Finally, Eugene has its new City Hall!

The new Eugene City Hall (all photos by me)

My wife and I attended last Thursday’s ribbon-cutting ceremony and public open house marking the official opening of Eugene’s new City Hall in the former Eugene Water & Electric Board headquarters building. The ceremony was the happy culmination of a lengthy saga fraught with more than its share of debate, second-guessing, and squandering of resources.(1) In my opinion, the City’s ultimate selection of the EWEB site is already proving to be the most financially responsible and fortuitous choice for the symbolic seat of Eugene’s municipal government.
 
If the sentiments of those who likewise attended the ribbon-cutting were any sign, I am not alone in thinking the City leaders got it right, despite themselves. At the outset, City councilor Mike Clark was alone in championing the idea of purchasing the EWEB building and transforming it to become Eugene’s City Hall. Years from now, I’m certain we will look back and wonder how so many overlooked or dismissed the serendipitous availability of the EWEB building and its unparalleled site. Kudos to Mike, as his persistent advocacy for the idea is now vindicated.
 

The ceremonial ribbon cutting.

The new City Hall consolidates an assortment of city services, including the offices of the Mayor and City Council, City Manager’s Office, Central Services Administration, Employee Resource Center, Equity and Community Engagement, Finance, and Information Services. EWEB will also keep about 1,000 square feet of shared public-facing space for customer appointments. This consolidation increases efficiency for these functions, while improving access to them.
 
I always regarded the EWEB headquarters to be an important public facility by virtue of its physical prominence, visibility, and architectural quality. WEGROUP Architects & Planners designed the building in the characteristically modern idiom the firm was known for (I believe Michael Marczuk was the lead designer), a vocabulary that at once conveyed its public importance while also appearing relaxed and welcoming. At the time of its completion in 1987, the building was exemplary for its implementation of sustainable design principles. Most notable was WEGROUP’s careful attention to capitalizing upon and controlling natural daylight.

Atrium.

 
The design, while not entirely timeless, continues to stand up very well today. The City undertook necessary modifications, including the creation of the new council chamber in the north wing and the introduction of security measures and other improvements required throughout by the building’s new role. Loren Berry, FCSI, AIA—the City of Eugene’s Design & Construction Manager—led the design effort for the renovations. Veronica Shean and Jenna Wheeler of Veronica Shean Interior Design assisted with the selection of new interior finishes and furniture, and Lease Crutcher Lewis was the contractor. The result is a notable refreshing of the building, admirably executed with the lightest of touches.
 

City Council Chamber.

By preserving this prominent and uniquely situated building, the City ensured that it would remain a valuable public asset, rather than allowing it to fall into private hands. The move not only secured an attractive new home for city operations but also demonstrates Eugene’s commitment to sustainability by valuing the energy embodied in the original construction. The building acknowledges the historic importance of the Willamette River to Eugene, providing a seamless connection between it and the city fabric. A landmark of civic pride, the new Eugene City Hall is poised to serve the community for years to come, embodying our community’s values and vision for a sustainable future.
 
 
(1) If you’re interested, read a few of the posts I wrote chronicling the alternative plans, site studies, and financial assessments the City commissioned in its pursuit of a new home, as well as the handwringing by me and my fellow design professionals regarding what Eugene’s City Hall should be.

The Dude Abides

Jeff Bridges enjoying a White Russian as Jeffrey Lebowski ("The Dude") in the movie The Big Lebowski. 

Having crossed into retirement after more than four decades as an architect, I suppose it’s natural to question my sense of identity and self-worth. Consciously or not, I always hitched both to my career. Who am I without the structure and trajectory of my professional life? Do I have or need a new passion to drive me? My immediate thought is the absence of drive or purpose can be a goal itself. Should the next version of me accept going with the flow and finding peace in simply being? The prospect of living authentically as one can while valuing a calm and unperturbed existence is certainly appealing.
 
Half-seriously, perhaps this is why I am drawn to the wisdom of "the Dude," the character famously portrayed by Jeff Bridges in the 1998 Coen Brothers comedic film The Big Lebowski. The Dude is the embodiment of a laid-back attitude and a philosophy of resilience, acceptance, and living in the moment. Many consider The Big Lebowski a cinematic classic with good reason, garnering it not only a cult-like following, but also spawning its own quasi-religion (The Church of the Latter-Day Dude). The movie’s blend of memorable characters and themes of identity, existentialism, and the absurdity of life is at once thoroughly humorous and thoughtful.
 
The Dude’s ethos of “taking it easy” isn’t about laziness or indifference; rather, it is an invitation to savor the present moment. I am trying to fully embrace this philosophy, as I believe it epitomizes what a healthy version of retirement can be.
 
So far, being retired has meant stepping away from the responsibilities and routines that defined much of my life. I now have time to explore new interests and enjoy simple pleasures that were often overshadowed by work. It's my opportunity to adopt a slower, more relaxed pace. It’s about finding joy in everyday moments—whether a quiet morning coffee, a walk in nature, or simply being present. There's a lot to be said for appreciating simpler things and letting go of unnecessary complications.
 
Life has its ups and downs, and the past few years have shown us how unpredictable things can be. By welcoming a mindset of calm acceptance, I expect to better navigate turbulent times with grace and resilience. Whether dealing with the unexpected or adjusting to a slower pace, taking it easy and staying flexible will be key. Throughout The Big Lebowski, the Dude took it easy, even when things got a bit out of hand. It's a valuable lesson in not letting life's bumps and bruises steal your peace. As the Stranger (played by Sam Elliott in the film) might say, sometimes you eat the bear, and sometimes, well, the bear eats you. It will all be about how I choose to roll with it.
 
Let’s carry this theme further: Retirement, like the Dude’s rug, ties the room together. I have never been extravagant. I am content with living modestly. My “rug” is a quest for normalcy and comfort, and a sense of order in my unassuming life. Much as the rug provided the Dude structure in his otherwise unstructured existence, I hope to find some order by decluttering and simplifying; nevertheless, this process will not be at the expense of losing what I’m familiar and comfortable with.
 
This new chapter is especially about spending quality time with loved ones, my wife being first and foremost. Together, we look forward to creating new memories, exploring unfamiliar places, and enjoying simple pleasures. Whether traveling, gardening, or just having a quiet evening at home, there will be joy in sharing these experiences. Like the Dude’s rug, our partnership has been a constant through the years, and now we have the chance to enjoy life’s simple pleasures together more fully.
 
I acknowledge aspiring to emulate the "Dude" may not be easy. Shedding the layers of identity built over a lifetime as an architect will take time. Ultimately, it's not about achieving specific goals, even if pursuing "Dudeism" is one of them. Retirement is not a destination to reach but a path to walk, with each step taken in the spirit of the Dude's easygoing nature. In the end, it’s all about living in harmony with oneself and the world. It's about accepting life’s ebb and flow with grace, finding contentment in simplicity, and staying true to oneself. Retirement is my new beginning, a chance to live with a grateful heart and a stress-free vibe.
 
As an architect, I contributed toward the meticulous crafting of spaces for others; it’s now time for me to design the next phase of my life. I’m embracing this task with the calm and collected spirit of the Dude. The Dude abides—and so will I (or at least I'll give it my best shot).
 
How do you find peace and simplicity in your life? Share your thoughts and experiences in the comments below.

The Imperative of Adaptive Reuse in a Disposable Culture

Commons Addition, North Eugene High School (2004-2024) by Robertson/Sherwood/Architects pc

I’ve outlasted several of the projects I worked on during my career. The Romania Subaru dealership that once occupied the property at 7th & Washington (now home to Five Guys, Jimmy John’s, and Starbucks outlets) is one such building I shepherded from design through construction. More recently, Eugene School District 4J demolished the old North Eugene High School. Robertson/Sherwood/Architects designed significant renovations and an addition to the school, which were completed in 2004, a scant two decades ago. Bittersweet is probably the best way to characterize being around to witness the razing of these projects. It seems their useful lifespans should have been much longer. Seeing this rapid cycle of construction/use/demolition, though not unique to my experience, reveals much about our contemporary culture and the broader architectural landscape.

It’s worth noting the transience of most buildings throughout history. Notwithstanding the notable and lasting architectural monuments many of us are familiar with, most human constructions have essentially been temporary solutions designed to serve immediate needs, as opposed to being built for the ages. In today’s world, economic pressures, technological advancements, and evolving aesthetic preferences continue to drive this mindset.

Romania Subaru (1999-2011)

The former site of Romania Subaru as it stands today.

Economically, the drive for profit and efficiency often eclipses the desire for permanence. Developers necessarily prioritize quick returns on their investments, influencing the design and construction of buildings wherein this goal is paramount. A knock-on effect is the premature demolition of structures to make way for new, more profitable developments.

Technological advancements also contribute to this phenomenon. Rapid progress in construction techniques and materials can quickly render buildings outdated, as can recognition of flawed design strategies (see the leaky condo crisis). So too can greater understanding of the threats posed by seismic events and climate change. The push for energy efficiency and smart technologies often makes older structures seem obsolete, even if they are still functionally sound. In this context, demolishing and rebuilding can appear more attractive than retrofitting and preserving.

Aesthetic preferences, too, evolve with time. Architectural trends shift, and what was once considered innovative can quickly become passé. The desire to stay current with styles and innovations leads to abbreviated cycles of construction and demolition, where buildings are regularly replaced to align with contemporary tastes.

Additionally, the sheer cost of necessary improvements can drive decisions to replace rather than renovate and reuse buildings. Cost-benefit analyses still too often reveal the expenses involved in bringing an older building up to modern standards exceed those of new construction. This financial reality further contributes to the preference for demolition over adaptive reuse.

Nothing is left of the original North Eugene High School.

This culture of impermanence has profound implications for our collective identity. Buildings are more than mere shelters; they express our values, histories, and aspirations. When we demolish structures we risk erasing important cultural markers and disrupting our connections with the past. The built environment becomes a fleeting snapshot of a moment rather than a lasting record of our evolution.

Historic preservation efforts, though commendable, often struggle against the tide of economic and technological pressures. We may spare iconic landmarks, but many buildings that hold local significance for a community face demolition. This loss can be particularly acute in rapidly developing urban areas, where the pressure to maximize land use is intense. A case in point that I documented back in 2021 was the demolition of the old Glenwood Restaurant near the University of Oregon campus in favor of a new student housing development.

Adaptive reuse offers a compelling alternative to the cycle of demolition and reconstruction. Repurposing existing buildings to serve new functions extends their utility while minimizing waste, resource depletion, and embodied carbon. Adaptive reuse revitalizes structures, allowing them to evolve alongside the communities they serve.

By reimagining and transforming existing buildings, we preserve cultural and historical significance while addressing contemporary needs. This approach aligns with sustainable practices, significantly reducing the environmental impact associated with new construction. Adaptive reuse minimizes waste by keeping existing structures out of landfills, conserves resources by reducing the need for new materials, and lowers embodied carbon emissions by reusing what has already been built. Additionally, adaptive reuse fosters creativity, as architects and designers find innovative ways to transform existing spaces.

This is far from a new idea. Stewart Brand published his seminal book How Buildings Learn back in 1994. He persuasively argued that architects should accept the inevitability of change and refinement, and design in a way that buildings can gracefully be adapted to different purposes. If architects do this—accept the reality of change as a constant—they will design new buildings without arrogance, buildings that are long-lasting, flexible, and adaptive to change over time.

Advocating for adaptive reuse is essential in promoting a sustainable future. So, rather than focusing on and lamenting the loss of buildings, I will instead champion the innovation and environmental benefits of repurposing existing structures. Every adaptive reuse project presents an opportunity to advance design, sustainability, and functionality in architecture.

Contributing to discussions and initiatives that promote a dynamic and sustainable built environment is crucial. The profession of architecture thrives on continuous learning and adaptation, reflecting its evolving nature. Emphasizing adaptive reuse not only preserves our cultural heritage but also paves the way for a more sustainable future.

Courting Aesthetics

Detail view of the new court design's "missing man" formation of flying ducks (photo from GoDucks.com)

As both a devoted fan of the Oregon Ducks and an architect, I eagerly follow developments related to the university’s athletics facilities. For better or worse, the Ducks have become the poster child for lavish spending and trend-setting accommodations for its varsity sports. The latest such improvement is the revamping of Matthew Knight Arena’s Kilkenny Court playing surface, unveiled by the university last week.(1)

The new design has sparked enthusiastic reactions from the Ducks’ fan base, prompting me to ponder whether something as physically shallow as a painted court surface truly contributes to the aesthetic perception of an architectural space, specifically the interior of a basketball arena.

The saying "beauty is only skin deep" suggests that we shouldn’t assign much importance to outward appearances as they merely mask inner qualities. Architects have long grappled with this notion and its impact on how people perceive a building’s design. This struggle moved to the forefront during the ascendency of Modernism during the 20th century as designers eschewed applied ornament in favor of an analytical and functional approach to the creation of architecture. The belief was ornamentation belonged to the past and that a new aesthetic language based on simplicity and purity of form is morally superior. This was the dominant canon for many years. While Modernism has since made room for aesthetic pluralism, most architects will still contend their focus is not upon surface appearances. So, what should we make of the average person’s natural and visceral response to first impressions? To what extent should we credit aspects of a design’s success to elements that are at most skin-deep? In the case of the Ducks’ new court design, the simple answer is “a lot.” 

The new floor design (photo from GoDucks.com)

Spearheaded by Van Horne Brands, the new Kilkenny Court blends innovation with tradition. The visually striking design evokes a sense of place and history, while reimagining the “Deep in The Woods” theme of Knight Arena’s original court design. The centerpiece is a prominent “O” logo, encircled by the tree imagery, which is more transparent (and green!) than the court’s much-derided first iteration. As before, the use of tree graphics reinforces connections to the local landscape, as well as referencing Oregon’s 1939 NCAA championship men’s basketball squad (“The Tall Firs”). The new design also honors the arena's namesake, Matthew Knight (who tragically died at the age of 34 in a scuba diving accident), with subtle yet meaningful elements like the "missing man" formation of flying ducks near each baseline. This tribute adds emotional depth to the court and enriches the overall experience of attending a game by conveying a story, values, and emotions. Spectators entering the arena are immersed in a visual narrative that connects them to the local landscape and Oregon’s heritage, creating a unique and memorable experience.

Having attended many games at Matthew Knight Arena since its opening in 2011, I know firsthand how the court’s design can enhance or detract from the overall atmosphere. A problem with the original scheme (which I did not like) was that its brown and ochre graphics suggested wildfire, drought or insect-ravaged woods rather than a thriving stand of evergreens. Another problem was how overly intricate and murky the tree imagery was, detracting from the clarity and simplicity some observers prefer in sports arenas. The fact the old court rendered the game lines illegible did not help. The best that could be said about the old court was that it was a conversation starter.

MKA's original floor design (my photo).

From what I’ve seen online, the shift to the more vibrant aesthetic for the floor while carrying over elements from the previous design is being well-received by most Oregon fans. I suspect this is due to both the extensive use of an Apple Green we readily associate with Oregon’s school colors as well as its deceiving simplicity. There’s a lot going on with the new floor, but this is achieved by means that are not visually distracting or headache-inducing. I like that the visual elements of the redesigned court not only captivate the eye but also engage the emotions, fostering a sense of unity and pride among players and fans alike. The visual appeal of the new court transforms the arena into a microcosm of Oregon's natural beauty and cultural identity.

One of architecture’s fundamental obligations is to delight those who experience it. The philosophy of aesthetics focuses on how beauty is perceived and appreciated through all our senses. While I have yet to see it in person, I believe the redesigned Kilkenny Court at Matthew Knight Arena does illustrate a meaningful connection between the spectators, the players, and the place they call home. Notwithstanding its superficiality, the painted surface of a basketball court contributes to the immersive experience and aesthetic perception of the arena’s architecture. As architects strive to prove their relevance to clients, it is important to highlight the significance of creating spaces that are pleasing to the senses in all respects. The new court design, albeit skin-deep, does this through its melding of imagery, tradition, and reverence, enhancing the identity and soul of the building.

(1)    Though not announced in the press release, rumor has it that volleyball will receive its own distinct floor design. The fresh looks herald Oregon’s debut as a new member of the Big Ten Conference.

Crafting Community Through Art

Lane Community College Health Professions Building nearing completion. The violet-blue stucco panels are where the intended murals will be located.

It is my privilege to be a member of the selection jury tasked with identifying the artist or team of artists who will create large-scale murals for the new Lane Community College Health Professions Building (HPB). The selection process, now underway, is both exhilarating and challenging. Fundamentally, the process for selecting the right muralist(s) for the building is about choosing work that will resonate with both the college and the greater community, tell a story, and enhance the campus in a meaningful way.

The 11-member jury includes representatives from the Health Professions Division, the Visual Arts Department, the Performing Arts Department, and the Facilities Management & Planning office, bringing together a wealth of perspectives to the table.

For my part, as the project manager for the building’s design team I will help ensure the architectural concept is fully realized. From the very beginning, the incorporation of large murals has been central to our design—integrated art that is both site-specific and holistic. Particularly for the exterior installations, which will be up to 30 feet tall, we envision work that will captivate viewers from a distance (such as drivers on 30th Avenue) and invite closer inspection. We want the future murals to serve both spatial and symbolic roles, inseparable from the building’s architecture and drawing people into their narrative. Unlike "plop art," which is often autonomous and detached from its surroundings, the murals will be conceived for, dependent upon, and inseparable from the building and its context. They will engage viewers, drawing them into the building's spatial narrative and creating a dialogue between the artwork and the architecture. The murals will be essential components of the building and a vital part of the structure’s identity.

Rendering of the building depicting the concept of mural art in the north portico.

The call for applications, detailing a $110,000 budget inclusive of all costs, emphasized the need for unity, a sense of welcome to the campus, and a representation of diversity, equity, and inclusion. These criteria ensure that the selected murals will not only beautify the HPB but also embody the values of Lane Community College.

The jury’s task began with a flood of creativity: 139 artists (or teams of artists) submitted portfolios through the art call management tool, CaFÉ. Despite its occasional clunkiness, CaFÉ is invaluable for its consistency and fairness, ensuring that every artist has an equal opportunity to present their work and that our reviews are standardized.

One of the most rewarding aspects of this process has been seeing the diversity and quality of the submitted portfolios. Each is a window into an artist’s world, showcasing their unique style, vision, and interpretation of what the murals could bring to the LCC campus. The initial review stage, in which we scored each submission with a simple “yes,” “no,” or “maybe,” allowed us to sift through this vast array of talent and creativity. Each "yes" or "maybe" represents a piece of art that could potentially transform the building and impact the community.

Examples from the submitted artists' portfolios:

As of this writing, we have successfully winnowed down the number of candidates from 139 to twenty-two. Discriminating between higher and lower-ranked submissions among the semi-finalists will require plenty of deliberation. The subjective nature of art means that what resonates with me might not with my fellow jurors. This is where the scoring system, now ranging from one to seven (seven being the most preferred), comes into play. While it will help in quantifying our preferences, it will also bring to light the nuanced differences in our perceptions and priorities.

We are meeting again next week to further reduce the list to three or four finalists, who we will then ask to present site-specific design proposals. This next phase is particularly exciting because it will involve seeing the artists’ visions come to life in the context of our building’s design. To support this, LCC will provide stipends to the shortlisted candidates, recognizing the time and effort required to develop their concepts. Our schedule will require delivery of the finalists’ proposals for our review sometime in September. If all goes to plan, the installation of the murals will occur a year from now during the 2025 summer break.

The final choice of the project’s muralist(s) will be a culmination of thorough review and collective deliberation. Personally, I find it incredibly rewarding to further contribute to a project that will leave a lasting mark on the LCC campus and beyond to the broader community. The murals that will eventually grace the HPB will be a testament to the diverse voices and visions that came together to make the building possible.

The goal of LCC’s public art selection process has been clear from the get-go: to use a credible methodology that emphasizes inclusion, community development, and consensus building. This is not just about choosing a muralist; it’s about engaging the community in a meaningful dialogue about art and its role in public spaces. It is a journey of discovery, collaboration, and celebration. It’s about finding art that will not only enhance the Health Professions Building but also enrich the lives of those who encounter it. As a member of the jury, I’m proud to be part of this journey.