olds for anything beyond twenty minutes is a considerable achievement; knowing that made me feel better about my performance.

John delivered an envelope containing drawings the kids had sketched as impressions of their visit with me. The absolute lack of pretense in children’s art is its greatest appeal. Five-year-olds freely interpret what they see, often with a developed vocabulary of recognizable forms (although each child’s symbols are most often unique to the child). According to Wikipedia, their drawings are based on their understanding of what is being drawn rather than on observation.(1) Judging by the fantastic images I pulled from the envelope, I’m not so sure this is true.

For example, Chase’s drawing (at the beginning of this blog post) clearly depicts the project’s tower crane, as well as the shoring for the post-tensioned concrete deck formwork that is still in place. Grant’s rendering (below) likewise is his interpretation of the crane.

The subject, form, and content of Kelsey’s illustration (below) are a little harder to decipher. But look: that’s the tower crane on the left with its enormous boom extending across the top of the page. The crane operator is clearly visible in his cab at the top of the crane. Below the boom, members of the building crew are hard at work on the top level of the building.

I misread Gavin’s drawing (below) at first. I initially believed he similarly chose to represent the building under construction. Wrong! In fact, what appears to be the rising structure is actually the window of the Singer Room. And that’s not a smiling construction worker—the pointy headed guy is me speaking to the group. The tower crane does loom over my right shoulder but that’s because I was describing how it works.

* * * * * *

I feel privileged to have shared time with this group of preschoolers. The potential evident in every young child is amazing. Theirs is an unfiltered, untainted view of the world. They see possibilities rather than obstacles. They’re optimistic. They’re passionately curious. Adults—certainly architects— can learn a lot from kids.

(1) In his book Creative and Mental Growth, Viktor Lowenfeld described drawing development in children as passing through various stages. Lowenfeld described the first conscious creation of form as occurring during the pre-schematic phase (ages 3 to 5). The first representational attempt is usually a person, with a circle for the head and two vertical lines for legs. Later other forms develop, clearly recognizable and often quite complex. Children continually search for new concepts so symbols constantly change.

CSI Construction Industry Classes

2011-11-06T07:57:00.000-08:00

On ten consecutive Tuesday evenings, starting on Jan. 3, the Willamette Valley Chapter of The Construction Specifications Institute (WVC/CSI) will again offer a seminar designed to give each participant an in-depth understanding of Construction Contract Documents including specifications, the bidding process, and contract administration.

Additionally, on eight Monday evenings, starting on Jan. 16, WVC/CSI will offer a seminar designed to give each participant an in-depth understanding of Construction Contract Administration.

The courses can be of significant value to interns, clerical staff, and to the firms for whom they work. Additionally, the courses can be very helpful to architectural interns preparing to take a State Licensing Exam.

AIA Members can earn up 20 HSW-qualifying Continuing Education Learning Units (LU) which will be reported directly to AIA/CES.

For registration forms and additional information contact:

Paul Edlund, FCSI/AIA at (541) 485-1941

Design|Spring Charrette

2011-10-29T09:13:00.000-07:00

The emerging professionals group, Design|Spring, is organizing its first design charrette! The event will bring together design professionals and active citizens to generate ideas for enhancing building facades and the corresponding streetscape in downtown Springfield, Oregon.

The target area is Main Street between Pioneer Parkway West and 8th Street in downtown. Teams will consider the existing conditions, the historic character of the street, and the goals of active community members. A possible outcome of the charrette might be specific design suggestions that Main Street merchants will find actionable and cost-effective.

Design|Spring encourages you to participate! The group will issue final details for the charrette soon, including facts and graphics related to Main Street.

To help the organizers better coordinate the event they ask that participants RSVP in advance. Please email designspringEP@gmail.com if you’re interested in taking part.

What: Design|Spring Charrette for Springfield

When: Saturday, November 12 9:30 AM to 12:30 PM

Where: Springfield Academy of Arts & Academics, 615 Main Street, Springfield, OR

October AIA-SWO Chapter Meeting Recap

2011-10-23T11:03:00.000-07:00

The October AIA-Southwestern Oregon chapter meeting featured Mark Heizer of the State of Oregon Building Codes Division. Mark provided a comprehensive overview of the Oregon Reach Code, the latest evidence of Oregon’s nation-leading efforts to champion energy efficiency in the construction and operation of buildings.

Because I live and work in Oregon, I sometimes have to be reminded by outsiders about how far ahead of the curve we are compared with much of the nation when it comes to high performance building design. Our state can boast more LEED-certified buildings per capita than anywhere else. Designing with sustainable goals in mind is simply second nature to us now. We’re surprised when we encounter architects from other regions who continue to find buildings designed from a green perspective to be a novelty.

The fact is Oregon has been on the forefront of sustainability for many years. Visionary public policy has played a central role in this leadership. Oregon’s urban growth boundary legislation in the 1970s, carbon emissions limitations, and support for research and development of renewable energies are well-known examples. The most recent case in point is the Oregon State Legislature’s decision in 2009 to dramatically reduce energy consumption in buildings by directing the state Building Codes Division to implement the Oregon Reach Code.

The Reach Code (which became effective on July 1 of this year) is an optional set of criteria that reduces energy use in buildings well beyond the requirements of the state’s mandatory codes. The new code will act like a statewide alternate method: builders will have an optional "green" path and jurisdictions can be assured the state-of-the-art construction methods are sound.

Like its name implies, the Reach Code goes past current codes and provides an objective measurement of success for project teams who aspire to a higher standard. The Building Codes Division envisions continually ratcheting up the standard as the basic energy code becomes more stringent with every code renewal cycle. Preliminary modeling of the prescriptive path provisions of the Reach Code in their current form indicates a 15%-20% efficiency increase over the standard energy code. Ultimately, the BCD goal is set the Reach Code to achieve carbon-neutral, net-zero energy and water performance by 2030.

The Reach Code is an overlay on top of the existing Oregon Energy Efficiency Code and Oregon Structural Specialty Code; it does not supplant them. The commercial (non-residential) provisions of the code are based on the International Green Construction Code (IgCC) and incorporate measures from the 2012 International Energy Conservation Code (IECC), ASHRAE 90.1-2010, and IAPMO’s Green Plumbing and Mechanical Code.

The optional standards will result in more energy efficient construction by:

Reducing the size of the equipment needed to heat and cool a building by providing flexible paths for optimizing the building envelope
Ensuring code-related systems, such as HVAC, operate as intended by requiring functional testing
Verifying building performance with blower door testing
Making it easier and cheaper to install a solar array in the future by requiring that the building is renewable-ready
Maximizing efficiency through a variety of strategies, such as high-efficacy lighting, passive design, post-occupancy commissioning, and vegetative roofs
Providing better information to building owners and managers on energy use after the building is occupied through sub-metering of key systems

Compliance with the Reach Code will typically occur by prescriptive means for smaller buildings (less than 50,000 s.f.). Larger, more complicated projects will most often necessitate following a “performance path” to demonstrate compliance, which would entail more extensive computer modeling and performance monitoring.

One of the benefits of the Reach Code may prove to be how it helps projects qualify for federal, state, and local incentives for energy conservation. Because the issuance of a permit under the Reach Code is validation of the measures necessary to achieve the prescribed level of performance, it may expedite approval or disbursement of grants or loans sooner than might otherwise have been possible. For commercial projects in particular, the ability to secure assured financing early may be the difference between implementing a cutting-edge, innovative design or moving forward with a project that merely complies with the standard energy code.

Oregon’s continued leadership in the green building sector is essential for the state to maintain its competitiveness in the world market. Oregon will profit from exporting this leadership while reducing the energy consumed by buildings, and developing local, more sustainable communities at home. The State of Oregon Building Codes Division has done its part by raising the bar for those who choose to reach for it.

* * * * * *

Mark Heizer’s Reach Code presentation to AIA-SWO was the first to any of the AIA chapters in the state. We’re honored that Mark chose to offer us the initial opportunity to learn about code in its definitive form.

* * * * * *

The October chapter meeting also featured brief presentations by Stuart Ramsing, Manager for the City of Eugene’s Building & Permit Services Division; Jenna Garmon, the City’s Green Building Analyst; and Eli Volem from the Earth Advantage Institute.

Stuart acknowledged that the increasing complexity of regulations and layers of bureaucracy is not abating. Part of this is a consequence of the City’s emphasis upon implementing its sustainability goals. In response, the City is working collaboratively with developers, builders, and architects toward a culture of “yes.” As part of this effort, Stuart described the new electronic documents review process the City hopes will expedite approvals and soon become standard operating procedure.

Jenna wants to render her position as Green Building Analyst obsolete: Her definition of success is to reach a point where green building is the norm. She described the City’s Guide2Green Program, which fosters sustainable waste prevention and green building in Eugene through education, technical assistance, and various incentives. For example, projects that achieve LEED or Earth Advantage certification are eligible for priority plan review and inspections, one-day permits, or system development charge reductions.

Eli spoke about the Energy Trust of Oregon’s Energy Performance Score (EPS) for new homes. The EPS provides a clear and quantitative way to compare a home's estimated energy use and costs. The lower the score, the better—with zero being the best. A low EPS identifies a home as energy efficient with a smaller carbon footprint and reduced utility costs. The EPS is directly analogous to the gas mileage ratings associated with cars.

Conversation Project

2011-10-18T18:10:00.000-07:00

Reiko Hillyer

On Thursday, October 20, at 6:30 p.m., the Shelton McMurphey Johnson House will welcome Reiko Hillyer, who will present her talk “Marking Our Territory: How to Read Local Landscapes.” The program is part of Oregon Humanities’ statewide Conversation Project, which brings humanities scholars to Oregon nonprofits.

One of the most persistent ways people exert power over others is to control access to space. Drawing upon the fields of architecture, environmental studies, urban design, and public policy, Reiko Hillyer’s presentation will pose the following questions: How do we mark our territory? How do the built environments we create reflect our values and aspirations? Whom do we include and exclude in the process?

Touching on gentrification, the decline of public space, historic preservation, residential segregation, and suburban sprawl, Hillyer will lead a conversation about how to read the history of our communities through the landscapes we build and consider how we can be more aware of, and more engaged in, the creation of our surroundings.

Hillyer is a visiting assistant professor of history at Lewis & Clark College, where she recently won the Teacher of the Year award. She teaches twentieth-century U.S. history, African American history, the Civil War, women’s history, and the history of the American landscape.

The program was very well-received earlier this year in Portland. Admission is free to Shelton McMurphey Johnson House members. Non-members are asked to make a $5 donation.

Research Assistance Please

2011-10-16T17:22:00.000-07:00

Architects, designers, and interns!

Vapor retarders and air barriers in residential design - what's common practice in your climate? Help University of Oregon graduate student Emily McGlohn answer this question by filling out a short online survey. Completing the survey should only take 5 minutes for 17 questions. Please limit your answers to your knowledge of residential design.

Your responses will remain anonymous and you will not be asked your name or professional association. You must be 18 years or older to participate in this survey. If you have questions, would like more information about the survey, or would like a copy of the final report please contact Emily.

Emily McGlohn
emcglohn@uoregon.edu
334-507-0257
University of Oregon

By participating in the survey, you can register to win a $25 gift certificate to Lowe's or Books-A-Million!

To access the 5-minute survey and help Emily with her research, click here.

Blog Action Day 2011

2011-10-15T16:45:00.000-07:00

Vertical farm design by Gordon Graff

Blog Action Day is an annual event that unites the world's bloggers in posting about an issue of global importance on the same day (Sunday, October 16). It’s an opportunity to witness the power of participatory journalism marshaled toward a common cause. The aim is to raise awareness and trigger a worldwide discussion.

This is my third Blog Action Day: For 2010 the issue was Water; in 2009 it was Climate Change.

This year Blog Action Day coincides with World Food Day, a time that focuses the world’s attention on food, something we all have in common. The charge to bloggers worldwide is to talk about food. I’ve chosen to address food and architecture.

The ties between food and architecture are rich and varied. For example, both are commonly associated with culture and place. They are equally coupled with aesthetics, presentation, and intention as forms of artistic expression. Both engage our senses and bring us together as communities. In their most glorious forms, they represent humanity at its best. That being said, I would miss the point of World Food Day by blogging contentedly about how analogous culinary flair is to design panache.

For much of the world’s population, simply having enough food to eat is a desperate struggle. Famine in the Horn of Africa has reached catastrophic proportions. Drought-induced and compounded by war, corruption, and problems with food distribution, the crisis threatens the lives of more than 13 million people in the region.

Hunger is also a reality for huge numbers in developed countries, including the United States. Food insecurity for the vulnerable segments of our citizenry is universally regarded as a major threat to social stability and prosperity. Eradicating hunger is and will increasingly be a fundamental challenge as our future unfolds.

This challenge is incomprehensibly complex. Population growth, peak-oil, the industrialization of agriculture, and the wild weather that is a byproduct of global warming have all contributed to the problem. Viewed from the peak-oil perspective alone, dystopian seers like James Howard Kunstler believe today’s petroleum-fueled agribusiness is on the precipice of collapse and that our society is destined for violent upheaval. Food that must travel thousands of miles to reach our dinner tables simply isn’t sustainable.

Is there a solution? Can architecture and design make a difference?

I don’t have an immediate answer. Clearly, the means by which food is produced and distributed must change. I do agree with Kunstler and others like the organization Food First that the future lies with local agri-food systems rather than with industrialized agriculture. Sufficient production and equitable distribution of food will be the key, but how will this be achieved in a world of dwindling resources?

According to Food First every country on earth (with the possible minor exceptions of some city-states) has sufficient agricultural capacity to feed its own people.(1) Certainly, this must be true in the U.S. if Food First believes it is possible everywhere else. Its claim is based upon a “bottom up” approach to solving world hunger wherein subsistence farming is the focus.

Keeping food production local minimizes reliance upon factory farming and the embodied energy inherent in processing and transporting food vast distances. Keeping things local is also consistent with the locavore movement’s interest in purchasing food close to where it is grown and keeping the environment as clean as possible. Organic, community farms that raise varied crops for local sale are tremendously popular here in Eugene.

However, it’s hard to imagine that small, local farms will produce enough food to sustain the huge population of the world’s larger cities. Vertical farming in skyscrapers as envisioned by some also seems a stretch because of the additional energy needed for artificial lighting, heating, and irrigation. This could outweigh the benefit of positioning vertical farms close to where the food is to be eaten. Regardless, architects and engineers may prove creative enough to overcome the challenges associated with cost-effective vertical farming.(2)

By itself, keeping it local is not the panacea. Local farming will not eliminate drought or erase intractable tribal disputes. The problem cannot be distilled as discrete issues accompanied by simple solutions. As is the case with so many of the other problems we are confronting, the answers will not be found by following the straight line of reductionist thinking. Rather, multivalent and integrated ideas are necessary.

How architects contribute to assuring access to food for all may ultimately boil down to how the design community deals with the daunting suite of issues surrounding the problem. Architects are on the vanguard of sustainability. We’re eco-conscious advocates for energy-efficient buildings, compact communities, and reduced reliance upon the automobile. Architects are also adept at collaboration, coordinating diverse project teams, looking at the big picture, and thinking outside the box. These skills will be the key to how architects play a part in feeding humanity.

The relationship between food and architecture is destined to become even more multifaceted. Architects will move to the frontline of the battle against world hunger. I predict that if the battle is to be won, design will have played a part.

(1) Food First believes the "free trade" economic order associated with such institutions as the International Monetary Fund (IMF) and the World Bank prevent this from happening. At the other end of the spectrum, the World Bank itself claims to be part of the solution to hunger, claiming that the best way for countries to succeed in breaking the cycle of poverty and hunger is to build export-led economies that will give them the financial means to buy foodstuffs on the world market.

(2) Proponents argue that “vertical farming” is legitimate because the cultivation of plant and animal life within skyscrapers will produce less embedded energy and toxicity than plant and animal life produced on natural landscapes. Moreover, they claim that natural landscapes are too toxic for natural, agricultural production, despite the ecological and environmental costs of extracting materials to build skyscrapers for the purpose of agricultural production.

EmX

2011-10-09T19:38:00.000-07:00

EmX Agate Station (photo by Diderot's dreams via Wikipedia)

I’ve pretty much steered clear of the rancorous debate surrounding Lane Transit District’s proposed west Eugene extension of the EmX bus rapid transit system. It’s my natural tendency to avoid confrontation and conflict. The issues surrounding the project are complex, divisive, and not without costs. Not surprisingly, groups on all sides have politicized the West Eugene EmX Extension (WEEE) discussion. My comfort realm most definitely does not include politics.(1)

As a profession, architects are far from a predictable, homogenous bloc. We don’t always share the same opinions. On the other hand, we are by definition visionaries and as such are inclined toward imagining the future consequences of our decisions. We tend to be progressive rather than reactionary.

Most local design professionals believe resolution of the WEEE question will be a decisive turning point in efforts to improve our community’s livability. It’s clear that Eugene is at a watershed moment. Many of us feel we can no longer sit idly by.

AIA-Southwestern Oregon president Paul Dustrud, AIA, recently expressed his support for the West Eugene EmX Extension in a letter to the Register-Guard editor’s mailbag:

EmX line would help west Eugene
The recent news of a potential U.S. Department of Veterans Affairs hospital with an option for a site in west Eugene brings a little hope.

The Willow Creek area has for years been a planned location for bio-tech, high-tech and clean industry. Along that line of thinking, a modern, efficient transportation system to service the area would be far superior to the notion of more gas-guzzling, pollution-spewing buses.

The opposition to Lane Transit District’s west Eugene EmX extension is odd. It seems to come from a very small but vocal minority who presume to speak for the rest of Eugene.

They appear to oppose growth, which would actually benefit them. There is no logic to their position — but hey, I live here, too.

As a citizen of Eugene I would like to see more jobs in Eugene. I would welcome almost any mechanism that would entice some new businesses to locate in west Eugene, especially if it meant people could get there and back each day with minimal time and trouble.

All the EmX projects built so far have improved the traffic corridors they serve; therefore, the effort to keep West 11th Avenue a clogged, aesthetically challenged gantlet seems medieval.

Paul Dustrud

Paul spoke on behalf of himself, not AIA-SWO, doing so in his characteristically plain-spoken way. As he concisely argued, Eugene’s continued growth and economic vitality will in part rely upon mitigation of worsening traffic congestion.(2)

Eric Gunderson, AIA also sees the economic benefit of adding the west Eugene EmX extension:

"Development thrives on transit. Property values are higher, restaurant seats fuller and rentals are occupied when near bus and train routes. Transit serves the corner grocery store, the café and the school. If we value vibrant neighborhoods, then EmX is a worthy investment."

Eric is a principal with PIVOT Architecture, which stands to directly benefit from the ongoing expansion of EmX.(3) Nevertheless, his assertion that an investment in rapid transit spurs development rings true. Transit advocates cite examples in many other cities of desirable outcomes nurtured by a public investment in light rail or BRT. It will only be a matter of time before Eugene/Springfield experiences a similar effect.

For the record, I too support Lane Transit District’s goal of a comprehensive bus rapid transit system within its service area. The WEEE is a necessary part of this system and essential to its expansion into the metro region’s main transportation arteries. Each new segment incrementally raises the effectiveness of the entire network.

Transit "cred:" my LTD annual pass

The Brazilian city of Curitba provided the blueprint for bus rapid transit systems worldwide. Like EmX, Curitiba’s pioneering BRT offers many of the same benefits as light rail at a fraction of the cost. It is made up of sections of dedicated bus lanes for most of the route, with normal roads in between. The vehicles are given signal priority via ground-loop signaling to the traffic control system, with special traffic signals at intersections. LTD ultimately hopes to emulate Curitba’s success and build numerous extensions to EmX in the years to come. The WEEE is a logical next step and the funding is all but assured.

The reasons to support investment in mass public transit are well-documented but are worth repeating here:

Public transportation provides personal mobility and freedom for people from every walk of life.
Access to public transportation gives people transportation options to get to work, go to school, visit friends, or go to a doctor’s office.
Public transportation provides access to job opportunities for millions of Americans.
The average household spends 18 cents of every dollar on transportation, and 94% of this goes to buying, maintaining, and operating cars, the largest expenditure after housing.
Public transportation provides an affordable, and for many, necessary, alternative to driving.
Households that are likely to use public transportation on a given day save more than $10,000 every year.
A single commuter switching his or her commute to public transportation can reduce a household’s carbon emissions by 10%, or up to 30% if he or she eliminates a second car. When compared to other household actions that limit CO, taking public transportation can be 10 times greater in reducing this harmful greenhouse gas.

Source: American Public Transit Association

LTD’s creation of a comprehensive EmX system is also central to the Eugene and Springfield city governments’ broader strategy of managing future growth and fostering transit-oriented development (TOD). The hoped-for results are decreased vehicle miles traveled, greater use of public transit, improved environmental quality, reduced sprawl, preserved open space, and development of mixed-use nodes where people live, work, shop, and play.

"No Build" sign in front of a West 11th Avenue business (photo from the website Our Money Our Transit)

A “No Build” movement to kill the West Eugene EmX Extension project emerged once it was clear that LTD intended to develop it as the system’s next segment. Initially, the resistance to the project was founded upon understandable fears about destructive impacts to businesses along the route. These include disruptions during construction and permanently dedicating parts of the roadway and adjoining private property to the EmX right-of-way. The concerns about adverse effects upon businesses remain; however, they have been co-opted by Tea Party acolytes, who regard the No Build campaign as part of their greater anti-government and property rights crusade. The WEEE is a convenient rallying point for those already predisposed to distrust of central planning in any form.

The No Build supporters can recite a litany of grievances. These include the aforementioned adverse impacts upon affected property owners. Others are that the earmarked federal funds should be dedicated to more worthy projects, greater numbers of conventional buses are less expensive to operate, and increased reliance upon EmX will result in cuts to existing system routes. Eugene Weekly reporter Alan Pittman fact-checked these negative claims in a feature article last November. The bottom line is that the validity of several assertions by the No Build campaign is open to question.(4)

WEEE alternatives; the 6th & 7th Avenue alignment (left) is the plan that will move forward (source: LTD)

A true BRT system is most efficient using dedicated lanes throughout. In its attempt to mitigate the project’s impacts and mollify its critics, LTD is proposing an ad-hoc arrangement of dedicated and mixed-traffic lanes. My fear is that LTD will be unable to construct a truly effective WEEE route in the face of determined opposition by the No Build campaign. If that is the outcome, nobody will have “won.” Ultimately, it all boils down to whether LTD can overcome the stridency of the NIMBY and No Build factions and secure the popular and political support necessary to ensure the success of the project.

I want to see a perfect EmX system, one that is wildly successful, with fast and frequent service throughout the metro area. A 21st century transit network would greatly enhance the prospects for achieving the utopian vision of compact, less car-reliant, sustainable cities. It’s easy for me to wish for an unencumbered WEEE—I don’t operate a business along one of the impacted corridors. I want our community to share this vision but I’m not so naive to think that all of us are alike or confront the same problems. Life just isn’t that simple.

What comes simply is the decision to be proactive. I need to step out of my comfort realm and become an advocate. I can throw my support behind the West Eugene EmX Extension project. If you are like-minded, I encourage you to do the same. Let’s not look back twenty years from now and lament missing an opportunity to demonstrate much-needed leadership.

(1) I did attend one of the public hearings regarding the project last winter to register my support for the west Eugene extension.

(2) Paul’s letter to the R-G prompted this blog post.

(3) PIVOT designed the majority of the stations along the first two legs of EmX.

(4) I am not a huge fan of Alan Pittman’s reporting. I believe he’s betrayed a tendency to confabulate and twist facts in the service of his personal agenda. In this instance though it’s difficult to imagine he has misrepresented LTD’s response to the No Build claims.

#Twitter

2011-10-01T10:16:00.000-07:00

I find Web-based social networking appealing because of its ability to connect me with others who share interests similar to my own. I want to broaden and enrich those connections, so it makes sense to ramp up my online presence.

Beyond Facebook and LinkedIn (I have accounts with these services with post feeds to both) the next logical step is joining the Twitterverse. Leah Archual, social strategist for My Green Palette, encouraged me to sign up for a Twitter account. Why? Leah believes tweeting will drive readers to my blog (and to My Green Palette) as I develop different kinds of content in different Web formats. According to Leah, Twitter will broaden my reach by engaging a format that is increasingly popular and easy to use.

Despite Leah’s enthusiasm, I think it’s going to take me a while to find my voice on Twitter. I tend to be very careful and deliberate when I write. Tidbits and quips of 140 characters or less don’t come easily to me. The fierce urgency of now(1) operates at a different pace in my blogosphere. Twitter’s immediacy—real-time updates and instantaneous communication—isn’t essential to the delivery of my blog posts.

On the other hand, I’ll be able to offer more timely news via Twitter to readers of SW Oregon Architect than I might have otherwise. For example, I can announce events of shared interest as soon as I am aware of them (Flash mob of #architects now at #Kesey Plaza!). My blog was never the best vehicle for delivering news bulletins.

The bottom line is I want to figure how best to use Twitter in a way that complements and enhances my blogging experience. I expect discovering how to do so will be thoroughly enjoyable.

I’ve added the Twitter “badge” to SW Oregon Architect in the right sidebar between Labels and My Blog List. Follow me on Twitter @sworegonarch.

(1) I hope my use of Dr. Martin Luther King’s famous words do not come across as disrespectful to the spirit of his 1967 sermon Beyond Vietnam: A Time to Break Silence.

September AIA-SWO Chapter Meeting Recap

2011-09-25T09:16:00.000-07:00

J.F. Alberson and Scott Clarke at the September AIA-SWO chapter meeting (my photo)

The September AIA-Southwestern Oregon chapter meeting celebrated the value of design in our community by honoring the recipients of the 22nd Annual People’s Choice Awards. Hosted once again by Kaz Oveissi at his OPUS VII gallery in downtown Eugene, the well-attended gala showcased all of the projects submitted for the 2011 People’s Choice program.

The People’s Choice Awards is a public outreach effort conducted jointly by AIA-SWO and ASLA Oregon-Willamette Valley Section as part of the annual Eugene Celebration (which took place this past August 26-28). The purpose is to present the recent work of architects and landscape architects, and to encourage the public to critically engage the built environment. The emphasis is not on winning but on sharing and honoring all the work undertaken to make buildings and landscapes important and meaningful in our daily lives.

All of the 2011 entrants were on display for the meeting (my photo)

The “Colleague’s Choice” vote is an ancillary program to the People’s Choice Awards and meant to be a fun way for our AIA-SWO and ASLA members to weigh in on the question of which of their peers’ projects are most worthy of recognition.

For the second year in a row, Eugene mayor Kitty Piercy presented her “Mayor’s Choice” awards. An enthusiastic public advocate for design excellence, sustainability, and smart growth, Kitty is a great friend of the local design community.

Eugene mayor Kitty Piercy (my photo)

Each of the 2011 award recipients is listed below. The “PC” designation indicates a People’s Choice award. “CC” indicates a Colleagues’ Choice winner, and “MC” is a Mayor’s Choice.(1)

RESIDENTIAL DESIGN

2fORM: Dillard Landing - PC + CC

Dillard Landing - 2FORM Architecture (photo by Jeff Amram)

Chuck Bailey Architect: Done in the Sun - MC

Done in the Sun - Chuck Bailey Architect

COMMERCIAL DESIGN

2fORM: Evergreen Family Medicine - PC + CC + MC

Evergreen Family Medicine - 2FORM Architecture

PUBLIC/INSTITUTIONAL DESIGN

PIVOT: EmX Gateway Extension - PC

EmX Gateway Extension - PIVOT Architecture

PIVOT: EWEB Roosevelt Operations Center - CC

EWEB Operations Center - PIVOT Architecture

PIVOT: Eugene Aircraft Rescue & Firefighting - MC

Eugene Aircraft Rescue & Firefighting Facility - PIVOT Architecture

RESIDENTIAL LANDSCAPE ARCHITECTURE

Stangeland & Associates: An Oasis Reclaimed - PC + CC + MC

An Oasis Reclaimed - Stangeland & Associates, Inc.

COMMERCIAL LANDSCAPE ARCHITECTURE

Dougherty Landscape Architecture: Roosevelt Crossing - PC + MC

Roosevelt Crossing - Dougherty Landscape Architecture

Dougherty Landscape Architecture: Oregon Coast Community College - CC

Oregon Coast Community College - Dougherty Landscape Architecture

INTERIOR DESIGN

Robertson/Sherwood/Architects: Fenton Hall - PC + CC

Fenton Hall - Robertson/Sherwood/Architects PC

2fORM: Kitchen Karma - MC

Kitchen Karma - 2FORM Architecture (photo by Jeff Amram)

MULTI-FAMILY HOUSING DESIGN

2fORM: Solstice Student Housing - PC + CC

The Solstice - 2FORM Architecture (photo by Jeff Amram)

Bergsund Delaney Architects: Lamb Building - MC

Lamb Building - Bergsund Delaney Architecture & Planning PC

Congratulations to all of the 2011 winners!

The success of this year’s program is due in no small part to the efforts of its organizing committee. Thanks to the following individuals for making the 22nd Annual People’s Choice Awards the best yet:

Richard Shugar
Paul Dustrud
Kurt Albrecht
Alison Moore
Nicole Ankeney
Matt Koehler
Don Kahle

Model of Eagle Rock Retreat by 2FORM Architecture, part of an adjunct display at OPUS VII (my photo)

Thanks too to Kaz Oveissi for making his splendid gallery space available for the AIA-SWO September meeting.(2) In addition to OPUS VII, Kaz operates Oveissi & Co. (each year the site of the People’s Choice exhibit during the Eugene Celebration) and Perugino (a coffee shop nonpareil). Kaz envisions OPUS VII as a means to introduce the community to the creative world, a social and artistic platform whose purpose is to recognize, reward, and showcase mastery in art, architecture, and design. The People’s Choice Awards is a perfect fit for OPUS VII; this year’s entrants will remain on display through mid-October.

(1) I failed to take note of all of the photographers responsible for the images of the winning projects; for this, I apologize. I'll add their names to this post as soon as possible.

(2) In addition to the display of People's Choice entrants, OPUS VII is currently displaying models of projects by 2FORM Architecture and Rowell Brokaw Architects. Rowell Brokaw also curated an exhibit of photographs at OPUS VII entitled "The City" that documents how surprisingly dymanic Eugene's cityscape has been in its relatively short history.

Commercial "Passive House" Buildings in Europe

2011-09-17T08:30:00.000-07:00

Diagram by the Passivhaus Institut via Wikipedia

The next educational event hosted by the Eugene Branch of the Cascadia Green Building Council is a presentation by Peter Reppe of SOLARC Architecture & Engineering. Peter will talk about architectural and engineering design solutions that are used on European commercial buildings built to the stringent Passive House standard.

Peter’s presentation will provide a glimpse into the future of net-zero commercial buildings in this country, as an increasing number of techniques used in European examples have started to infiltrate the American high-performance buildings market.

Peter has a bachelor's degree in mechanical engineering from Germany and a master's degree in environmental policy from the University of Michigan. He has over 15 years of professional experience in energy efficiency and green building, including environmental life cycle assessment, embodied energy, and LEED certification. While at SOLARC, Peter has focused on energy design support for high-performance commercial buildings, including energy modeling and facilitation of design charettes. He is a certified Passive House consultant.

I have the good fortune to currently be working with Peter on two projects, the Lane Community College Downtown Campus in Eugene, and a new Community Living Center for memory-care patients at the Veterans Affairs Medical Center in Roseburg. In both instances, Peter and SOLARC are providing energy modeling services, which are critical to ensuring that the designs will meet our targets for energy efficiency.

Here are the details for Peter’s presentation:

What: Techniques, Systems and Experiences with Commercial "Passive House" Buildings in Europe

When: Tuesday, September 20, 2011; 12:00 PM – 1:00 PM

Where: Tykeson Room, Eugene Public Library (main branch), 100 West 10th Avenue, Eugene, OR

Cost: Free

Learning Units: You can self report your attendance at this presentation for GBCI Credential Maintenance (one CE hour) or one (1) AIA CEU. Find information about self-reporting on Cascadia's website.

RSVP: Please call Jenna Garmon at (541) 682-5541 or email her at eugene@cascadiagbc.org to RSVP.

Feel free to bring your lunch. Please bike, walk, carpool or take a bus.

About Cascadia: Cascadia promotes the design, construction and operation of buildings in Alaska, British Columbia, Washington and Oregon that are environmentally responsible, profitable and healthy places to live, work and learn. The Eugene Branch of Cascadia generates momentum towards a sustainable built environment by facilitating education and connections and celebrating our community. The chapter hosts monthly lunchtime presentations and tours and quarterly evening events on the latest green building topics.

9/11

2011-09-11T09:17:00.000-07:00

World Trade Center (image via Wikipedia)

It’s a testament to the power of symbolism that the twin towers of the World Trade Center were and in their absence remain synonymous with power, hubris, terror, and loss. The late Minoru Yamasaki, architect of the WTC, said “world trade means world peace” and that the complex should be a “living symbol of global harmony.” On September 11, 2001, radical jihadists instead regarded it as a symbol of American evil and arrogance. The painful irony of Yamasaki’s words haunted us in the immediate aftermath of the terrorists’ attacks.

The new World Trade Center (image via Wikipedia)

Today, 9/11 is a testament to the resilience of the human spirit. New Yorkers are rebuilding Ground Zero as a gleaming paean to optimism. Collectively, the new architecture there will stand for an entire nation’s response to the events of that fateful September morning. The power of symbolism is great; in this instance, let’s hope the architecture ultimately symbolizes our ability to move on. It’s important to remember what happened ten years ago (no one will forget) but also to awaken to a world that has irrevocably changed since then.

The Art of Sustainable Living

2011-09-08T22:42:00.000-07:00

Mark your calendars! The third annual BRING Home and Garden Tour: The Art of Sustainable Living takes place on Sunday, September 18 from 10 AM to 4 PM.

Participate in the BRING Home and Garden Tour and be inspired. Rethink your use of resources and help reduce our community’s collective carbon footprint. Learn about the benefits of smaller homes and secondary dwelling units, designed for compact urban living.

THE SELF-GUIDED TOUR OF 14 HOMES AND GARDENS INCLUDES:

Leading-edge construction techniques as well as low-cost, do-it-yourself remodels
Passive and active solar applications
Energy conservation
Creative reuse of materials
Organic gardens, edible and medicinal landscaping
Rainwater catchment systems and water wise landscaping
A cob greenhouse and oven
Honeybees, and everyone’s favorite – chickens

Sites are clustered in Eugene neighborhoods for easy bike and bus travel. Ride the bus for FREE. Show your ticket or Tour Guide when you board any Lane Ttransit District bus on the day of the tour.

The City of Eugene and EWEB are co-hosts for this year’s tour.

Volunteer for a 3-½ hour block of time or more (morning/afternoon) on tour day and receive a FREE ticket for the BRING Home and Garden Tour!

For more information, please contact Renee Benoit at reneeb@bringrecyling.org.

Timberline Lodge

2011-09-05T21:40:00.000-07:00

Timberline Lodge (all photos by me unless noted otherwise)

A few months ago I listed Timberline Lodge as one of my ten favorite buildings in Oregon, despite not having visited the landmark. Such is the power of its mystique, majestic setting, and history that I could not leave it off my list. Not unlike the revelation during my childhood that was Frank Lloyd Wright’s Fallingwater, the resort on Mount Hood immediately commanded my attention the very first time I saw its images in print. I instinctively knew Timberline Lodge was a special place.

My wife and I finally vacationed at Timberline this past August, staying three days and two nights to soak in the ambiance, breathe the mountain air, and set aside our workaday cares. We occupied one of the private queen-bed rooms on the third floor, enjoying expansive south-facing views. Mt. Jefferson (40 miles to the south) prominently occupied the vista during the day, while the eerie glow from massive wildfires on the Warm Springs Reservation colored the night sky. Above the tree line, colorful mountain wildflowers complemented the silvery gray of the lodge’s exterior and the alpine terrain. We had plenty of time to explore the hotel and its environs, making side trips to scenic Trillium Lake, Government Camp, and Little Zigzag Falls.

Timberline Lodge, view from south

Timberline Lodge is owned by the U.S. Forest Service. A common misconception is that it is owned by the National Park Service, and is a National Park Lodge; it is not. The facility is leased from the Forest Service and operated by the family-owned R.L.K. & Company, a corporation devoted to its preservation.(1)

Many of you probably have some familiarity with the lodge’s history. It was constructed during the depths of the Great Depression as a Works Progress Administration (WPA) venture. The project employed up to 470 workers on site during the peak of construction, many of them older, highly skilled craftsmen. Remarkably for a building renowned for its hand-hewn rusticity, extraordinary art, and custom furnishings, the total elapsed time between groundbreaking and its dedication by President Franklin D. Roosevelt on September 28, 1937 amounted to a mere 15 months.(2)

You may not be as acquainted with Timberline’s architects. During the 1920s, Pietro Belluschi and a precocious John Yeon submitted separate proposals for expanding the privately owned Cloud Cap Inn on Mount Hood’s north side. Eventually, it became clear there was a greater need for overnight facilities on the mountain’s south flank. Yeon would subsequently develop a scheme for Timberline, which formed the basis of a 1935 U.S. Forest Service proposal to the WPA. The WPA turned down this application because material costs were higher than allowed. The Forest Service subsequently retained Gilbert Stanley Underwood as its architect. Underwood built his reputation upon designs for several National Park Service lodges, including Zion Lodge, Bryce Canyon Lodge, Grand Canyon North Rim Lodge, and the Ahwahnee Hotel in Yosemite. His design for Timberline Lodge was executed by Forest Service architects Tim Turner, Linn Forrest, Howard Gifford, and Dean Wright.(3)

Underwood apprenticed with Arts & Crafts masters in California before establishing his own practice. Historians use words like “rustic” to characterize his lodge designs, although Timberline’s promoters avoided that term in favor of “Cascadian.” Native wood and stone, exaggerated scale, and “unsophisticated” decorative motifs were common themes.

The architects’ primary goal was not to detract from the natural beauty of Timberline’s site, nestled at the 6,000 foot level of Mount Hood. Their intent was to blend the design with the mountain surroundings.

Timberline Lodge, upslope view; purple lupine wildflowers are in bloom

The 3-story, 70-room hotel is grand and imposing (especially when viewed immediately from below) and at the same time deferential to the magnificence of Mount Hood’s looming peak. Asymmetrical wings radiate from the “headhouse,” whose conical shape echoes the mountain’s profile. Native flagstone, Douglas fir board-and-batten siding, and cedar roof shakes clad the exterior. The roofs slope steeply to shed the heavy winter snows.

Interior view of headhouse roof framing; note the hexagonal light fixture

Hexagonal in plan, the headhouse accommodates the main lobby, Timberline’s most impressive interior space. The room soars to the peak of the roof, centered on an enormous stone fireplace. Massive hand-adzed wood beams and columns ably shoulder the burden of heavy winter snowfalls. My wife and I could only imagine how the embrace of blazing hearths and the warmth of the pine, fir, oak, and hemlock accoutrements provide welcome refuge for the lodge’s winter visitors.

Carved owl newel post

Intricately hand-carved wood details and stout furniture with pioneer, Native American, and wildlife motifs abound throughout. The traditional handiwork of blacksmiths is equally prominent, featured in wrought-iron furniture and fixtures. In addition to the functional works of art, the WPA Federal Art Project commissioned numerous artists and artisans to create murals, lithographs, oil paintings, tapestries, marquetry, and watercolors. My favorites include Douglas Lynch’s linoleum murals in the Barlow Room, Howard Sewell’s oil-on-canvas homage to the wood and metal workers who built Timberline, and the wildflower watercolors by Dora Erikson that adorned our room. The creative skill of the artists and artisans is an integral part of a very significant whole.

"Metal Workers" by Howard Sewell

I found the interior spaces, particularly the lower lobby, too dark relative to the brightness outdoors. It took some time for my eyes (and my Transitions® lenses) to adjust to the severe contrast. However, this is a minor quibble. If nothing else, the chiaroscuro of light and shade renders the volumes and forms in dramatic fashion. Textures are exaggerated; the materiality of wood, stone, and fabrics accentuated.

Timberline captures the spirit of the trying times during which it was built. It is an enthralling mountain destination, elegant in its rusticity. There’s something almost primal about its architecture and embellishments. I cannot imagine Central Casting serving up a more quintessential aesthetic for a Cascades ski lodge.

Here's Johnny!!!! (studio screenshot from The Shining)

The building’s archetypal features and dramatic, isolated setting fulfilled director Stanley Kubrick’s vision of the fictional Overlook Hotel in his 1980 film adaptation of Stephen King’s novel The Shining.(4) Kubrick endowed Timberline with (in the words of one critic) "a menacing grandeur," making it seem as if the building was alive. Today, that starring role is part of the hotel’s lore.

The U.S. Department of the Interior designated the lodge a National Historic Landmark in 1977, declaring it the finest example of WPA “mountain architecture.” It has become as much a museum as it is a working resort.

Main Lobby

Our visit to Timberline did nothing to temper or invalidate my substantial expectations about its design. In the minds of many, including my own, it is synonymous with Mount Hood, the Cascades, and even Oregon. Its identity is inseparable from the place of which it is a part. Timberline achieves what good architecture ought to, which is to engage our senses at every turn, shape our perceptions, and heighten our awareness of the world around it. In addition, the lodge lives as an inspiring and enriching monument to the workers who built the structure and crafted its many fine details.

I look forward to visiting Timberline Lodge again someday.

(1) Short of amenities when it first opened, mismanaged, and closed completely during the Second World War, Timberline was seldom profitable. By 1955, the Forest Service sought a new operator to rescue the resort. Richard L. Kohnstamm took the helm, restored the building, added new facilities, returned it to profitability, and eventually founded the nonprofit Friends of Timberline.

(2) The WPA was often derided during the Depression as “Workers Puttering Around” because there was an inherent disincentive to completing projects in a timely fashion. After all, the more time it took to complete a job, the longer it meant you would have one. Timberline proved an exception to the rule, as employees worked quickly to avoid the heavy snowfalls and their impact upon construction activities.

(3) As a souvenir of our visit, I purchased a wonderful book about the history, art, and craft of Timberline Lodge authored by Sarah Baker Munro. Her book is the source of some of my information about Timberline’s genesis.

(4) Stephen King was never a fan of Kubrick’s use of Timberline as a stand-in for his fictional Overlook Hotel. King’s true-life inspiration was the Stanley Hotel in Estes, Colorado, which would be the setting for a 1997 made-for-TV remake of the movie.

East Campus Residence Hall

2011-09-04T08:23:00.000-07:00

East Campus Residence Hall, University of Oregon (all photos by me)

The new East Campus Residence Hall (ECRH) at the University of Oregon is well on the way to opening its doors one year from now. The facility will be only the second new residence hall built on campus since 1963.(1) It is part of the university’s plan to significantly upgrade the overall quality of UO residence halls to attract more high-achieving students and help meet the UO’s goal of increasing full-time enrollment from 22,400 to 24,000.

I recently toured the construction site with fellow members of the Willamette Valley Chapter of the Construction Specifications Institute as part of the group’s August meeting.(2) Brad Black, Capital Projects Manager for University Housing, was our guide. He provided us with a comprehensive overview of the project and its unique features. The basic specifications are as follows:

Location: The block bordered by 15th Avenue, Moss Street, Agate Street, and 17th Avenue; east of the Museum of Natural and Cultural History, and across 15th Avenue from the Bean Residence complex

Design: Three residential towers rising four floors each above a shared first-floor plate consisting of dining facilities, classrooms, and other common areas

Resident Students: 454 undergraduates, to be housed in a mix of unit types (including singles with private bathrooms, doubles with private or shared “Jack & Jill” bathrooms, and suites comprised of three double rooms sharing a bathroom)

Square footage: 185,000 square feet

Architect: Zimmer Gunsul Frasca Architects (ZGF)

Contractor: Hoffman Construction

Cost: $71.5 million

Rendering of the ECRH by Zimmer Gunsul Frasca, Architects

Typical of a nationwide trend toward enhancing students’ on-campus experience, the ECRH will integrate academics and residential life. In addition to accommodating classrooms in the complex, the ECRH will be home to a full-time, on-site librarian to assist students with research in the afternoon and evening. It will also literally house a resident faculty scholar, who will direct the hall’s academic programs and provide curriculum leadership. Unique to the ECRH, the university will offer projects and programs for students enrolled in the Robert D. Clark Honors College and for foreign language majors seeking a language immersion experience (with anchor programs in Spanish and Mandarin).

View from scaffolding overlooking the roof of the 1st floor commons level below; four floors of housing rise above in three blocks

As expected, the ECRH will feature state-of-the-art wireless data access, multimedia presentation rooms, and a variety of dining options including an espresso bar and a “grab & go” outlet.

Interior of one of the top floor double rooms; note the dormer at right

Significantly though, the project breaks no new architectural ground. ZGF and its team developed a relatively pedestrian design, not unlike its earlier Living-Learning Center located in the heart of the UO campus. Despite its technical advancements (including significant energy saving strategies, which the university hopes will help garner the project LEED Gold certification) and market-savvy amenities, the ECRH simply doesn’t aspire to radically recast the mold for on-campus residence halls.

The architectural vocabulary is a stripped down, contemporary interpretation of the “Georgian Colonial” style prescribed by Ellis F. Lawrence (UO Campus Architect from 1914 to 1946) for buildings outside of the main campus quadrangle. The ECRH inherits its DNA from Lawrence’s precedents; like Hendricks, Susan Campbell, and Straub halls before it, the new building features narrow wings, pitched roofs, punched windows, and a brick wrapper. Despite its large size, the ECRH’s bulk isn’t overwhelming.

BIM technology facilitated coordination of different building systems

The resulting installation

During the tour, Brad emphasized the importance of Building Information Modeling (BIM) to the project. The ECRH is large, complex, and expensive. BIM is increasingly central to the success of significant developments like the ECRH. One of the core strengths of BIM is the integration of computer modeling into project coordination. This is most clearly evident when disparate design disciplines and trades utilize BIM to perform clash detection. However, BIM’s true value may lie in its utility as a reliable basis for integrated decision making during the design phase.(3)

Beyond the ECRH, the University of Oregon intends to further upgrade and augment its stock of on-campus housing. Upcoming projects will replace some of the most deficient of the old dormitory complexes. I’m eager to see how the residence hall paradigm at the UO will continue to evolve.

(1) The other newer residence hall is the Living-Learning Center, completed in 2006. ZGF designed the Living-Learning center.

(2) I’ve been a member of the Construction Specifications Institute since 1988. CSI offers the opportunity to network in a collegial setting with professionals representing all sectors of the construction industry: property owners, developers, contractors, engineers, specification writers, building products manufacturers—the whole gamut. The organization’s name is misleading; it’s about so much more than just construction specifications.

(3) My experience with Revit points to another benefit of BIM: the software’s capability to define parameters and relationships between objects within the information model such that if one changes, related objects also change. By ensuring that different views are automatically consistent, errors are greatly reduced.

Ten Principles for Design Excellence

2011-08-27T14:42:00.000-07:00

The 2011 AIA-Southwestern Oregon People's Choice Awards display (photo by me)

Unless you’ve been living under a rock, you’re probably aware that the 2011 edition of the Eugene Celebration is underway this weekend. This marks the 22nd year that the American Institute of Architects – Southwestern Oregon Chapter has presented its People’s Choice Awards as part of Eugene's supersized block party. AIA-SWO is proud once again to showcase the work of local architects, landscape architects, and related design professionals.

As always, the program shines a spotlight on design excellence and demonstrates how architects enhance and add value to our built environment. If you haven’t already checked out this year’s display, hurry now to the Oveissi & Co. showroom at Broadway & Willamette in downtown Eugene and cast your votes!

As long as we’re on the topic of design excellence, this year’s People’s Choice exhibit provided AIA-SWO's Design Excellence Committee the opportunity to roll out its Ten Principles for Design Excellence. The list is the foundation of the Design Excellence Committee’s efforts to raise public appreciation of the importance of good design. The committee (led by 2010 AIA-SWO president Michael Fifield) envisions municipalities, developers, builders, community groups—the entire spectrum of those who influence and shape our built environment—embracing and applying the ten principles in their work.

The Ten Principles for Design Excellence are:

1. START WITH THE ESSENCE - The purpose of the project is clearly defined with a thorough understanding of the essence and/or uniqueness of the project.

2. MEET THE UNIQUE NEEDS - Design intentions to address the uniqueness of the project are stated in a clear and concise manner and are intended to meet the needs of the client and building users.

3. SYNTHESIZE YOUR SOLUTIONS - Design solutions are translated appropriately and integrate building components/elements in a synthesized and comprehensive manner and not simply as a checklist of issues.

4. THINK BEYOND BORDERS - The design recognizes not only immediate site conditions, but also the context, both physical and social/cultural, now and in the future.

5. COUNT COSTS, CREATE COMMUNITY - The design is sustainable, both in terms of all energy-related issues, but also sustainability issues associated with community. It considers life-cycle costs of energy use, maintenance, and the embodied energy of materials and labor.

6. RESPOND TO NATURE - The design responds to natural conditions of sunlight, wind, noise, soils and slope, existing vegetation, animal and bird habitats, views, drainage and disposal of stormwater and sanitary sewage, site access, etc.

7. MULTIPLY ACCESS MODES - The design encourages and promotes alternative modes of transportation (e.g., bike, public transportation, walkability).

8. PLAN FOR THE FUTURE - The design considers issues of expansion, flexibility, change in use, alterations, deconstruction considerations and modernization.

9. KEEP YOUR PROMISES - The design has a well-considered budget and schedule.

10. ADD BEAUTY - The design is attractive in its overall appearance, and is considered a positive addition to the community, now and into the future.

The People's Choice display, hosted by Oveissi & Co. (photo by me)

By visiting the 2011 People’s Choice display you will not only view outstanding work produced by local architects and landscape architects but also receive a ready-made design toolkit. Take the Ten Principles for Design Excellence to heart. Apply them in your work and contribute to the betterment of our buildings, places, and communities.

August AIA-SWO Chapter Meeting Recap

2011-08-21T22:32:00.000-07:00

Broadway Commerce Center (photo by me)

For a variety of reasons, I’ve missed the past few AIA-SWO chapter meetings. However, skipping the August meeting wasn’t an option. Half of last Wednesday’s program was devoted to my presentation comparing and contrasting the Eugene Public Library and Lane Community College Downtown Campus projects. The other half was a tour of PIVOT Architecture ’s future home in a revitalized Centre Court Building, now rechristened the Broadway Commerce Center.

Downtown Renaissance
The thread that loosely bound the two parts of the August AIA-SWO program together is the welcome burst of development in downtown Eugene. 2011 may prove to be a watershed year for the core of Oregon’s second largest city. Despite the economic recession, more construction on impactful projects is underway at one time than ever before. The development activity is a testament to the faith and capital invested by many today in the promise of a vibrant downtown Eugene tomorrow.

In addition to the LCC Downtown Campus and the Broadway Commerce Center, several other prominent projects will contribute to remaking the heart of the city.

Inn at the Fifth (photo by me)

I previously wrote a post about The Inn at the Fifth on the occasion of the unfurling of its imaginative “virtual façade” last fall. The shroud is no longer required to visualize the new 68-room boutique hotel designed by Eugene’s own TBG Architects & Planners. Completion of the $11.7 million project is projected for October of this year.

Bennett Management Company's new building rising from the Woolworth pit (photo by me)

Rendering by Ankrom Moisan Associated Architects

The Bennett Management Company is filling one of downtown’s notorious “pits”(1) on the site of the former Woolworth Department Store. Quickly rising is a 5-story, $10.8 million commercial building designed by Portland’s Ankrom Moisan Associated Architects that will include 50,000 square feet of Class “A” offices on its upper levels, plus retail space and access to underground parking on the ground floor.

Broadway Lofts - Master Capital Management (rendering by Rowell Brokaw Architects)

Steve Master is another developer with plans for downtown. He recently announced his purchase of the empty office building at 858 Pearl Street (formerly occupied by the City of Eugene’s Public Works Department). He intends to fill the vacant structure with up to twenty apartments, which will add to the mix of uses downtown. Master also bought the former Taco Time building at the northwest corner of the intersection of Broadway and Willamette Street. He proposes to completely remake the shuttered facility as a mixed-use retail/residential development named Broadway Lofts.

Comparisons & Contrasts
I’m very fortunate to have been involved with two of downtown’s most significant projects: the main branch of the Eugene Public Library and the Lane Community College Downtown Campus (DTC). In both instances, my role was/is that of design team project manager. In that capacity, it was/is my responsibility to help coordinate the efforts of the numerous members of the architect and consultant teams, while also serving as a primary conduit for communications with the owners and general contractors. To simply say that the two projects have been important to my development as an architect would be a gross understatement.

Bird's eye perspective of the Lane Community College Downtown Campus looking northwest (Eugene Public Library is at left in image)

It is hard to believe that it was thirteen years ago that my firm, Robertson/Sherwood/Architects, started working on the Library.(2) The architectural profession has advanced in significant ways since then. We’ve transitioned from 2-D CAD to the parametric 3-D world of Building Information Modeling (BIM). Sustainability is no longer simply a fashionable buzzword; instead, it is ingrained in everything we do. The range of concerns we’re expected to address is broader than ever before.

The more things change, however, the more they also stay the same. The application of sound urban design principles is a timeless prerequisite. In the case of the Library and the LCC DTC, this requirement is heightened by the fact that both are prominent, publicly-funded projects of comparable size and importance to downtown Eugene. Remarkably (to me at least), they’re also situated directly across the street from one another. Many regard both as essential to urban revitalization efforts. It’s inevitable that people want to compare and contrast the two projects.

Aerial view of Lane Community College Downtown Campus under construction (photo courtesy of Lease Crutcher Lewis, LLC)

I’m not going to go into great detail about the features of the new LCC Downtown Campus because I’ve described them before here and here. On the other hand, I’ve yet to draw specific attention to how much bearing the fast-tracked, accelerated process has had upon the project’s development.

The total elapsed time from start of design through construction to occupancy of the DTC will literally be half that of the Library. Is there a lesson buried in this fact? Yes. I truly believe that we are pushing the practical boundaries of how quickly human beings can deliver a large, complex project. Compressing the LCC DTC time-frame even more would undoubtedly result in unacceptable costs or compromises for the college. I cannot yet imagine future technological advancements in our profession that would enable us to further hasten the design and construction process.

Hole-ly Rollers
With its choice of the Broadway Commerce Center as the home of its future office space, PIVOT Architecture is once again demonstrating its commitment to downtown Eugene. The shell and core of the old building, designed by prominent Portland architect A.E. Doyle in 1927, is presently being renovated by John Hyland Construction following plans prepared by Ankrom Moisan Associated Architects for Beam Development. PIVOT’s team for the design of its office space includes firm principal Toby Barwood, AIA; associate Scott Clarke, AIA; interior designers Theresa Maurer and Liza Lewellen; and intern Scott Bishop. PIVOT hopes to move into its new digs by October of this year.

Toby Barwood, AIA (center) and Scott Clarke, AIA (right) lead the tour of PIVOT Architecture's future office (photo by me)

According to Toby, the generative design parti is the contrast between the building’s old shell and a sculptural new insertion at the core of the 8,500 s.f. plan. Of equal import to the parti is PIVOT’s culture: the firm places a high premium upon collaboration, flexibility, and communication. I found it noteworthy that workstation assignments will be fluid; teams for significant projects will physically be grouped together to optimize group dynamics and later dissolved as staff are reassigned to other projects and corners of the office. The absence in the open plan of enclosed principals’ offices is also revealing: PIVOT is giving literal form to its egalitarian organizational structure.

PIVOT has exposed the original columns and floor structure as part of its renovation (photo by me)

Toby said his team struggled with the development of the core element (which will house enclosed meeting rooms, copy rooms, and the office’s entry lobby). What kind of material would best distinguish it from the historic encompassing shell? Ultimately, the team decided the cladding it would select for the core wasn’t critical. Instead, the answer would lie in the imaginative manipulation of a prosaic material: digital design and fabrication would be the way forward.

PIVOT is employing computer numerical control (CNC) milling to emboss a greatly enlarged and rasterized image of a 1982 pen and ink hand sketch by Eric Gunderson onto the cladding. Eric’s skilful sketch depicted the southern Willamette Valley from the air. PIVOT worked closely with Heartwood Carving of Eugene to drill thousands of holes of varying sizes into the medium density fiberboard (MDF) panels. The panels will be powder-coated and backed with acoustic batts after installation.

One of the many CNC panels that will clad the core element in PIVOT's new office (photo by me)

During the chapter meeting’s tour, we were able to view a full-scale mockup of one of the finished CNC panels. Up close, it looks like nothing if not a giant chartreuse piece of Swiss cheese. Will the genesis for the holes’ motif be apparent when all of the panels are installed and viewed from further away? Probably not but I don’t think that matters. What PIVOT’s employees will enjoy is a stunning abstract backdrop for their daily work, representative at once of traditional media and the latest technology, derived from the handiwork of one of the firm’s founding partners. Pure genius.

Thanks to Toby and Scott Clarke for leading the tour of PIVOT’s future office space. I’m looking forward to seeing it in completed form, just as I am all of the other exciting downtown projects currently in progress.

(1) Of course, the other ex-pit is the now-filled former Sears basement on the site of the Lane Community College Downtown Campus.

(2) RSA teamed up with the venerable Boston firm of Shepley Bulfinch Richardson & Abbott to design the Library.

Re-Energize your Practice for Growth & Sustainability

2011-08-20T08:28:00.000-07:00

The second webinar of the INTEGRATED PROJECT DELIVERY: Virtual Design to Construction series produced by DESIGN[realized] takes place this coming Friday, August 26th from 9:00 - 11:30 at the Summit Bank conference room. Ted Corbin, Associate AIA, will once again serve as host and local facilitator for the event.

Entitled Re-Energize your Practice for Growth & Sustainability, the webinar will discuss integrating design and construction management tools, presenting ideas for identifying unmet needs in our market, and formulating plans to develop new product and service offerings. According to DESIGN[realized], the goals of the webinar include learning how to:

Differentiate yourself by offering products and services that set you apart from your competition
Identify unmet needs in the market place
Deliver projects as an Integrated Enterprise: a single source for all building services—development, architectural design, estimating, and construction management—with a shared purpose and bottom line
Combine sustainability, architecture, and sociology to create exceptionally valuable new service offerings
Formulate a plan to develop new product and service offerings.

Like the first webinar in the series, the format is unique: A one-hour webcast featuring leading industry experts kicks off the program at 9:00 a.m. followed by 30 minutes of local discussion among the Eugene attendees. The webcast resumes at10:30 a.m. with a follow-up local discussion to conclude the session.

Eugene will be one of many host venues around the country but the only one in Oregon.

Ted hopes to draw as wide a spectrum of participants to the webinar as possible. The involvement of more people, each bringing their unique perspective to the discussion, will enhance the educational value of the experience for everyone.

Email Ted at tcorbin@gmx.net with any questions you may have regarding the webinar. He hopes to see all of us on August 26 at Summit Bank.

What: Re-Energize your Practice for Growth & Sustainability (3.0 AIA CES credits)

When: Friday, August 26, 2011, 9:00 AM – 12:00 PM

Where: Summit Bank boardroom, 96 East Broadway, Eugene, OR 97401

Registration: Online at http://www.designrealized.com/Tickets_Oregon

Cost: $55 ($45 for AIA members)

2011 AIA-SWO Craftsmanship Awards

2011-08-13T09:55:00.000-07:00

crafts‧man‧ship , n.

The work of a craftsman.
Very detailed work that has been done using a lot of skill, so that the result is beautiful: The carving is a superb piece of craftsmanship.
The skills, knowledge, and dexterity involved in creating works of art. Generally refers to skill in producing expertly finished products; fine workmanship.

The Southwestern Oregon Chapter of the American Institute of Architects invites its members and associates to nominate construction tradesmen and women that have demonstrated outstanding skills in the execution of their work for the 2011 AIA-SWO Craftsmanship Awards program.

A jury comprised of AIA-SWO chapter architects, members of the construction industry, and past Craftsmanship Award winners will choose from those nominated. The awards ceremony to honor those selected will take place on Tuesday, November 15, 2011. I’ll post more details about the event as the date draws nearer.

The overarching purpose of the awards program is to ensure that the time-honored ideals of craftsmanship are sustained and passed along. Its success is dependent upon nominations of those individuals AIA-SWO members believe exemplify the highest standards of craftsmanship.

If you’re an AIA-SWO member, think of all the people you have worked with recently who have helped make your designs a reality. Does someone especially stand out? Was his or her contribution to your project worthy of recognition? If so, submit a nomination for consideration by this year’s Craftsmanship Awards jury.

Along with the name of your nominee, you’ll need to assist the jury by providing letters of reference, biographical data, and an accounting of his or her accomplishments. Photographs illustrating completed projects would also be helpful.

If you have questions regarding the program or require the official nomination form, contact Kurt Albrecht, AIA, president-elect for AIA-Southwestern Oregon either by email at Kurt@cba-aia.com or by phone at (541) 485-3315. Nominations are due no later than Tuesday, October 18.

Sustainability, Silos, and Systems Thinking

2011-08-07T22:02:00.000-07:00

I had the opportunity earlier this year to attend a screening of The Greenest Building, a new hour-long documentary by film producer and fellow University of Oregon graduate Jane Turville. The film presents a compelling overview of the important role building reuse plays in creating sustainable communities. Narrated by actor David Ogden Stiers, The Greenest Building delves into the myth that a “green” building is necessarily a new building. It demonstrates how renovation and reuse of existing structures fully contributes to the triple bottom line of economic, social, and ecological balance.

Following the screening, Jane recounted an epiphany which in part prompted her to produce The Greenest Building. During the course of conversations with historic preservationists on the one hand and green-minded designers on the others, she realized that the two groups did not frequent the same circles and rarely engaged in discussions of mutual interest or benefit. Historic preservation and sustainable design do not necessarily work at cross purposes; however, only infrequently had partnerships arisen to realize the synergistic potentials of an alliance between the two disciplines. Why?

As with other applied sciences, historic preservation is a specialized field. It developed as a focused concentration upon the theory and technology of preserving, conserving, and protecting buildings of historic significance. Historic preservation also entails cultural resource management, and resource identification and evaluation, but had not often been spoken of in the same breath as sustainability.

The green building movement was likewise rooted in specialization. Much of its emphasis had been implementation of new energy efficient systems and strategies to reduce environmental impacts. The underlying objectives were meant to be calculable and discrete. The goal-oriented focus favored traditional scientific processes—the gathering and measurement of empirical evidence—to achieve desired and reliable outcomes.

Historic preservation and green design followed separate paths, evolving in parallel as distinct interests with little or no cross-pollination. Consequently, one discipline was too often presumed to venerate only the old while the other was supposedly in the thrall of only the new.

Jane had discovered the conventional bias of simplified, linear thinking, wherein everything is neatly categorized. Our natural tendency is to reduce and compartmentalize a complex, multidimensional issue into isolated, more easily comprehended packets. This is scientific reductionism—silo thinking.

By breaking down complex interactions and entities into the sum of their constituent parts, the silo mentality effectively isolates disciplines. Those ensconced within their silos too often fail to see the promise inherent in a bigger picture. Such was the case for preservationists and green designers. Each field’s practitioners had largely overlooked the potential of their combined efforts joined for greater effect.

Achieving true sustainability requires a more holistic approach. Systems thinking is the process of understanding how things influence one another. It emphasizes the interconnections between disciplines rather than what distinguishes them. In so doing, it more adequately addresses the infinite complexity of the problems at hand. Systems thinking leaps the barriers erected by specialization. The systems perspective is the antithesis of the silo mentality.

Integrated processes and multidisciplinary collaboration are now principal tenets of sustainable design. Those dedicated to the development of sustainable communities increasingly recognize that the component parts of a system can best be understood in the context of relationships with other systems, rather than in isolation.

Why shouldn’t architects and developers first consider reuse and preservation when weighing sustainable design options? Americans are on track to demolish one third of this country’s existing building stock over the next 20 years to replace seemingly inefficient buildings with energy efficient “green” structures. Is demolition in the name of sustainability really the best use of natural, social, and economic resources?

By evaluating the question of sustainability from a systems thinking perspective, Jane explains in The Greenest Building how reuse and reinvestment in the existing built environment can lead to stronger local economies that can thrive in a global context. She asserts that sense of place and collective memory, while intangible, are critical components of strong sustainable communities. She also points to a direct correlation between reuse of existing buildings and a significant reduction in greenhouse gas emissions, degradation of the natural environment, and overuse of precious natural resources.

By documenting the value inherent in our existing building stock, Jane Turville’s implicit message is to see the big picture—to look beyond the walls of the silos we too easily fall into. If you have not yet seen The Greenest Building, check to see if a screening or televised broadcast of the film is available in your community.

Close, but no Cigar (or iPad)

2011-08-03T19:48:00.000-07:00

I previously mentioned Architectural Record magazine’s Show Us Your Record Collection contest, which I entered because I thought it would be fun. I knew I had no chance winning a prize in the Oldest Issue or Largest Collection categories(1). On the other hand, I figured I had an outside shot at winning the Most Creative Presentation category. The prize if I won? An Apple iPad, something I’ve coveted. I know I would put an iPad to good use.

The editors of Architectural Record announced the winners of the contest earlier this week. And the winner of the Most Creative Presentation category was . . . not me. I was selected first runner-up.

The Most Creative Presentation prize was awarded to James R. Kirkpatrick, FAIA, of the eponymously named Kirkpatrick Architecture Studio of Denton, Texas. He photographed his collection of Architectural Record issues dating back to October 1972 surrounded by all of the members of his firm born since then. I have to admit, that’s pretty clever.

To be honest, I actually was pleasantly surprised that I was even in the running. I expected tough competition.

Regarding my entry, the editors wrote “First Runner Up: Randy Nishimura, AIA, of Eugene, Oregon took his collection out for some fresh air and then wrote a blog post about our contest: My Architectural Record Collection.”

I think having written a blog post about the contest contributed to my submission’s high ranking. The incongruous setting and decidedly geometric composition (note how my crossed leg neatly parallels the ranked formation of magazine holders) may have also played their parts.

Like the old saying goes, close only counts in horseshoes and hand grenades. All the glory (and the iPad) goes to the winner and James Kirkpatrick deserved to win. On the other hand, I managed to have a little fun, which is priceless.

(1) The Oldest Issue category was won by Milan Liptak of Pittsburgh, Pennsylvania. Milan submitted a photo of 395 issues from his collection, including an edition from 1891. His image also featured copies of RECORD from 1918 and 1956 as well as 1991’s centennial issue (my oldest issue dates from 1976). The Largest Collection prize went to Jonathan Haas of Birmingham, Alabama’s Davis Architects. Jonathan submitted an image of firm president Neil Davis with the office collection of every Architectural Record issue going back to 1939 (my collection is somewhere north of 400 issues strong).

Blair Boulevard Small Business Neighborhood Renovation Program

2011-07-29T21:19:00.000-07:00

Photo from http://www.facebook.com/WhiteakerNeighborhood?ref=ts

The City of Eugene’s Community Development Division is looking for architecture and interior design professionals interested in volunteering about a dozen hours for a community design challenge. Wells Fargo Bank is providing nearly $10,000 in grants to fund small interior or exterior renovation projects for small businesses in the dynamic, artistic Whiteaker neighborhood in Eugene. This short project is aimed at building momentum, excitement, and vitality for entrepreneurs on and around Blair Boulevard.

The Opportunity

Volunteer designers will partner with University of Oregon architecture students
After touring the participating businesses, volunteers will provide advice and develop renovation proposals during a short workshop in late August
The selected businesses will receive grant money and volunteer labor from Wells Fargo employees to implement the designs
The businesses are expected to complete their renovations by the end of October

Once the renovations are complete, a group from the community will tour and review the businesses and award an additional $500 bonus grant from Wells Fargo to the most successful implemented design.

For more information about the project and how to enlist, contact William Ellis at William.R.Ellis@ci.eugene.or.us or call the City of Eugene Community Development Division at 541-682-5444.

Ford Alumni Center

2011-07-24T12:26:00.000-07:00

Ford Alumni Center (all photos by me)

The makeover of the University of Oregon’s eastern gateway along Franklin Boulevard is now complete. Opened this past May, the Cheryl Ramberg Ford & Allyn Ford Alumni Center unites with the Jaqua Academic Center and the Matthew Knight Arena to form a gleaming, modern triptych. In so doing, the Ford Alumni Center further recasts the University as innovative, forward-thinking, and world-class.

Home to the UO Alumni Association, UO Foundation, and the university’s Office of Development, the Ford Alumni Center is the culmination of a decades-long effort by the UO to construct a multifaceted facility that serves as a welcoming front door to the campus. In this capacity the building provides much-needed event and gathering space for alumni, campus activities, and the Eugene/Springfield community. It serves as an introduction to the university, a starting point for student orientation, and campus tours.

View from northeast

What it does not do is serve solely as a repository for the history and accomplishments of Oregon grads. Instead, the Center extends the branding of the UO as trend-setters pioneered by its Department of Intercollegiate Athletics. Ducks aren’t hidebound by tradition—like the high-flying football squad, they’re future-focused visionaries and achievers.

As constructed, the $33.6 million Center accommodates 60,000 square feet within a four-story metal and glass enclosure designed by TVA Architects. Opsis Architecture served as executive architect and was responsible for the interior architecture. The design secured LEED Gold certification by virtue of its energy efficiency and low environmental impact.

My wife and I visited the Ford Alumni Center this past Saturday, a splendidly sunny summer afternoon. Both of us left with the same favorable impression: TVA, Opsis, and interactive media designers Second Story Interactive Studio, Inc. have melded architectural form, details, and technology to craft an integrated and singular experience. The core of that experience is the threading of quintessentially Oregon motifs throughout. This is a building that rewards inspection and appreciation of the whole.

The alumni center shares with the neighboring Matthew Knight Arena the same vocabulary and palette of metal panels and glass. This comes as no surprise because TVA designed the exterior of both structures. Oriented perpendicular to the major axis of the arena’s elliptical plan form, the center provides a geometric foil and datum. It shapes an entry plaza oriented toward Franklin Boulevard shared by the two buildings. It greets westbound motorists along the busy thoroughfare by presenting a broad and glassy façade to the plaza.

View looking southeast; the Matthew Knight Arena is in the background

The center barely skirts interpretation as a mere annex to the much larger arena. Some might question whether the alumni center should be associated so closely in both expression and proximity to a lavish coliseum purpose-built for activities ancillary to the university’s principal mission. Is this yet further evidence of an institution beholden to the big business of college athletics?

That issue notwithstanding, the smaller building more than holds its own. Its exterior is well-proportioned and detailed. There is a legible hierarchy to the application of curtain wall and other fenestration. Contrasting volumes satisfyingly project and recede. Had TVA not been responsible for both facilities, I suspect the designers of the alumni center might have struggled to develop a scheme as lucid and unforced. This may be why the UO directed Opsis, originally charged with complete design responsibility, to instead assign exterior design duties to TVA.

Atrium

Inside, a generous atrium completely bisects the center and immediately draws your attention skyward through all four floors. The atrium is flanked by meeting venues (including the Lee Barlow Giustina Ballroom), the Tykeson Family Hall Interpretive Center, and office spaces. An open, inviting stair wends its way between the floors, its foot cascading waterfall-like toward the entrance. Bridges with glass guardrails cross the atrium offering elevated prospects. On the west wall a filigree of wood slats casts patterns of shadows that constantly change as the sun travels across the sky.

Overall, the effect is quite purposefully akin to a journey through the woods of the Cascade foothills.

"Oregon Cascades" media panels

By way of contrast with the atrium, the adjacent Tykeson Interpretive Center reminds me of the darker forest understory. Its nine interactive “Oregon Cascades” floor-to-ceiling media panels suggest the massive trunks of our region’s forests. Designed by Second Story, the panels deliver personal stories, historical data, and archival footage to visitors who navigate through interconnected “story streams.”

Allusions to water abound: I’ve already mentioned the cascading stair, which appears to flow downstream as it descends toward the interactive “Alumni Table.” The table’s touch-screen interface, which lets you access a database containing over 210,000 University alumni, resembles the effect of placing your fingers in a gently flowing stream. Glass light fixtures suspended from the ceiling clearly call to mind glistening raindrops.

"Coming & Going Fish" by Rick Bartow

"Contemplari Natura" by Tallmadge Doyle

The center also features an impressive collection of art commissioned specifically for the project. All of the pieces extend the forest and water metaphors. My favorites include “Coming & Going Fish,” a sculpture by Rick Bartow, and “Contemplari Natura,” a collection of copper plate etchings by Tallmadge Doyle.

What I find most compelling about the building’s interior design is the light hand with which the design team wove the forest and water allegory. The application is not so overt that it precludes other possible interpretations. It fully engages the building, utilizing everything in the architect’s toolkit: space, light, and materials.

Atrium

Quoted in the Winter 2009 Oregon Quarterly, Second Story’s creative director Brad Johnson compared the UO to “a bedrock channel through which each student progresses and then departs; just as the riverbed of the university changes the course of each student’s life, so too does each student subtly leave his or her mark on the university itself, collectively carving out a canyon of shared experience and memory.”

As executed, the Cheryl Ramberg Ford & Allyn Ford Alumni Center is a spatial and material depiction of that shared experience. However, it is not a staid reliquary; instead, it is a dynamic and interactive channel. The building underscores the qualities that make the University of Oregon story unique. It breaks the mold, being as much future-focused as it is nostalgic. I like it.

10square (3rd Edition)

2011-07-17T10:18:00.000-07:00

Julie Flattery waxing lyrically about Shakespeare at the March 10square event. Sign up now to be a presenter for the August 5, 2011 10square!

DesignSpring's next 10square event (its third) will cap off Lane Arts Council’s August First Friday Art Walk, and DesignSpring is interested in showcasing your thoughts, experiences, and passions about design on August 5, 2011 at Cozmic Pizza in Eugene, Oregon.

You can be one of the ten presenters that evening. Each 10square participant will individually take the stage to present ten of his or her own slides. The ten slides are on screen for 30 seconds apiece in a predetermined order while the presenter discusses each slide as he or she sees fit. One of 10square’s appeals is its fast pace—there will be only a 10 second break between each presentation.

Any topic is fair game. The intent is to spark new ideas, connections, and conversations. 10square is also meant to be entertaining and informal—a great way to learn more about others in our design community. After the presentations, DesignSpring encourages everyone, speakers and audience alike, to stick around for follow-up discussion and fun.

Interested? Email DesignSpring at designspringEP@gmail.com before July 22 to sign up or for more information. Include a draft presentation title, presentation description, and two examples of images, text, or art that you will be including in your presentation. DesignSpring will announce the roster of presenters on July 25, 2011.

Here are the details on the upcoming 10square:

What: 10square

When: August 5, 2011 (at the end of the First Friday Art Walk)

Where: Cozmic Pizza, 199 West 8th Avenue, Eugene

Call for Presenters Due Date: July 22, 2011

Presenters Submission – Include:

Name
Occupation (optional)
Email address
Phone number
Presentation title
Presentation description
Attach or include (2) images with submission

Additional information will be sent after the call for entries is received.

Presentation Format:

Each presentation will consist of exactly 10 PowerPoint slides
Each slide can contain images or text (or both) but no animation, video or music
The total presentation time will be five (5) minutes. Each slide will be timed to change exactly every thirty (30) seconds
The final presentation will be in PDF format and will need to be emailed to designspringEP@gmail.com or delivered to a 10square host by August 1, 2011
Digital images should be 1024x768 pixels. The file names should be the same as your last name_first name_#of file (e.g. Greiner_Gabe_1.pdf)

After attending the previous two 10square events (during the 2010 AIA Northwest & Pacific Region Conference in Eugene, and at last March’s AIA-SWO chapter meeting) I know I’ll be entertained and enlightened. Thanks in advance to DesignSpring for organizing what I am certain will be a successful third edition of 10square!

Integrated Project Delivery: Virtual Design to Construction

2011-07-10T09:42:00.000-07:00

Ted Corbin, Associate AIA, is the force behind securing host venue status in Eugene for a unique, interactive webinar focused on the legal and management aspects of Integrated Project Delivery (IPD). Produced by a company named DESIGN[realized], the webinar is the first of a four-part series about IPD.

DESIGN[realized] says the series will explore how successful designers, builders, and building owners achieve significant project goals through the best use of process and technology. The sessions will delve into the best current thinking on legal, management, and technological issues associated with IPD. Speakers will share winning techniques to adopt, losing techniques to avoid, and other key experience gained as they have implemented IPD processes with virtual design to construction methodologies.

Ted will serve as the local facilitator during the webinar, which will take place on Friday, July 22nd from 9:00 a.m. to 11:30 a.m. in the boardroom of Summit Bank's downtown Eugene office (96 East Broadway).

The format is different than most webinars. A one-hour webcast featuring leading industry experts kicks off the program at 9:00 a.m. followed by 30 minutes of local discussion among the Eugene attendees. The webcast resumes at 10:30 a.m. with a follow-up local discussion to conclude the session.

By participating in the event, you will:

Learn how building professionals from around the country engage in IPD
Get new ideas for incorporating building processes and technology into your work
Share with other group participants building methods and techniques that are applicable locally
Hear interactive Q&A discussions among presenters and participants across the nation
Earn 3.0 AIA Continuing Education System (CES) credits

Eugene will be one of many host venues around the country but the only one in Oregon.

According to Ted, the discounted early bird registration fee expired last Friday (July 8); however, he is going to see what he can do to extend the bargain rate because the AIA and DESIGN[realized] acted so late to get the word out. Regardless, you can secure the $10 discount if you are an AIA member. The full event price is $55. Registration is online.

Ted hopes to draw as wide a spectrum of participants to the webinar as possible. The involvement of more people, each bringing their unique perspective to the discussion, will enhance the educational value of the experience for everyone.

Email Ted at tcorbin@gmx.net with any questions you may have regarding the webinar. He hopes to see all of us on July 22 at Summit Bank.

What: Legal Aspects of IPD, BIM, VDC webinar (3.0 AIA CES)

When: July 22, 2011

Where: Summit Bank boardroom, 96 East Broadway, Eugene, OR 97401

Registration: Online at http://www.designrealized.com/Tickets_Oregon

Cost: $55 ($45 for AIA members)

Waves of Hope

2011-07-04T21:26:00.000-07:00

Only a few months have passed since the deadly Tohoku earthquake and tsunami struck Japan but already American public attention to the aftermath of the disaster has faded. While not unexpected(1), the tragedy remains all too real and present: the reality is thousands of people are crowded into shelters, without a home or job, lacking water, food, and power. Entire towns have been devastated, literally wiped off the map. Japan continues to depend upon global support and assistance.

I’m doing my small part to ensure the recovery efforts and the very real suffering of survivors continue to draw our attention. I’m a member of a committee charged with raising funds for earthquake relief. Entitled Waves of Hope: Sending Relief Shore to Shore, the effort will culminate in an exciting “Art Swell” event on Friday, September 23, 2011.

Eugene’s OPUS VII Gallery will be filled that evening with good wine, abundant appetizers, and inspiring music.(2) There will be a raffle featuring the work of some of Eugene’s finest artists as a fundraising incentive.(3) In addition, two large paintings offered by well-known painter Adam Grosowsky will be sold by silent auction.

The committee will extend to everyone who contributes $100 or more an appreciative invitation to the Art Swell. Last-minute donations of $100 or more will be accepted at the door.

Devastation in Ofunato (photo by Satoko Motouji)

Local artist Satoko Motouji and Japanese-American Association of Lane County president Mike Takahashi lead the Waves of Hope organizing committee. Satoko recently visited Tohoku, the directly impacted region of Japan. She toured six different cities, finding the extent and severity of the destruction to be absolutely beyond words. Unbelievable amounts of debris remain untouched, even after three months.

Satoko returned to Eugene believing the struggles for the Tohoku area residents have only just begun. The vastness of the devastation, she explained to me, can best be placed into perspective by realizing that the length of the impacted coastline is greater than the distance between Eugene and Seattle.

The statistics are staggering. As of June 5, the Asahi Newspaper reported the following numbers by prefecture:

Additionally, the earthquake and tsunami destroyed 65,840 homes and countless businesses.

There is no doubt in Satoko’s mind that the people of Japan sincerely appreciate any and all contributions in support of efforts to rebuild the lives and communities forever altered by the earthquake and tsunami. There is so much that needs to be done, and it will take much time and money to accomplish.

If you’re interested in making a donation, mail a Waves of Hope Relief Fund check or money order (payable to the Japanese-American Association of Lane County) to:

Mike Takahashi
841 Virgil Avenue, Eugene, OR 97404

The JAA will direct all gathered funds to the Japan Red Cross to support that organization’s earthquake relief programs.

Your contribution is tax deductible in accordance with IRS regulations. JAA is a 501(c)(3) charitable non-profit organization.

(1) The shortness of our collective attention span has been well-chronicled. An article published by the online magazine Salon discusses how media attention dropped sharply just a few brief months after the deadly 2010 Haiti earthquake occurred. How many people now give the tragedy in Haiti even a passing thought?

(2) The entertainment will include koto master Mitzuki Dazai and Eugene Taiko, the traditional Japanese drumming group of which I am a member.

(3) The list of artists contributing to the Art Swell includes Kate Ali, Kathleen Caprario, Mark Clarke, Margaret Coe, Tallmadge Doyle, Jan Eliot, Kathryn Finnerty, Michiyo Goble, Adam Grosowsky, David Joyce, Ron Lovinger, Faye Nakamura, Susan Lowdermilk, Barbara Pickett, Margaret Prentice, Julie Reisner, Ruri, Satoko Motouji, Katsuyuki Shibata, and Bev Soasey.

SW Oregon Architect

Connecting Communities: Investing in Quality Growth

Pedaling for Affordable Housing

Breakfast of Energy Champions

Envisioning Biophilic Cities

A Case Study – Part 2: Cultural Transformation

A Case Study – Part 1: Introduction

CSI BUILD: January 24

Happy New Year!

Downtown Springfield Design Charrette: Final Report

Teaching

AIA-Northwest & Pacific Region Associate Director

Automobiles and Architecture

AIA-SWO Intern Tour: Falling Sky Brewing

Reflections on Craftsmanship

November AIA-SWO Chapter Meeting Recap

Downtown Springfield Design Charrette

Aren't Kids Great?!!!!

CSI Construction Industry Classes

Design|Spring Charrette

October AIA-SWO Chapter Meeting Recap

Conversation Project

Research Assistance Please

Blog Action Day 2011

EmX

#Twitter

September AIA-SWO Chapter Meeting Recap

Commercial "Passive House" Buildings in Europe

9/11

The Art of Sustainable Living

Timberline Lodge

East Campus Residence Hall

Ten Principles for Design Excellence

August AIA-SWO Chapter Meeting Recap

Re-Energize your Practice for Growth & Sustainability

Related articles

2011 AIA-SWO Craftsmanship Awards

Sustainability, Silos, and Systems Thinking

Related articles

Close, but no Cigar (or iPad)

Blair Boulevard Small Business Neighborhood Renovation Program

Ford Alumni Center

10square (3rd Edition)

Integrated Project Delivery: Virtual Design to Construction

Related articles

Waves of Hope