Sunday, November 10, 2019

Private Good and Public Space

Eugene (image from the Community Design Handbook)

Civil interest is commonly associated in this country with individual life, liberty, and the pursuit of happiness. Participation in the life of society is also ordinarily considered part of the “good life” envisioned by the nation's founders. Traditionally, this has meant engaging in the community realm—its public space—to secure its benefits. Unfortunately, for much of the past century investment in our public spaces suffered from indifference and antipathy. 

The presence of real public spaces is important to the existence of any civil society. So too is differentiating those spaces so they are as unique, context-specific, attractive, and meaningful as possible. Investing intellectual and monetary capital in the public realm—such as in downtown Eugene where we as a community exercise our social and civic functions—is crucial. Regardless of who makes that investment, the public realm should always remain free to use, accessible, and welcoming to people from all walks of life. 

Maximizing the public realm as a shared interest is important because it is our public spaces that most effectively differentiate here from everywhere and nowhere. In Eugene this means recognizing what makes our city’s cultural, physical, and historical context unique. It means countering the prevalent banality of Eugene’s public spaces. It means stressing the importance of physical structure and identity—the vividness of unique elements and conversely a grasp of the whole. It also means following principles of good urban form to help ensure the development of memorable, attractive public places. 

A characteristic of good public spaces is no one is excluded from using them. While this isn’t always the case for the buildings that shape those public spaces, no one argues buildings don’t contribute toward the success or failure of the urban settings of which they’re a part. People recognize good public spaces when they see and experience them. Likewise, they immediately know and pointedly avoid uncomfortable and unattractive places. 

We all bear the costs of negative externalities associated with poorly designed projects. These can include alienating streetscapes and the undesirable behavior that often accompanies them. Good design can make a difference. Enlightened municipalities are rewriting their land use codes to disincentivize urban sprawl and individuals’ reliance upon the automobile, while encouraging active sidewalks, walkable neighborhoods, and vibrant mixed-use developments. 

The consequences of negative externalities are one reason why form-based codes are finding increased acceptance in communities across the county. Unlike conventional zoning, form-based codes address the relationship between public and private spaces by prescribing the interaction between streets and buildings in terms of form, scale, and massing. For example, a form-based code typically regulates minimum as well as maximum building heights and building setback requirements, dictates building orientation, and specifies where parking areas should be located. Advocates for form-based codes cite their ease of use. Compared to conventional zoning documents, they are typically shorter and organized for visual access and readability. Their stated purpose is the shaping of a high-quality urban realm, a presumed public good. 

The City of Eugene worked with key stakeholders including local businesses, the University of Oregon, and surrounding residents to develop a form-based code for the Walnut Station node along Franklin Boulevard. Implemented as the S-WS Walnut Station Special Area Zone, the code retains aspects of a conventional land use code (such as the prohibition or segregation of certain uses), while aspiring to achieve a predictable built environment comprising quality public spaces. Time will tell if it is a success. 

Form-based codes do have their detractors. Critics argue form-based codes distort real estate markets, undermine the order of a spontaneous economy, and generally are representative of public-sector meddling in the rightful business of the private sector. They do constitute a form of taxation, imposing constraints on private goods. And from the perspective of some design professionals, form-based codes are overly prescriptive, sometimes fail to address the existing community context and character, and leave too little room for design discretion and creativity. 

The critics’ concerns have merit, but they don’t acknowledge the public and private benefits form-based codes often yield. The predictable physical results of form-based codes are good for business and in the public interest. That said, it’s prudent to be wary of imperfect planning tools shaped by imperfect, albeit well-intentioned, human beings. The dynamics of development and the factors that contribute to achieving a livable community will always be far too complex to effectively and flawlessly codify and regulate. Regardless, prescribing the type of development—as opposed to doing nothing at all—is necessary if we want the right outcome for our community. 


An excerpt from the Walnut Station form-based code.

The current Town Square project in downtown Eugene may be our best opportunity yet to realize the kind of public space that favors the good life our freedom-loving forebears coveted. The project’s character will be defined in part by the buildings that give it shape and by its color, texture, and complexity. The surrounding structures—the Wells Fargo Bank, Park Place Building, South Park Building, Lane County Courthouse, Smeede Hotel, Tiffany Building, the forthcoming development at 8th & Pearl, and the future Eugene City Hall—are or will be of sufficient proportions to visually contain Town Square. At the moment, those surrounding buildings mostly turn their backs toward the space. The addition of the Farmers Market pavilion and City Hall will generate a level of urban energy commensurate with Town Square’s civic importance and historic significance. That energy will in turn prompt owners of the surrounding private properties to make improvements to their buildings. Ideally, these will liven the edges of Town Square and further cement it as downtown Eugene’s center of gravity. The impetus to make enhancements will be a positive externality. Overall, the social benefit of those improvements will exceed whatever profits the property owners accrue. 


Town Square rendering.

The late architect Charles W. Moore (who I worked with back in the mid-eighties) wrote a seminal essay in 1964 entitled You Have to Pay for the Public Life. While the piece documented his perceptions about how public space in America—particularly in California—were changing, it primarily served as a critique of the politics of public space and private development at the time. Moore saw a shift toward private ownership of the public realm. He famously used Disneyland as his case in point, reframing publicness as a byproduct of real estate planning and investment. Though he questioned what the public realm consists of, or even who needs it, Moore also celebrated the importance of “sorting out for our special attention those things for which the public has to pay, from which we might derive the public life.” 

Fundamentally, Moore argued paying for the public life is necessary to avoid the loss of differentiated places and the emergence of “gray no-places and the inundation of the places of special significance.” He saw this responsibility extending to both the public agencies and private developers responsible for so much of the built environment that shapes society’s shared spaces. Though more than half a century has passed since he expressed his views on the subject, his words remain relevant today. 

Even dyed-in-the-wool free marketeers can agree operating within a communal vision and legal framework is potentially profitable. Good public spaces repay the investments in them—both private and public—many times over by abetting economic and cultural vitality. Developers enjoy the rewards of their commitment to a shared community vision through revenues generated by the desirability of the places they’ve helped shape. Local governments win too as the tax base swells. This is an implicit social contract, one necessary if our public spaces are to thrive. 

Paying for the public life is not a zero-sum proposition. Everyone wins if we all invest in the betterment of our public spaces.

Sunday, November 3, 2019

Carl J. Oslund (1947 – 2019)

Carl Oslund

I lost a brilliant collaborator, and more importantly a good friend, to cancer very recently. It was my privilege to know and work with Carl Oslund. Over the course of the past two decades, his firm—Oslund Design—partnered with mine (Robertson/Sherwood/Architects) on numerous projects. Carl’s world-class talent as a designer contributed immeasurably to the success of those jobs. His skill with branding, art direction, graphic design, and environmental graphics brought an undeniable vitality to our work together—providing impeccably tailored results for each and every commission.

Our professional collaboration dated back to 2000 with the first of what would become a series of new branches and remodeling projects for LibertyBank in locations throughout Oregon. We later worked together to refresh the former Oldfield's Appliance store and also transform the Oregon State University men’s basketball locker room and meeting facility. Most recently, I looked forward to teaming with Carl on the design for a new Lane County Courthouse but alas, that opportunity to once again join forces is lost.

LibertyBank branch

Oregon State University men's basketball locker room

Carl’s other products in partnership with Robertson/Sherwood/Architects included the extensive remodeling of Fenton Hall on the University of Oregon campus, graphics and signage for Jerry’s Home Improvement centers, and projects for the Willamalane Park and Recreation District. His design approach to every one of our collaborations was clean, functional, timeless, and yet distinctive. I would never characterize Carl’s work as ostentatious or superfluous.

Fenton Hall, University of Oregon

Beyond his work on projects with my office, Carl’s portfolio included a truly remarkable list of prominent clients, among them Benneton, Nike, the National Football League, and the United States Tennis Association. Closer to home, Carl’s clients included EWEB, Travel Lane County, 9Wood, and the University of Oregon Department of Athletics.

Like me, Carl was a member of the Emerald Executive Association (EEA) here in Eugene. It was through EEA that I came to know Carl well. I was always impressed by his intelligence, obvious talent, endurance, and athletic prowess. True to his Swedish roots, he was soft-spoken and disinclined to boasting (unless it was in cheering the exploits of his alma mater, The Ohio State University). Carl was a sneaky good golfer, but always a gracious winner. He and I enjoyed numerous conversations on wide-ranging matters including travel, his passion for the outdoors, politics, culture, and of course design.

I spoke with Carl over breakfast little more than a week before his passing. He informed me of the bad news: his cancer had aggressively metastasized and the prognosis was grim. Photographer Jon Christopher Meyers, with whom Carl shared studio space, told me Carl was in considerable pain as the cancer ravaged his body during the last days, necessitating a potent pain management regimen. That Carl left us so quickly after my last conversation with him is astonishing, but merciful in the end.

Death is a part of life, but it’s never easy to accept death when it takes someone you know and treasure. Everyone who knew Carl, personally and professionally, will miss him terribly, none more so than his family, to whom I extend my sincerest condolences.

The following is Carl’s obituary as published in the November 3 issue of The Register-Guard:

Carl J Oslund
05/30/1947 - 10/21/2019

Carl Joseph Oslund was born in Cleveland, Ohio to Mary Ann and Carl Oslund. He joined older brothers Lawrence and William in sharing an idyllic Midwestern childhood. He made lifelong friends, found an early love of golf, skiing, ice skating and motorcycles, excelled at gymnastics and graduated from Charles F. Brush High School in 1965.

He arrived at The Ohio State University with aspirations to be an art teacher. Instead, he discovered an aptitude for the whole spectrum of visual arts and was rewarded with a lifelong career in graphic and environmental design. He left Ohio State with a BFA and MA in Visual Communication Design and a job at a prestigious, established agency in Toledo, OH. He valued this experience throughout his career but elected to move to Oregon after his marriage to first wife Mary Holcomb, a Eugene native. They married in 1974 and welcomed daughter Liv the following year. The family arrived in Eugene in May of 1975. Mary Oslund founded a dance company, earning local and later national renown as a dancer, teacher and choreographer. Carl worked as a freelance designer and founded Oslund Design in 1977. Carl also discovered what would become a lifelong love of running, hiking, climbing and kayaking. He ran the Butte to Butte 42 consecutive years (walked it in 2019), ran ten marathons, climbed the South Sister every September, climbed Mt. Shasta three times and Mt. Whitney once. For him, a perfect day could always be had playing 18 holes of golf at Tokatee or skiing Mt. Bachelor.

Carl met his second wife Katherine Corgel in 1984. They were engaged while in Paris for New Year's in 1985 and married in May of that year. Their lives were blessed by the birth of daughter Claire in 1987.

Carl was beloved by his family and a wide circle of friends. He had amazing determination and energy for his work, his family and the endless maintenance on his 20- acre property. He tolerated the family horses and loved the family dogs. Carl traveled widely for work and for pleasure (though the concept of vacation was a little lost on him). He worked at Oslund Design until the week before his death and had taken on a flexible part time position at long time client 9Wood in Springfield, OR providing in-house design and marketing support. He enjoyed being an employee and held his coworkers in high esteem.

Oslund Design employed many gifted graphic designers over 42 years. Carl always appreciated that the success of the firm was not his alone and he was grateful for the contributions of so many talented colleagues and to the wider community of vendors to design firms in Eugene. A special thank you to Anna Collins, Graphic Designer and to Jon Christopher Meyers, Photographer for their support. Please visit www.oslund.com to see a sample of Carl's projects. Oslund Design will continue to provide design services and honor his vision.

Carl began treatment for cancer in August of 2018. Although chemotherapy and radiation initially seemed effective, he was diagnosed with metastatic cancer on October 1st, 2019.

He leaves behind his wife Katherine Oslund of Eugene, his daughter Liv Oslund and his grandsons Gabrielle and Thomas of Lanciano, Italy, his daughter Claire Oslund and her husband Marlin Mueller of Eugene, OR, his former wife Mary Oslund of Portland, OR, his brother Lawrence (wife Marge) of Cary, N.C. and William (wife Judythe) of Kalaheo, HI. He was a brother in law to Mary Jane and Jim Brustman of Henderson, NV and Rich and Joan Corgel of Manhattan Beach, CA. He was an uncle to Dawn and Larry B., Chris, Cheree, Jennifer, Kate, Leah, John and Steffanie.

Carl was so loved and will be terribly missed by everyone he held dear.

Carl's family will hold a Celebration of His Life for friends and colleagues on November 13, 2019. Please contackco@oslund.com for details.

Please sign the guest book at www.registerguard.com/legacy

Sunday, October 27, 2019

2019 People’s Choice Award Winners

Frank Visconti, AIA emceed the 2019 People's Choice Awards presentation at Civic Winery, October 23, 2019 (my photo)

Each year, the American Institute of Architects Oregon Chapter/Eugene Section (AIA Eugene), in collaboration with the Willamette Valley Section of the American Society of Landscape Architects (ASLA), sponsors the People’s Choice Awards for Architecture. These awards aim to educate and inspire our fellow citizens by showcasing architecture, interiors, and landscape architecture projects created within the AIA Eugene section area by AIA or ASLA members. The program demonstrates to the public the role of the architectural profession in enhancing the built environment by showcasing the talents of AIA Eugene and ASLA members. 

It’s hard to believe, but this year marked the 30th year of the People's Choice Awards. The projects presented for consideration were uniformly of a high quality, a testament to the maturation and increasing skill of local design professionals. Voting opened during the September 22 Eugene Sunday Streets event and continued through September 30, with the public and AIA and ASLA members alike casting their ballots either at the display of projects boards in the Broadway Commerce Center or online through the AIA Eugene website. 

As in previous years, the public voted for their favorite projects across an assortment of categories. Eugene mayor Lucy Vinis announced her Mayor’s Choice winners in a special video, demonstrating her thoughtfulness and consideration of issues of importance to the built environment in the city she leads. AIA Eugene and ASLA members also identified their selections in the Colleagues’ Choice voting. 

The awards presentation took place last Wednesday evening at Civic Winery in downtown Eugene. Attendance at the event was very good (60+ AIA Eugene and ASLA members, contractors, and clients were on hand) to enjoy the presentation of the awards, each other’s company, and an assortment of wine varieties and hor’d'oeuvres. 

The People’s Choice Awards program would not have been a success without the support of the following generous sponsors: 
  • AIA Eugene 
  • Advance Cabinet Designs 
  • Arbor South Architecture 
  • Central Print & Reprographic Services 
  • McClain Consulting & Construction 
  • Rowell Brokaw Architects 
  • Rubenstein’s
Without further ado, here is the list of the 2019 award winners: 

People's Choice Award Winners: 

Public Landscape: Rockridge Park / Cameron McCarthy Landscape Architecture and Planning 

Residential Landscape: The Joseph Garden / Stangeland & Associates 

Institutional Landscape: Heartfelt House / Schirmer Satre Group 

Single-Family Residential: Coastal Tiny Home / Nir Pearlson Architect 

Multi-Family Housing: Amazon Corner / Rowell Brokaw Architects 

Public/Institutional: Heartfelt Guest House / 2fORM Architecture 

Commercial: Mahonia Mixed-Use Building / Arkin Tilt Architects 

Interiors: Mahonia Building Interiors / Nir Pearlson Architect 

Unbuilt: New David Minor Theater / Willard C. Dixon Architect 


2019 Mayor’s Choice Award Winners: 

Courtyard House / 2fORM Architecture 

Blossom Cottages / Arbor South Architecture 

The Bard / Q Sterry Inspired Arehitecture 

2019 Colleague’s Choice Winner: 

1203 Willamette Street / Rowell Brokaw Architects 

Congratulations to all of this year’s winners!

Sunday, October 20, 2019

Influences: Charles Jencks

Charles Jencks (1939–2019)

An earlier blog entry of mine, “Genealogy of Influence,” promised a series of posts about the architects and theorists who influenced my architectural world view. This is the latest post in the series.
  
Charles Jencks died last Sunday, October 13, succumbing to cancer at the age of 80. He greatly influenced how I came to appreciate architecture during my student years, helping me understand how buildings and landscapes possessed of order, coherence, and purpose are those most likely to convey meaning. It is lately that his work and the work of his second wife Maggie Keswick (who predeceased him in 1995) have also impressed me with their regard for the potential of architecture as vessels of hope, employing nature and the cosmos as metaphors in the service of a better future.

The Garden of Cosmic Speculation, by Charles Jencks and Maggie Keswick

Charles Jencks was the embodiment of a polymath. Though I’m most familiar with him as a writer about architecture, he was also a renowned landscape architect responsible for the design of several ambitious projects that employed monumentally geometric forms to express profound ideas about cosmology, chaos theory, and subatomic physics. Jencks was American but I always thought of him as British because he moved to the UK in the mid-1960s, where he received his PhD in Architectural History from University College in London. He would go on to teach at the Architectural Association in London and at UCLA while I pursued my post-professional Master of Architecture degree there during the mid-eighties.


I found his books about architecture engrossing. My personal library includes three of his volumes: Le Corbuiser and the Tragic View of Architecture (1973), The Language of Post-Modern Architecture (1977), and Late-Modern Architecture (1980). To say many of his books were influential is an understatement. He’s largely responsible for popularizing the assignment of “isms” to various strands of architecture, of which post-modernism may be most well-known. His sharp wit and provocative writing style made for eminently easy reading.

Jencks’ fluid, taxonomical classification of architectural styles, movements, and architects of the 20th Century

Jencks specialized in metanarratives—overarching accounts and interpretations of the circumstances that gave structure to various movements in architecture. He classified, categorized, and sorted the work of important architects, conceiving fantastical taxonomical trees to make sense of a confusing proliferation of successive and contemporary notions about meaning (or the ironic absence thereof) in architecture.

Although his writings are central to his legacy, I suspect if we could ask him today he would point to Maggie’s Centres—the series of 21 cancer clinics located throughout the UK and Hong Kong that provide emotional and social support to people with cancer and their family and friends—as his most meaningful work. Named after Jenck’s late wife, each Maggie’s Centre is designed by a leading architect. To date, the list of prominent designers includes Frank Gehry, Norman Foster, Richard Rogers, Zaha Hadid, Rem Koolhaas, Kisho Kurokawa, Steven Holl, and Snohetta among others.  
  
Maggie’s Centre, Dundee, designed by Frank Gehry (photo by Ydam [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0/)])

Researchers say people who have a strong sense of meaning in life tend to live longer than others whose sense of meaning is not as strong. At the least, a sense of meaning is comforting, which it undoubtedly is for the patients who are afforded the comfort provided by Maggie’s Centres. 

As an architect, I want my work to be meaningful. Unfortunately, regardless of whatever longevity I may enjoy, the fact is my time here is finite and in the grand scheme of things quite fleeting. That so many of the individuals who opened my eyes to the power of architecture during my formative years have recently passed is sobering.(1)  It seems like only yesterday that I came to know and learn so much from them, underscoring how brief the opportunity is that we have to make an imprint upon others and the world.

Edwin Heathcoate wrote in the Financial Times that Jencks believed in “the capacity of architecture to not only be given meaning but also to give meaning back to life.” Charles Jencks inspired me to regard architecture through this lens, to have faith in its power to help us express what is most significant and profound. “Can’t you see, we are in dialogue with the universe?” Jencks once said. Fundamentally, his career's focus on semiology in architecture was rooted in his desire to raise our cosmological consciousness.



Sunday, October 13, 2019

Guest Viewpoint: Nicolai Kruger


Nicolai Kruger, AIA is a licensed architect and illustrator. I’ve known Nicolai since her husband Yasu Yanagisawa, AIA, CDT, JIA worked with me at Robertson/Sherwood/Architects back in 2004-2006. Nicolai and Yasu have enjoyed a diversity of rich professional experiences since then, including opportunities to work in Yasu’s native Japan, ultimately returning to Oregon a few years back. They presently live with their two children and work in Portland, Yasu with McKenzie, while Nicolai provides illustration services to architects, designers, developers, and public agencies through her business Nicolai Kruger Studio. Nicolai is also an adjunct assistant professor at Portland State University, where she teaches visual communications.  

It was during their period in Japan that Nicolai worked at Pelli Clarke Pelli ArchitectsTokyo office. There, she enjoyed the good fortune of working with the firm’s renowned founder, AIA Gold Medal recipient Cesar Pelli, FAIA, RIBA, JIA. Pelli passed away in July at the age of 92, immediately prompting countless remembrances from all corners in honor of the immensely influential designer of projects like the Petronas Towers in Kuala Lumpur, the MoMA Museum Tower in New York, and the Pacific Design Center in Los Angeles. Nicolai penned her own tribute to her former colleague, which I’m pleased to reprint below:

Cesar Pelli (1926-2019)

Remembering Cesar Pelli 
 “Society is the ultimate recipient of all buildings… Citizens have the right to expect that every new building will contribute to a better city and a more humane world.” -  Cesar Pelli

Last month I reunited with former colleagues at Pelli Clarke Pelli Architects to remember the firm’s founder, Cesar Pelli. I spent nine years working in the Japan branch of PCPA. Whenever I visited the main office in New Haven, Connecticut, Cesar would ask about my family and our mutual friends back in Tokyo. He revered the Japanese culture and building tradition. He had worked on countless projects in Japan, starting with the US Embassy in 1972, and had made a lasting imprint on the Osaka and Tokyo skylines.

On the few occasions that Cesar came to Tokyo, I was assigned to be his “handler” in Japan. I would meet him at Narita Airport and see to it that he got where he needed to be: meetings and dinners with important clients; occasionally I translated for him during his stay. While working together on the Tokyo American Club project, I noticed that Cesar often acknowledged the influence of his contemporaries and collaborators. He always gave due credit to junior staff and asked for their input.
 
“My love for teaching is older than my love for architecture.”  -  Cesar Pelli


Pelli projects on the Tokyo skyline: Atago Green Hills and Forest Tower. Image (c) Jun Mitusi & Associates Inc. Architects / Pelli Clarke Pelli Architects Japan, Inc.

Now that I am running my own studio and teaching courses at Portland State University, I am more aware of the positive influence Cesar had on me and on our profession. The experience of teaching as a professional, helps one see things anew, which is invaluable. To read more about Cesar Pelli’s life and learn about the academic scholarship set up in his name, see the tribute page here. 日本語のペリの訃報 詳細について.

Nicolai Kruger