Victoria, B.C.

 

The Fairmont Empress Hotel, Victoria, B.C. (photo by Dllu, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons)

 
Just a brief entry this week: I’m in Victoria, the capital city of British Columbia, Canada. A smallish city (population 91,867), Victoria nonetheless presents a rich architectural and urban fabric shaped by its layered histories. Its built environment reflects colonial ambitions, regional adaptation, and contemporary evolution.
 
The city’s architectural identity is perhaps most famously embodied in the British Columbia Parliament Buildings and The Empress Hotel, both designed by Francis Rattenbury and each a grandiose expression of late 19th-century imperial confidence. Their monumental stone facades and Edwardian flourishes assert a presence that has long defined the Inner Harbour. Beyond these landmarks, Victoria boasts an extensive collection of other heritage buildings—ranging from Queen Anne and Italianate commercial structures to Arts and Crafts residences in neighborhoods like Rockland—that lend a tangible sense of continuity with the past. At the same time, contemporary interventions, such as the TELUS Ocean Building now taking shape, reflect a shift toward glassy modernism and densification, particularly in the downtown core.
 
Victoria’s urban realm is another defining feature. Unlike many North American cities, its compact, walkable scale remains intact. The human-centered streetscapes, punctuated by pocket parks and waterfront vistas, support a civic life that prioritizes pedestrians over automobiles. The city has also embraced cycling infrastructure, further reinforcing its European-influenced urban sensibility.
 
This is my first visit to Victoria in decades, so I’ve been curious to observe how its architectural and planning traditions have evolved since I last was here during the 1980s. How has the city reconciled its architectural and cultural heritage with the pressures of growth and affordability? How do new developments contribute—or detract—from its established character? Victoria does offer a compelling study in balancing past and future, tradition and innovation.

Exciting Career Opportunities at Robertson/Sherwood/Architects pc

As many of you know, I recently retired following a fulfilling career as an architect, spending the last 36 years with Robertson/Sherwood/Architects (RSA) in Eugene, Oregon. I'm thrilled to share that RSA is currently looking to expand their talented team by filling two open positions: Project Architect/Project Manager and Designer. 

Due to an increased workload and a growing portfolio of exciting projects, RSA is seeking enthusiastic, career-oriented individuals to join their team. This is a fantastic opportunity to be part of a firm known for its attention to detail, focus on service, emphasis on collaboration, and supportive, family-friendly office culture. 

Project Architect/Project Manager

RSA is on the lookout for a dedicated individual to take on the role of Project Architect/Project Manager. This position involves overseeing the design team's efforts from initial planning through to construction administration, ensuring projects are completed on time, within budget, and to the highest standards.

Key Qualifications:

• Demonstrable design talent and critical thinking skills
• Strong communication skills and enthusiasm for teamwork
• Minimum of 3 years of professional experience
• Proficiency with Revit, InDesign, Adobe Creative Suite, and Office 365 is highly desirable

Designer

RSA is also seeking a creative and career-oriented individual to join their team as a Designer. This role involves contributing to the development of projects from conceptual planning through construction administration. 

Key Qualifications:

• Demonstrable design talent and critical thinking skills
• Strong communication skills and enthusiasm for teamwork
• Architecture degree from a NAAB accredited program or equivalent
• Proficiency with Revit, InDesign, Adobe Creative Suite, and Office 365 is highly desirable

RSA’s diverse portfolio of project types provides exciting opportunities for professional growth. The firm offers a comprehensive benefits package, including a 401k plan, company-paid medical insurance, short-term/long-term disability insurance, transit/parking passes, and more.

Interested?

If you or someone you know is interested in these opportunities, please send your resume (and work samples as a PDF or link to your online portfolio) by email to info@robertsonsherwood.com.

Designing for Experience

Gamble House porch – Greene and Greene, Architects (photo by Mattnad, Public domain, via Wikimedia Commons)

 

Architecture transcends form and function. It is a lived experience that shapes how we perceive, feel, and belong in spaces. The environments we inhabit influence our emotions and sense of place, extending beyond mere aesthetics and utility. A phenomenological approach to design places the human dimension at the forefront, focusing on how individuals engage with and experience their surroundings over time.
 
When I first studied architecture, human experience was not at the forefront of my design thinking. Instead, I was drawn to the conceptual abstraction found in the work of certain architects I admired. These practitioners seemingly focused more on abstract theories than principles founded on experientiality or sensory engagement. Their designs distilled complex ideas into seductive forms, while emphasizing intellectual rigor over emotional or physical resonance. I found their cerebral and aesthetic approaches captivating.
 
This perspective shifted during my studies at the University of Oregon under Professor Bill Kleinsasser. His course, Experiential Considerations in Architecture, introduced a transformative lens, emphasizing a design approach that prioritizes human needs and contextual harmony over theoretical abstraction. Bill highlighted the dynamic, subjective nature of existence, a view I later recognized as aligned with phenomenology.
 
Martin Heidegger’s 1951 essay Building, Dwelling, Thinking provided a profound framework for phenomenology and understanding architecture’s role in human existence. He shifted the focus from buildings as static objects to environments that facilitate meaningful dwelling, fostering a deeper connection between people and place. This concept of dwelling, grounded in physical and existential experience, influenced later thinkers and architects who have built on the idea of engaging all the senses in design.
 
In his book The Eyes of the Skin (1996), Juhani Pallasmaa critiqued architecture’s tendency to overemphasize the visual, advocating for a more holistic, multisensory approach to design. In this regard, Pallasmaa’s critique builds on Heidegger’s notion of dwelling, further expanding the architectural experience beyond sight to include other senses that foster a more holistic engagement with space.

Interior, Therme Vals (photo from 7132 Hotels: Experience Serenity: Peter Zumthor Thermal Baths at 7132, Vals, Switzerland)

 

Peter Zumthor’s Therme Vals (1996) project in Switzerland exemplifies this emphasis. Its subterranean stone corridors, muted light, warm humidity, and resonant acoustics engage the body holistically, creating a multisensory experience that goes beyond the visual. For Zumthor, the materiality of stone, wood, and concrete is not just a visual experience; it invites tactile, acoustic, and even olfactory engagement, reminding us that true dwelling happens not only in the mind, but through the full spectrum of our senses.
 
Similarly, Steven Holl’s Chapel of St. Ignatius (1997) in Seattle prioritizes spatial experience over visual dominance. The sequence of intimate, textured volumes—rough concrete meeting smooth wood—combined with acoustic stillness, fosters contemplation and creates an atmosphere that is felt as much as seen.
 
Architectural taxonomists categorize Charles W. Moore as another well-known architectural phenomenologist. Charles, whom I had the privilege of working with and knowing during my years in Los Angeles, applied an experiential approach to his work, fully embracing playfulness and narrative. The Oceanside Civic Center (1986) exemplifies this approach. Rather than adhering to rigid modernist formulas, the Civic Center creates a dynamic and engaging experience. Vibrant colors, layered references, and an interplay between interior and exterior spaces make the environment feel both engaging and accessible, fostering a strong civic identity while being inviting. The design underscores the idea that spaces should evoke emotional connections, as an environment that fosters community and well-being.

 

Just as the work of Zumthor, Hall, and Moore emphasizes the emotional and narrative dimensions of space, the focus on human experience also extends to the urban context. Kevin Lynch explored how people perceive and navigate cities, emphasizing elements that create coherence, meaning, and a sense of place. In The Image of the City (1960), he identified legibility—the ability to mentally map and emotionally connect with one’s surroundings—as an essential component of urban experience.
 
Christopher Alexander’s theories strongly support design with experiential considerations in mind. He championed intuitive, emotionally resonant, and contextually grounded design processes, opposing mechanistic approaches that prioritize abstraction over lived experience. In A Pattern Language (1977), Alexander and his co-authors, Sara Ishikawa and Murray Silverstein, identified intuitive patterns that contribute to livable, meaningful spaces. The enduring appeal of these patterns lies in their ability to form a bridge between past experiences and the design of new environments.
 
Alexander asserted that certain spatial arrangements—such as small public squares that encourage gathering or window seats that invite reflection—resonate with people on an elemental level. His book The Timeless Way of Building (1979) introduced the concept of the “quality without a name,” an indefinable yet deeply felt essence that makes spaces feel alive and meaningful. This essence aligns with Heidegger’s notion of dwelling and Pallasmaa’s multisensory focus. 

An experiential approach to design is clear in the Gamble House (1908), designed by Greene and Greene. The house features rich, tactile materials like wood, stone, and copper, creating an intimate and sensory experience. The design incorporates carefully crafted details that invite touch, such as handcrafted furniture and textured surfaces. Carefully placed openings frame views to the surrounding landscape. The Gamble House emphasizes comfort, warmth, and an organic sense of dwelling—qualities that resonate with Heidegger’s notion of place and belonging (despite predating Heidegger's ideas).  

More contemporary applications of these principles extend this legacy. Frank Gehry’s Maggie’s Centre Dundee (2003) in Scotland, a cancer care facility, features an undulating roof, warm timber interiors, and garden views, offering solace through tactile comfort and natural soundscapes. Tadao Ando’s Church of Light in Japan is a minimalist example, a simple yet profound exploration of concrete, light, and shadow. The meditative space encourages introspection and spiritual engagement. The experience of moving through the space and encountering natural light is both physical and emotional, making it a deeply phenomenological.  

The spaces we occupy shape our emotions, memories, and sense of identity, deepening the significance of place. The patina of weathered materials or the rhythm of spatial transitions can deepen these connections, making a place feel lived-in and meaningful.  

Buildings are not static; they are shaped by human life and interactions, evolving through experience and adaptation to new needs and contexts. In an era when globalized design tends toward uniformity, phenomenology offers a vital framework to prioritize the human dimension, crafting spaces that resonate deeply with their inhabitants. 

Jane Jacobs, Eugene, and the Evolution of Cities

 

Jane Jacobs (photo by Phil Stanziola, Public domain, via Wikimedia Commons)

The visionary urbanist Jane Jacobs famously described cities as living ecosystems in her 1961 book The Death and Life of Great American Cities. Challenging the urban renewal missteps of the 1950s and 1960s. Jacobs advocated for mixed-use development, bottom-up planning, and citizen empowerment. Her vision, along with the contributions of many other urbanists and activists, continues to shape cities worldwide. Eugene is no exception. Various organizations—at both the national and local levels—are working to help transform our city into a walkable, sustainable hub.
 
The following groups are helping to broadly shape urban design policies, greatly influencing Eugene’s efforts through their research and advocacy:
 

• Smart Growth America (SGA) backs walkable, equitable development through zoning reforms and transit-oriented planning, an approach that has informed Eugene’s compact urban vision.
• Congress for the New Urbanism (CNU) builds on Jacobs’s legacy by advancing human-scale, mixed-use design, while providing resources, education, and technical assistance to create socially just, economically robust, environmentally resilient, and people-centered places.
• Project for Public Spaces (PPS) transforms public spaces into community hubs, bringing them to life by planning and designing them with the people who use them every day. PPS did exactly this when it contracted with the City of Eugene back in 2016 to identify a series of recommendations for immediate improvements that would transform the public’s perception of the downtown core.
• Strong Towns critiques car-centric sprawl and promotes financially sustainable urbanism, actions that support Eugene’s current emphasis on infill as the means to increase density and affordability.

Several advocacy groups here in Eugene are further translating these national ideas into local action, each with more specific urbanist goals in mind:
 

• Better Eugene-Springfield Transportation(BEST) advocates for improvements to public transit and other transportation options, safe streets, walkable neighborhoods, accessible bicycle infrastructure, and more. Notably, BEST served as a civic vanguard in support of the 2017 EmX bus rapid transit system expansion. That expansion boosted ridership by 14% and has added more than 43,000 riders annually.
• Greater Eugene Area Riders (GEARS) is a non-profit with the mission to promote and encourage bicycle riding for transportation and recreation. GEARS works to enhance the bicycle culture in Eugene and promote the ongoing expansion of Eugene’s bike path network.
• Walkable Eugene Citizens Advisory Network(WE CAN) is an ad hoc group of homeowners, renters, and property owners who support successful, diverse, and community-supportable walkable, 20-minute neighborhoods in Eugene, and who believe that all Eugene residents should have choices for housing that fit their lifestyle and budget. Note: WE CAN doesn’t appear to be as active as it once was, but its efforts did help push the implementation of such pedestrian-friendly policies as the reduction of parking minimums in the (now withdrawn) South Willamette Area Plan.
• Better Housing Together champions housing diversity and walkability, and supports the development of denser, mixed-use neighborhoods. The group’s efforts contributed toward the passage of House Bill 2001 (HB 2001), which then-governor Kate Brown signed into law on August 8, 2019, taking effect in 2020. The bill allows for alternative and more affordable types of housing to be built, such as duplexes, triplexes, fourplexes, and cottage clusters. This legislative change will be particularly impactful in Eugene, where the need for increased housing diversity is acute.

Cities, like natural ecosystems, are incredibly complex. The variety of organizations might suggest redundancy, but it’s a strategic asset reflecting this complexity. BEST focuses on transit, WE CAN on walkability, yet their efforts—often overlapping on safer streets—ensures broad coverage. National groups drive broad policy, while local ones tailor it to Eugene’s needs, fostering resilience and innovation. If one falters, others persist, amplifying impact through shared strategies.
 
These groups reshape policy and infrastructure. SGA and CNU influence zoning for mixed-use growth, revitalizing downtowns nationwide, while local efforts like BEST’s advocacy for public transit funding and GEARS’s promotion of bike networks enhance accessibility. Despite occasional resistance, the work of these groups and the others mirrors efforts seen elsewhere that are reshaping landscapes nationwide. Beyond physical changes, they shift public perception, empowering residents to influence what kind of development occurs and to value sustainability.
 
Of course, the University of Oregon has also been a leader in these efforts. The Oregon Experiment pioneered the concept of participatory design. Today, the Sustainable Cities Institute (SCI) focuses on sustainability and cities through applied research, teaching, and community partnerships. SCI works across disciplines that match the complexity of cities to address sustainability challenges, from regional planning to building design. Its programs, which include the Sustainable City Year Program, the EPIC-Network, and Urbanism Next, reflect SCI’s broad reach and influence.
 
Eugene faces mounting growth pressures in the coming decades. Current forecasts predict steady population growth through 2045, driven by migration despite an aging demographic, straining the urban growth boundary. This growth demands more housing—affordable and diverse—and jobs to sustain it, challenges that Envision Eugene and groups like Better Housing Together are tackling head-on, helping to ensure the city adapts proactively.
 
The vision of vibrant, people-centric cities, championed by Jane Jacobs and many others, drives these efforts, yielding steady, tangible progress in many North American cities. This legacy unfolds in Eugene through the persistent efforts of the groups I have mentioned. Cities evolve slowly, like living organisms, requiring time to mature into the resilient, walkable places we envision—an evolution these organizations are committed to sustaining.

Looking Back: Architecture Career Advice

A design studio review at the University of Oregon (my photo)

This post is another outcome of my ongoing efforts to sort through and purge the mountains of old paperwork I’ve retained over the years—much of it for reasons I struggle to remember or justify now that I’m retired. I recently discovered a box containing materials from my time as an adjunct instructor at the University of Oregon’s Department of Architecture, where I helped teach the Context of the Professions class during the 2012 and 2013 academic years. Among the contents was a set of questions submitted by students as part of a class assignment. Their questions—posed to me and my fellow instructors—asked for our opinions about entry into the profession and reflections on our early experiences as fledgling employees.
 
Rather than responding in writing, we answered these questions in a freewheeling discussion before the assembled class. While I don’t have an exact record of what we said, the questions themselves remain a treasure. Below is a sampling, along with answers I composed today. I’m not sure how much my responses differ from those I gave in 2012 and 2013, but I like to think they carry a bit more perspective, reflecting an additional decade-plus of experience and insight.
 
1. If employers are concerned with hiring individuals with experience, then what makes them likely to hire a recent graduate at all?
Employers look for potential, not just experience. Recent graduates bring fresh perspectives, technical skills (especially in software), and a willingness to learn. Firms value enthusiasm, adaptability, and the ability to work collaboratively.
 
2. How can I (a presumed graduate) make myself a more desirable applicant than someone with real-world experience?
Demonstrate robust design and technical skills, proficiency in industry-standard software (Revit, Rhino, Grasshopper, Adobe Creative Suite, Bluebeam Revu, etc.), and critical thinking ability. A well-curated portfolio, professional communication, and relevant internship experience can help compensate for a lack of full-time experience.
 
3. If you were hiring a summer intern, what qualities would you look for first?
Initiative, curiosity, and a strong work ethic. A good intern asks questions, learns quickly, and contributes meaningfully. Proficiency in digital tools and a willingness to take on varied tasks are also key.
 
4. What steps should we take while still in school to help us find a job later?
Seek internships and part-time positions in architecture firms. Build relationships with professors and professionals. Develop a strong portfolio showcasing a range of skills. Learn both design and technical software. Attend networking events and join professional organizations like AIA, CSI, or NCARB.
 
5. In interviews, is it better to admit weaknesses and areas for improvement, or just focus on strengths?
A balance is best. Confidence in strengths is key, but firms also value self-awareness and a willingness to improve.
 
6. How much of your career success do you attribute to talent and effort, versus being in the right place at the right time?
Success is a mix of skill, hard work, and luck. Talent and perseverance set the foundation, but networking and timing often influence career trajectory. Many professionals recommend making your own luck by being proactive and engaged in the industry.
 
7. Would your friends and family say you’ve effectively balanced work and social life?
Many architects struggle with work-life balance, especially early in their careers. Setting boundaries and working for firms that value employee well-being can help, but long hours are often a reality in the field.
 
8. How influential is the portfolio in the application process? Can strong management and organizational skills balance out middle-of-the-road design skills?
The portfolio is crucial, but firms also consider communication, teamwork, and organizational skills. Those who are strong in project management, client relations, and technical execution can be just as valuable as pure design talents.
 
9. Is it better to take an undesirable position at a firm you like or a desirable position at a firm you don’t like?
It's generally better to work at a firm that aligns with your values, even if the role isn’t ideal. Culture, mentorship, and opportunities for growth matter more in the long run than immediate job duties.
 
10. Do you prefer working in a big firm or a small one, and why?
Preferences vary. Big firms offer large projects, specialization, resources, and stability. Small firms provide diverse experience, close mentorship, and more direct involvement in design decisions. I spent my career in small-to-medium-sized firms (ranging from 9 to 18 employees), where I enjoyed a blend of benefits associated with both large and small offices.
 
11. How does the high-pressure architecture school studio culture compare to firm work?
Working in an architecture firm is demanding but typically more structured. Deadlines are real, but projects unfold over months or years, allowing for deeper refinement. The all-nighter culture is less common, though long hours can persist depending on firm culture and project deadlines.
 
12. What do you most regret about your career? What would you have done differently?
I have no regrets. My career was fulfilling and met my expectations in every way. That said, I know much of my good fortune was due to luck and being in the right place at the right time. Other architects might wish they had networked earlier, gained better business knowledge, pursued licensure sooner, or maintained a better work-life balance.
 
13. How does one establish themselves in a firm and move into leadership?
Leadership is built through reliability, problem-solving, and initiative. Key steps include becoming indispensable on projects, building client and team relationships, learning about firm operations, and expressing interest in leadership roles.
 
14. Is it better to start my career in a small city or a large one?
There are trade-offs to both. Large cities offer exposure to high-profile projects, diverse firms, and more structured career paths, but they come with higher costs and competition. Smaller cities often provide more hands-on experience, greater project responsibility, and a lower cost of living, but fewer large-scale opportunities. Many architects start in one and transition to the other. I worked in large cities (Vancouver and Los Angeles) but spent most of my career in Eugene, which, despite being a smaller market, offered me many meaningful opportunities.
 
15. How important is getting licensed early in my career?
While gaining experience is essential, licensure opens more career opportunities, including leadership roles, higher salaries, and the ability to stamp drawings. Many professionals recommend working toward licensure as soon as possible while balancing practical experience. That was certainly my goal. I first became licensed in 1985, two years following my graduation from the University of Oregon in 1983.

*    *    *    *    *    *

Looking back at these questions, I realize how much of what I’ve learned wasn’t just about architecture itself, but about navigating a career—understanding what really matters, what lasts, and what fades with time. There’s no single path to success in this profession, but curiosity, adaptability, and persistence go a long way. If emerging professionals stay engaged, keep learning, and surround themselves with people who challenge and support them, the rest tends to fall into place. Of course, this is easy for me to say from where I stand today. The architectural profession is changing rapidly, and my advice may soon feel outdated, but the fundamentals of curiosity, adaptability, and persistence will always matter.