AIA-SWO Intern Tour: Falling Sky Brewing

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

The next in the ongoing series of AIA-SWO construction project tours features the creation of a new brew pub in Eugene, Falling Sky Brewing. Like the previous tours, the intent is to allow architectural interns who may not otherwise regularly visit building sites to 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 decade of providing exceptional service and products for home brewers and winemakers, Valley Vintner & Brewer, 30 E 13th Avenue in downtown Eugene, changed its name to Falling Sky Brewing. With the assistance of Nir Pearlson Architect, Inc. Falling Sky is expanding into a beautiful adjacent space.

Ultimately encompassing over 3000 square feet, the result will transform an old warehouse into a refined setting featuring the old barrel-vaulted ceiling structure, an outdoor beer garden, a full kitchen, and German-made brewery equipment. The stunning copper-clad brewing tanks will be visible behind a wall of reclaimed industrial windows. The cook-line will be open to the service counter, integrating the brewing and cooking processes into the dining experience. Oversized windows and a glazed roll-up door provide direct indoor/outdoor links and access to the south-facing dining patio.

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

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

Travis Sheridan, Associate AIA (my photo)

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

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

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

And thank all of you for attending the 2011 Craftsmanship Awards this evening. What a wonderful event to honor some of this region’s outstanding men and women. Each of you truly earned your place here tonight. As John mentioned, I’ve been asked by the Southwestern Oregon chapter of the American Institute of Architects to present a few words reflecting on craftsmanship.

When I first began thinking about what I would say here tonight, I found myself repeatedly asking a very basic question, “What is a craftsman?” We all probably have different ideas of what one is and what one does. Surely, as we 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 that reflecting on that word alone can open oneself to reflections on one’s own practice.

My understanding of craft relates to one’s ability to plan and build, both of which require authenticity. The words dexterity and ingenuity are both used to define craft. Dexterity, curiously enough, stems from the spatial relationship of the body to the hand—the right hand of mankind—an almost righteous or holy shield protecting all that is good. To be dexterous is to possess such skills of the hand indispensible to our cultural and physical survival. Your touch in turn touches the hearts and minds of others, reaching well beyond your physical grasp. Ingenuity describes a freeborn status of the will, a high-minded cleverness at inventing things, especially of a curious or unexpected nature. Ingenuity is also frank and candid, qualities so often overlooked. 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 say you 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 is called answers.

All of you here being honored tonight for your craftsmanship have been recognized by colleagues in the trade—folks who depend greatly on you and your contributions. It is no simple task to create our physical world. The vitality of your role in that development is unquestionable. Like myself, I’m sure that each and every day you aspire to improve upon that world. But time creates circumstances that prove difficult to follow, and keeping ahead more difficult still. With all aspects of human existence experiencing exponential growth, one can easily become lost. Living and growing in our system also has its share of disadvantages with perplexing and, at times, absurd challenges. So to rise above all of that and produce an ever-improving body of work is a remarkable achievement. If my experiences thus far in our shared professions have shown me at least one thing, it would be that good work is actually not at all too hard to come by, but great work is.

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

Exploring this exercise further, imagine if you can a society without individuals of high-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 or working well. Nor could I foresee any spaces that provided function, beauty or even adequate shelter. Quite literally, craftsmanship, being above “well enough” saves humankind from utter infrastructure failure.

Never insignificant, your work does more than inspire, it provides real solutions to people’s everyday lives. This cannot be understated. How you do anything is how you do everything. The requirements and pressures placed on each of you every day are astonishing. You’re faced with a googolplex of 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, compiling effective building schedules, understanding code changes, researching and testing new materials, satisfying practical domestic needs, deciding which color produces a deeper spiritual introspection. And endless questions: What happens when the clients change their minds? Will this hold up in the rain? Is this material strong enough? When can I pay for all of this? How long will it take to build? In the end of all the discussion, the built environment exists because you stand up to take on the noble role of craftsman.

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

Thank you again for the work you do. May that work continue to provide us with yet another chance to experience superb craftsmanship.

Presented by Travis Sheridan   ©Sirideon

16 November 2011

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

Thank you Travis for your articulate tribute to those who dedicate their working lives to giving material shape to our designs. You spoke on behalf of all AIA-SWO members who truly appreciate and recognize fine craftsmanship. I look forward to hearing more from you on matters related to design, architecture, building, and community.

November AIA-SWO Chapter Meeting Recap

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

Over 130 design and construction industry members packed the University of Oregon’s new Ford Alumni Center to attend the November AIA-SWO chapter meeting and honor the nominees for and recipients of this year’s Craftsmanship Awards. The event was my profession’s opportunity to extol the virtues of fine craftsmanship and recognize those considered by the jury to be exemplary craftsmen or women. It was a wonderful evening that celebrated the best of the best. 

Attendees enjoying the delicious food at the buffet

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 that local architects believe exemplify the highest standards of craftsmanship.

The Southwestern Oregon chapter of the American Institute of Architects considers anyone in the building trades—cost estimator, fine cabinet maker, job site superintendent, and all the others—worthy of this recognition if they have consistently taken that extra step to ensure a finely crafted building. The success of the most excellent architecture would not be possible without the dedication and skill of these individuals.

John Lawless, AIA served as emcee for the program.

The following is the complete list of the nominees for the 2011 Craftsmanship Awards:

Annah James – Annah James Studio

Caleb Bruce – Foci

Chris O'Sheedy – Innovative Air

Dana Fuller – 2G Construction

Dave Krull – Chambers Construction

Dave Veldhuizen – Six Degrees Construction

David Roberts – Gormley Plumbing & Mechanical

Dennis Coduti – Dennis Coduti G.C.

Don Brockman – Chambers Construction

Frank Goin – Bridgeway Contracting

Gary Bartel – Benny Bartel Company

Jesse Elliot – 2G Construction

John Burbee – EC Company

Kelly Willis – John Hyland Construction

Lee Hansen – Lee Hansen Painting

Martin Grant – Heartwood Carving Studios

Matt Imlach – Wildish Building Co.

Mike Nowak – 2G Construction

Randy Teeney – Marion Construction

Richard Shields – Rubenstein’s

Scott Brown – Scott Brown Construction

Tim Coslow – Tim Coslow Woodworking

Tom Allen – Smith Sheet Metal

The awards jury was pleased that the nominees for the 2011 Craftsmanship Awards represented a broad spectrum of skill sets and experience, and offered the following remarks:

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

Nominations were reviewed representing trades or skills reflecting the wide and varied contributions to the design and construction industry. This of course makes judging the nominees difficult, as direct comparisons are not possible, nor appropriate. Thus, each nominee was judged on the merits of their body of work as illustrated or described in the nomination submission, and the range of support and comment for each nomination.

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

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

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

Annah James – Annah James Studio (Art Glass)

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

She works to understand the essence of a project and reflects it beautifully into her artwork and thus the architecture. Annah’s ability to collaborate with architects and clients to draw out the inspiration for the work has connected her clients more closely with their own projects.

Caleb Bruce with Kurt Albrecht, AIA

Caleb Bruce – Foci (Cabinet Maker)

Caleb is recognized for his ability to create 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 of work is $10,000 or $300,000 his professionalism, attention to details, and craftsmanship never waver. 

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

David Roberts

David Roberts – Gormley Plumbing (Pipe Fitter)

Dave’s work sequence and fine quality craftsmanship as a pipe fitter is a pleasure to observe in the field.  He is strategic in planning the placement of tanks and piping so as to allow for future service and maintenance. 

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

Don Brockman

Don Brockman – Chambers Construction (Superintendent)

Don provides superior and consistent leadership during construction projects. He is a great communicator and his thoughtful, proactive approach to orchestrating the entire design and construction team is invaluable. 

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

Michael Nowak

Michael Nowak – 2G Construction (Superintendent)

Michael has worked in the construction industry for over thirty years as a carpenter, project manager and superintendent. He is known for his conscientiousness, for his sensitivity to clients’ concerns, and for his absolute commitment to quality workmanship and safe performance.

His problem solving skills and his ability to overcome significant logistical issues are outstanding and greatly appreciated by both architects and clients.

Randy Teeney

Randy Teeney – Marion Construction (Concrete Form & Finish)

Randy provides excellent leadership during fabrication of tilt- up concrete panels. His crews assemble formwork with the precision and care typically found in finish carpentry. He works diligently 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 construction team, and with his many years of construction knowledge and attention to detail he provides quality work placed safely and efficiently.

Richard Shields

Richard Shields – Rubenstein’s (Quantity Estimator)

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

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

Scott Brown

Scott Brown – Scott Brown Construction (Concrete Finisher)

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

He provides a high quality level of work even while working with the often challenging layout of curvilinear projects. He has great technical construction knowledge and has shown a willingness and ability to collaborate with artists to integrate his work with theirs. Scott is a true craftsman when it comes to working with concrete. 

Tom Allen

Tom Allen – Smith Sheet Metal (Sheet Metal Fabrication)

Tom has shown an exceptional attention to craft and detail and also a collaborative spirit when working with both design and construction teams.  He seeks to make sure that the sheet metal work 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 his emphasis on quality and craftsmanship is evident in all his work.   Tom is serious about his work and demonstrates a commitment to pursue the highest standards of his craft.

The jury also chose to present a distinctive award to an individual who has dedicated his career to the cause of excellence in the construction industry. That individual is my good friend Gary Bartel:

Following in the footsteps of his father, Benny Bartel, who was also an award winner, we are pleased 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 Bartel has been managing Benny Bartel Company since 1983 when he took over for his father, Benny Bartel (a previous Craftsmanship Award Winner).

Under Gary's management the company expanded from plastering to drywall and then to acoustic ceilings, demountable partitions, metal studs, access flooring and sound wall systems. Even as the newer products emerged that required less ability of a true craftsman, Gary emphasized the quality of the finished product. Loyalty was automatic with well-trained plasterers working for Benny Bartel Company. It was not uncommon to find a supervisor or plasterer that had been with the company 20 or more years.

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

Gary Bartel

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

The 2011 Craftsmanship Awards program was 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

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?!!!!

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

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