Architecture is Awesome #17: The Golden Ratio

The Parthenon 

This is another in my series of posts inspired by 1000 Awesome Things, the Webby Award winning blog written by Neil Pasricha. The series is my meditation on the awesome reasons why I was and continue to be attracted to the art of architecture. 

Throughout history, whether knowingly or not, many architects have assigned aesthetically pleasing mathematical proportions to the buildings they designed that come close to what is widely known as the “Golden Ratio.” The approximate value of the Golden Ratio is 1 to 1.618. It is an irrational number often symbolized by the Greek letter “phi” ( Φ, φ ) and can be expressed by this formula: 

It was Euclid who, more than two thousand years ago, first identified the peculiar properties of the Golden Ratio (also referred to as the “Golden Section,” the “Golden Mean,” or the “Divine Proportion”). Many since Euclid have observed that people find both natural and manmade objects displaying dimensional relationships consistent with Golden Ratio to be well-proportioned, and thus most attractive. The ideal ratio is a match of the proportion between the parts and the parts to the whole. 

The Golden Ratio is closely related to the Fibonacci Sequence, which is a recursive formula wherein each successive generation of numbers is defined in terms of the previous two generations. The proportions of consecutive generations increasingly approach a fixed limiting value of 1.6180339887 . . . the Golden Ratio. 

The ratio is often expressed graphically and mathematically as a visually satisfying rectangle that can be split into a square and a smaller rectangle possessing the same aspect ratio as the rectangle it was cut away from. Infinitely repeating this process results in recursive generation of self-similar rectangles all displaying identical proportions. 

This Wikipedia and Wikimedia Commons image is from the user Chris 73 and is freely available at //commons.wikimedia.org/wiki/File:NautilusCutawayLogarithmicSpiral.jpg under the creative commons cc-by-sa 3.0 license 

The fact we find the proportion so frequently in the natural world at all scales (from the subatomic to the cosmic) is positively mind-blowing. We can see it in the pattern of seeds in the head of a sunflower, the spiraling chambers of a nautilus shell, and the formations of hurricanes and galaxies. Some claim our conceptions of human beauty are founded upon the natural occurrences of symmetries and the Golden Ratio in the dimensional relationships between one’s eyes, nose, mouth, etc. We may be primed to like physical characteristics that adhere to the Golden Ratio because it serves as a marker of reproductive fitness and health. 

The west facade of the Cathedral of Notre Dame in Paris exhibits proportioning in accordance with the Golden Mean (photo by Peter Haas CC BY-SA 3.0 licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license).

Many famous works of architecture clearly exhibit compositions utilizing approximations of the Golden Ratio in plan, section, and elevation. The Parthenon is an oft-cited (if imperfect) example. So too are many of the works of the Renaissance architect Leon Battista Alberti and his contemporaries. Le Corbusier based his Modulor proportional system upon the Golden Ratio, the 1927 Villa Stein and his later Unite’ d’habitation projects perhaps being among the most notable and obvious examples of its application. 

Le Corbusier's Modulor inscribed on the wall of the Unite’ d’habitation in Berlin (photo by Jean-Pierre Dalbéra from Paris, France (Corbusierhaus (Berlin)) [CC BY 2.0  (https://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons) 

The physicist Max Tegmark posits we live in a relational reality, in the sense that the properties of the world around us stem not from properties of its ultimate building blocks, but from the numerical bonds between them. He says our physical world is effectively one giant mathematical object. It is the relationship between numbers—especially seemingly magical ones like the Golden Ratio—and the nature of reality that has fascinated and inspired architects ever since the time of the Ancient Greeks. 

Growing up, dealing with numbers was never my strong suit. I was a middling student at best when it came to math; nevertheless, the idea that everything in our existence is somehow mathematical fascinates me today. As an architect I try to make sense of what it all means to the work I’m engaged in. Like Max Tegmark, I’m convinced there’s more to it all, something undeniably extraordinary and useful to the design of our built world. At the most essential level, proportional systems like the Golden Ratio hint at the astonishing, amazing, and AWESOME beauty inherent in our mathematical universe. 

Next Architecture is Awesome: #18 Evanescent Ruins

2019 CSI Certification Classes

For the 37th consecutive year, the Construction Specifications Institute–Willamette Valley Chapter (CSI-WVC) is pleased to offer a series of classes on Construction Contract Documents in addition to another set covering Construction Contract Administration. While the principal purpose of the courses is to assist those planning to take one or more of the CSI-sponsored certification examinations, they’re also beneficial to anyone in the AEC industry seeking foundational training in the preparation and use of construction documents. Additionally, the classes can be of significant value to architectural interns and to the firms for whom they work, as well as very helpful to those preparing to take the State Architectural Licensing Exams. 

The evening classes begin in early January 2019 and continue weekly through the first part of March.

Click on the following links to locate detailed information about the classes, dates, fees, and registration:

Construction Contract Documents (CDT) Classes:

https://app.box.com/s/qbyum0t8qhr4nilb7bpwsscr2bvuquv4

Construction Contract Administration (CCA) Classes: https://app.box.com/s/xf9sa4zrzgopmses7xgev3qeunx4uwkj

The venue for both courses will be the Eugene Builders Exchange, located at 2460 West 11th Avenue in Eugene. 

Both courses can help students develop a conceptual understanding of the entire construction process, and concrete skills in: 

• Construction documentation development and administration 
• Specification writing and enforcement 
• Product research and sourcing 
• Communication with the design and contracting teams

The Construction Documents program provides a comprehensive overview for anyone who writes, interprets, enforces, or manages construction documents. Being able to understand and interpret written construction documents helps architects, contractors, contract administrators, material suppliers, and manufacturers' representatives perform their jobs more effectively. Understanding the roles and relationships of all participants improves communication among all members of the construction team. The Construction Contract Administration course goes further to emphasize the specific knowledge and skills necessary to administer and enforce construction contract documentation. While not necessary, some students may find it helpful to have completed the Construction Documents course before taking the Construction Contract Administration program.

As mentioned above, both classes serve as excellent means to prepare for CSI’s certification exams. Certification as a Construction Documents Technologist (CDT) means you have demonstrated ability to prepare, use, and interpret construction documents. CDT certification is a prerequisite to CSI’s advanced certifications, which include Certified Construction Specifier (CCS), Certified Construction Contract Administrator (CCCA), and Certified Construction Product Representative (CCPR).

CSI offers its certification examinations twice annually, in the spring and the fall. Taking the 2019 Willamette Valley Chapters classes this winter would set you up nicely to register for the spring set of exams.

The classes are especially beneficial for emerging design & construction industry professionals, and to the firms for which they work. They’re also particularly helpful to aspiring architects preparing to take a State Licensing Exam.

By taking either of the classes, fully fledged architects can earn up to 16 Continuing Professional Education (CPE) hours to apply toward maintaining Oregon State Board of Architect Examiners professional licensure; AIA Members can earn up 16 Continuing Education Learning Units (LU) which CSI will report directly to AIA/CES.

Hundreds of local AEC professionals have already benefitted immeasurably by taking one or both CSI certification classes. Do the same and you’ll learn about the importance of clear, concise, correct, and complete construction documents, and more fully understand how projects unfold from conception to delivery. Best of all, you’ll advance your career prospects and become a highly valued member of any project team.

If you have any questions, please call me at 541-342-8077 or send me an email at rnishimura@robertsonsherwood.com. 

The Corvallis Museum

Rendering of the Corvallis Museum by Allied Works Architecture

The October AIA-Southwestern Oregon chapter meeting was one I’d looked forward to for quite some time as it featured an exclusive construction tour of the Benton County Historical Society’s (BCHS) new museum in Corvallis. I’ve been tracking the progress of the project for nearly ten years, ever since my firm’s unsuccessful pursuit of the commission back in 2009. Rather than tinged with disappointment at not securing the job, my continued interest stems in equal parts from my admiration for the talents of the chosen architect—Brad Cloepfil of Allied Works Architecture—the design of the proposed museum, and what the project heralds for downtown Corvallis. 

Our hosts were Mike Schweizer, president of the Historical Society’s Board of Trustees, Irene Zenev, BCHS executive director, and Keith Alnwick and Daniel Toole of Allied Works. The general contractor for the museum is Gerding Builders of Corvallis. 

When it opens, the new 19,000 SF museum will allow the BCHS to exhibit its diverse cultural and natural history collections (which include the wildly eclectic historical, geological, and archaeological artifacts of the Horner Collection), connect with a broader audience, and bring new life to a streetscape of shops, residences and historic buildings. In addition to 5,000 square feet of exhibition galleries, the facility will house the BCHS offices, exhibition preparation spaces, and an education room with the capacity to hold 100 people. Additionally, the museum will feature a museum store (which includes an entrance opening to and enlivening Second Street), a spacious lobby, a board room, a docent room, and the landscaped Starker Courtyard. 

Plans

The museum’s two-story plan is organized around an array of 35-foot wide, clear-span structural bays. Bay windows and canopies (mandated by Corvallis’ downtown development code) enliven the otherwise simple massing that echoes the modest scale and grain of the building’s downtown Corvallis context.

Irene Zenev (center right), Benton County Historical Society Executive Director, addresses the tour group (all photos by me).

The tour was very well-timed. Construction is quite advanced now, but not so much so that many of the details of the building’s construction are already concealed from view. The exterior walls are in various stages of completion. Some are ready to receive the glazed, striated tiles that will ultimately clad the entire building, while others are yet to receive the cementitious backer board to which the tiles will be applied. Inside, the configuration and volumes of the museum’s galleries are clearly evident, making it easy to imagine what the spaces might be like and the flow through them. Plumbing, HVAC, and electrical infrastructure is installed throughout the building. 

Inside one of the 2nd floor galleries. Note the angled ceiling planes and the opening to the lobby below.

Daniel Toole provided a wealth of information about the design and the challenges associated with constructing the BCHS’s showcase facility. As the associate responsible for construction administration, Daniel has shepherded the project on behalf of Allied Works since the first shovel of dirt was turned more than a year ago. He explained the care with which his firm organized window openings to provide controlled natural light in the galleries. He described the proposed interior materials palette, which will primarily feature white-painted walls and ceiling planes contrasting with white oak flooring, stair treads, and cabinetry. He was quick to give props to Gerding Builders and their subcontractors for the quality and precision of their work. 

According to Mike Schweizer, the project will ultimately cost around $10.4 million. It’s on track to receive LEED Silver certification. 

Inside the future Mary C. Verhoeven Gallery. Daylight enters from a north-facing clerestory window and a bay window.

My thoughts about the design? First off, what surprised me is how spacious it seemed inside. Having only seen the plans and renderings previously, my preconception was it would feel small. In fact, the wide variety of exhibit types will enjoy plenty of breathing space. That said, my other significant impression was how appropriately scaled its exterior volumes appear to be. The cadence of the clearly expressed 35-foot structural bays correspond to the human-scaled rhythm of the traditional storefronts that populate Corvallis’ downtown streets. 

I do expect the finished building will very much reflect Brad Cloepfil’s approach to creating architecture. He is sought after by museums because of his ability to craft buildings that shift your perception so that you are open to new experiences. He views each of his museums as a “vessel” whose purpose it is to prepare you to see something different. His philosophy promotes a phenomenological and material-focused approach to designing buildings, rather than one that favors the scenographic or picturesque. 

Exterior view from 2nd Street.

As I wrote on my blog in 2010, I had the pleasure to speak with Irene Zenev several times during our pursuit of the commission. Irene “gets” architecture and recognizes the fact that the proposed museum will be a civic asset for downtown Corvallis. She understands that outstanding architecture will deliver added value to the display of the collections. During the architect selection process, she studied contemporary museum projects, visiting and being particularly impressed with the Museum of Arts and Design (MAD) in New York City. She would be surprised to learn that MAD was designed by an Oregon native—Brad Cloepfil—and his Portland-based firm. Due in no small part to Irene’s advocacy, BCHS swung for the fences and chose Allied Works, ensuring an architectural landmark for downtown Corvallis. 

It’s beyond impressive how the BCHS has persevered for so many years to realize such a significant cultural project. Likewise, the support of the community has been tremendous. Many in Eugene and Lane County will most certainly look to the Corvallis Museum with envy when it opens its doors sometime next spring or summer. I’m looking forward to visiting the museum again upon its completion and filing yet another report here on my blog.

Hearing Loops

In a free presentation, national expert Dr. Juiliette Sterkens, Au.D., discusses why hearing loss is such a challenging, isolating problem and how hearing loops in both community and personal spaces can dramatically increase access to music and the spoken word for people with hearing loss. This event is for people with hearing loss and their family and friends, church leaders, public facility and retail managers, architects and contractors, hearing and speech specialists, physicians, and anyone who is or will be impacted by hearing loss. 

Dr. Juliettte Sterkens, Au.D.

What is a “hearing loop” and how does it work? A hearing loop is an assistive listening technology for individuals with reduced ranges of hearing. It consists of a physical loop of copper wire which is placed around a designated area (such as concert halls, ticket kiosks, high-traffic public buildings, auditoriums, places of worship, courtrooms, meeting rooms, homes, and even taxis) that broadcasts a magnetic field throughout the space which can be picked up by any hearing aid or cochlear implant equipped with a generic T-coil, or “telecoil,” receiver (and most modern hearing aids and cochlear implants already are so equipped). Unlike other assistive listening systems, it does not require the use of a special headset. The loop allows the sound source—whether a musical performance, a speaker, or film—to be transmitted to the hearing-impaired listener clearly and free of other distracting noise. 

What:  Juliette Sterkens:  Hearing Loops: What is all the fuss about and why we should care? 

When:  Sunday, November 18, 2018   2:00 – 3:30 PM 

Where:  Jaqua Concert Hall, The Shedd Institute, 868 High Street, Eugene 

Cost:  Free 

The Shedd Ticket Office and Jacqua Concert Hall are looped. The Shedd will provide assistive listening devices for those without t-coil who wish to try out the system. 

Sponsors:  Hearing Associates – Sanid Ybarr, Au.D., Doctor of Audiology 

About the Shedd Institute:  Founded in 1991, The John G. Shedd Institute for the Arts is a non-profit education and performance center that operates a community music school for all ages and provides more than 150 performances annually in a 70,000 square foot former church building in downtown Eugene. The Shedd Institute also manages its building for use by other cultural and educational organizations and community rites of passage. http://www.theshedd.org.

Emerald Village

Emerald Village (all photos by me unless noted otherwise)

SquareOne Villages believes everyone deserves a safe and stable place to call home. The organization, founded in 2012 by pastor Dan Bryant and others, seeks to bridge the gap between the street and conventional housing with a variety of simple, cost-effective housing options. Following its Opportunity Village pilot project (which consists of transitional micro-housing for otherwise homeless individuals and couples) SquareOne embarked on Emerald Village, a tiny house community located in Eugene’s Whiteaker neighborhood providing permanent, accessible, and sustainable homes for people with very low incomes. By developing Opportunity Village and now Emerald Village, SquareOne is delivering real solutions through innovative means. 

A big part of that innovation is enlisting the help of local architects, designers, and builders to make Emerald Village a reality. The AIA-Southwestern Oregon members and other design professionals who volunteered their efforts each designed one or two of the twenty-two homes or shared communal facilities. All the homes meet code definitions for a “permanent dwelling,” including sleeping and living areas, a kitchenette, and bathroom—all within 160 to 288 square feet per unit.  

Each resident of Emerald Village pays between $250 and $350 to cover their share of the cooperative costs (which pays for rent and includes utilities, maintenance, and operating expenses). They can build equity as $50 of their coop share each month applies to a savings account, which can be cashed out if they choose to move elsewhere. Each resident had a voice in shaping how Emerald Village is operated and managed, creating the foundational sense of ownership on which the village thrives. 

Andrew Heben (still from YouTube video by Homeless Action)

I recently toured the project. My host was Andrew Heben, SquareOne’s project director and himself a resident of Emerald Village. Andrew’s background is in urban planning and design, and includes a stint working with The Urban Collaborative. He’s traveled extensively to study over a dozen tent cities organized by the homeless, and spent time living at one in Ann Arbor, Michigan known as Camp Take Notice. This experience informed his 2011 award-winning thesis in urban planning at the University of Cincinnati. He is the author of Tent City Urbanism: From Self-Organized Camps to Tiny House Villages, based on his extensive field work, personal research, and hands-on experience with SquareOne. 

I found Emerald Village remarkably picturesque, albeit pint-sized. The cluster of varied structures is truly village-like, shaping an assortment of pleasant outdoor spaces shared by the residents. 

I asked Andrew whether he considers the tiny home village concept to be a superior means to address the problem of housing affordability when compared to multi-unit apartment buildings, cooperative housing, or SROs. “Emerald Village is simply an alternative, it isn’t necessarily better,” he said. “What’s important is rethinking the problem of affordability and scale, and involving residents in the final design and construction of their homes.” 

Tiny homes are not truly inexpensive (economy of scale is lacking, and the SquareOne model relies heavily upon donated labor & materials, and an absence of debt), they are small (they are, after all, tiny houses), and not for everyone (Emerald Village’s residents include individuals and couples, but no families with children). No matter: for the inhabitants of Emerald Village, what’s most important is that each is a place they can afford and proudly declare as theirs. 

Andrew Heben of SquareOne Villages (left) and resident Bruce Sedgwick outside of Bruce's home, Unit C.

During my visit, Andrew and I chatted with one of Emerald Village’s pioneering residents, Bruce Sedgwick. His home—Unit C—features a hallmark common to all of the village’s tiny houses: individuality. Bruce’s home is truly his. He enjoyed providing input during the design phase (Bergsund Delaney Architecture & Planning PC designed Unit C), and he’s equally enjoying the process of “home improvement” now that he’s moved in. His current project is an expansion of his front porch using a type of patio paver that can be filled with grass, crushed rock, or sand to provide a permeable, durable, and usable surface. 

I peeked inside Unit C. “Tall, isn’t it?” Bruce asked rhetorically. Indeed, it is. The loftiness of the main living space relieves its otherwise petite dimensions. Above the bathroom and kitchenette is Bruce’s sleeping loft, accessible via a ship’s ladder. Like the other Emerald Village houses, Unit C is definitely cozy, but it is practical and full of charm. Bruce did lament the absence of indoor places in which to stow away his belongings, but also noted the generous storage room he can access from outside. 

Unit C interior

Andrew mentioned how one of the obstacles to creating a tiny home village has been Oregon’s residential building code, which mandates minimum room sizes and specifies acceptable stair configurations. The State recently adopted the 2018 International Residential Code (IRC), which includes Appendix Q for Tiny Houses. The new code provides relief from some of the provisions that were applicable to conventional housing but impractical for tiny homes. The new code will certainly ease the acquisition of building permits for future tiny home developments in Oregon like Emerald Village. 

Those fortunate enough to be housing-secure can easily misjudge how the lack of affordable housing impacts our entire community. Rather than fearing the housing affordability challenge and the change it portends, we need to confront it to help low-income individuals find permanent housing and preserve the qualities we find most attractive about life in Eugene. 

Andrew stressed the importance of communication with neighborhood associations and involving them in the planning for projects like Emerald Village. Significantly, a long-time neighbor of the development site served as a member of the Emerald Village resident selection committee. Inclusive communication from the beginning helped to allay concerns. Notably, the plans for Emerald Village didn’t trigger a public input process because the development was allowed outright under the current R-2 zoning for the site.(1) 

Now nearing completion, Emerald Village stands as its own best ambassador. It has cachet in spades. Downsizing and simple living may be fashionable trends but the environmental and social merits of tiny houses and living with less give them real staying power. In a sense, SquareOne has captured lightning in a bottle by capitalizing on the popularity of tiny homes, paving the way for broader acceptance of developments like Emerald Village within other established neighborhoods and communities. 

One Village, Many Hearts mural by artist Kari Johnson

I asked Andrew if he might change anything for SquareOne’s future projects. “No, not really,” he answered. “We can always do things more efficiently. We do like the organic process we employ.” Regarding future projects, SquareOne has Cottage Village in the works. Located in Cottage Grove, Cottage Village follows the permanent, affordable tiny house community model pioneered by Emerald Village. The new project will consist of 13 tiny houses and the conversion of an existing shop building to include a community gathering area, kitchen, and laundry. 

Too many people with low incomes lack the security, the predictability, and the comfort that comes with one’s own house, which is why the efforts of non-profit organizations like SquareOne Villages are so important and appreciated. Emerald Village is proof our community is prepared to welcome a safe, livable, and affordable tiny-housing development. The project is a brilliant and inventive example for others to follow. 

(1)  Only 6% of the land zoned for residential use in the City of Eugene is zoned as R-2, compared to 91% zoned for R-1.