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The Indicator: The Next Architecture, Part 8: Inevitability | ArchDoc
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As the economy staggers through the pre-dawn streets of a slow and agonizing “recovery” – some economists including Robert Reich argue we are not in a recovery – it is important to remember what has been learned.As far as architecture is concerned, the lessons learned were the same ones as in prior recessions. Maybe this time architects will not suffer from amnesia or lapse into denial when billings tick up once again. It is easy to forget how difficult things have been. People tend to just want to move on and not dwell on the past. Psychologically, people seem to just want the economy to be in a recovery – even if there is evidence to support that it is not necessarily at that stage yet. Recession this, recession that. Everybody is tired of hearing about it. I’m tired of writing about it! But it is still a reality that affects the ranks of our chosen profession. No one has been immune. Professionals at all levels of experience, whether licensed or un-licensed, domestic or international, healthcare or commercial have been impacted.More after the break.
I would love to say that when the recession is over I will stop writing about it, but that would be wishful thinking. In truth, I will continue to write about aspects of recessionary economics and architecture because recession thinking will be an important part of an actual recovery as well as preparing for the next one—which, again, should be hitting around 2021, give or take.The first point is to recognize that recessions will happen as part of the “natural laws” of economics. They are part of the cyclical reality of global economies based on competition, uneven wealth distribution and allocation, and complex market mechanisms. For this reason, architects should learn as much about them as possible and identify the specific ways in which they affect the profession. This might seem obvious, but unless this type of analysis is carried out recessions will simply be perceived as macro-economic forces that lay waste on a large scale. They do in fact do this, but there are myriad smaller and more subtle forces operating within the dark matter of a recession. It helps to identify what they are and how they relate to architecture in particular.Here are some questions that can serve as a starting point:[1] Is your strategic plan projected to incorporate the next recession? If you as a firm or individual are thinking this is too far out to plan for now, you would be mistaken. This is precisely the time to plan for the next one. Where do you want to be as a firm, as an architect in five to ten years?[2] How did your business strategy adjust during the current recession? Did you have a business strategy in the first place? What worked and what didn’t work? Do you have the knowledge you need to adapt? If you aren’t sure, seek out a consultant-strategist and start talking about it.
[3] What areas of your practice were most impacted by the recession? Staffing is a primary target. Many firms have to lay people off. Is this the only strategy for dealing with staffing issues? Some firms engage in the practice of staff swapping. If work gets a little thin in one office some staff can make up hours by filling in at another office that needs the help. What if this approach were formalized into an alliance between local firms? Though firms compete against one another for projects, the architecture community as a whole is actually very close-knit and collegial. This often gets forgotten when a recession hits. A recession is when this community counts most. There are times when it would be in the interest of the profession to engage in cooperative and mutually-supportive business practices. Of course if all the firms in a city get hit significantly enough then the staff-swapping model wouldn’t prevent layoffs. In all likelihood, however, there is a good chance that this model could at least significantly limit the layoff casualties. Another approach is to make sure your staff is stable and secure when times are good. Pay them as well as you can and give them bonuses as able. The stronger they are economically, the more productive and focused they can be for you. Also, if it becomes necessary to reduce hours or salaries during a recession, employees will be in better positions to deal with this and more willing to make shared sacrifices.[4] Where is your firm currently most vulnerable? Is it a particular market sector? Are you diversified enough? Even healthcare took a significant hit in some offices. Do you need to become more versed in international practice? If you want to head in this direction, it will probably take you about five to ten years to get overseas work up and running. Think long-term for this but start investing now.
[5] As an individual practitioner, are you in a strong position? If you are in architecture there is high probability that you are never completely safe from a recession. Again, all levels of experience were (and are being still) affected. If you are unlicensed, however, now would be a good time to make that a priority so you have more credentials and can potentially be worth more to your firm. Identify where you are strong and weak. Skills and expertise that can distinguish you from the masses include technical expertise, international know-how, fluency in foreign languages, deep knowledge of sustainable design, being good with numbers. Unique experience counts for a lot. How can you stand out?[6] Is your experience narrow or broad? If you have been working on one type of project in a certain market-sector for many years you might want to branch out if given the opportunity. Possessing broader experience that crosses markets and disciplines makes you more adaptable. In this way, you will be less vulnerable if an entire sector is hit severely. More options are better and it helps when you can sell yourself as someone who can work in many different contexts and roles as needed.
This is just a starting point. We are in the conceptual phase. So, before we get too comfortable with the idea of “recovery” let’s make sure we stay focused on fixing what went wrong. After all, we have about ten years until the next recession. It’s inevitable. But how we deal with it is not.
The Indicator, a weekly column focusing on the culture, business and economics of architecture, is written by Guy Horton. Based in Los Angeles, he is a blogger for Metropolis and frequent contributor to GOOD, Architectural Record, The Architect’s Newspaper and Architect Magazine. He is also a contributing architecture critic for The Huffington Post. Follow Guy on Twitter.
The opinions expressed in The Indicator are Guy Horton’s alone and do not represent those of ArchDaily and it’s affiliates.New book out soon! ‘The Real Architect’s Handbook: Things I Didn’t Learn in Architecture School’, by Sherin Wing and Guy Horton.
15 Union Square West / ODA Architecture and Perkins Eastman Architects | ArchDoc
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© Robert GranoffThis structure overlooking Union Square Park was originally designed for Tiffany & Company in the late 19th century. With careful consideration for upholding its historical place within the city, 15 Union Square West is gracefully translated into a 21st century residential masterwork. Creating harmony between the bygone and the present, the design for luxury living wraps the 12-story condominium residence in a translucent, layered glass skin, preserving the prominent cast iron arches of the original 5-story construction and dramatic 16’ceiling height.
Architectural Designer: ODA – Architecture P.C. Architect of Record: Perkins Eastman Architects P.C. Location: New York City, New York, USA Project Area: 62,000 sqf Photographs: Robert Granoff, Alberto Guglielmo
diagramThe curtain wall of glass is offset from the outside surface of the cast iron facade creating an interstitial space between the apartments. The black zinc framed panels are double insulated, low E protection and low iron laminated glass having little refraction. This technology creates a near perfect reflection of the park during the day with gentle transparency at night cueing the historic structure while only hinting at the individual apartments located within. The design creates 7 new floors – a series of elegant glass cubes set at different angles to allow for vivid, unobstructed park and city views with spacious, private outdoor terraces.#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}
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- © Robert Granoff
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- © Alberto Guglielmo
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- © Robert Granoff
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- © Alberto Guglielmo
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- © Alberto Guglielmo
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* Location to be used only as a reference. It could indicate city/country but not exact address.
© José Campos, arqf architectural photographyThis project takes advantage of the demolition of the existing building, which occupied the whole of the plot, to design a new Plaza, with a scale and dignity to receive the Law Courts. In dialogue with the granite walls that define its surroundings, the Plaza takes on the form of a bottling of stone, upon which the Law Courts rest.
Architect: Barbosa & Guimaraes Architects Location: Gouveia, Portugal Project Year: 2010 Photography: José Campos, arqf architectural photography
© José Campos, arqf architectural photographyThe building, set on four pillars, ensures transparency and connection between the two gardens that delimit it to the north and the south. The dignity and symbolism that a building like the Law Courts should always have is achieved at the cost of the monolithic and singular character that the volume of white concrete acquires, above all in the expression of its compact elevations, with empty spaces deeply excavated, as if suspended over the Plaza.
© José Campos, arqf architectural photographyA staircase of generous proportions opening onto a patio honours access to the Court floor. The lobby/foyer crosses longitudinally the entirety of the building, communicating directly with the garden to the north, establishing a relationship of closeness with the tops of the existing trees through a horizontal empty space.
© José Campos, arqf architectural photographyIn the volume, the courtroom stands out, with a set of vertical skylights that subtly light the whole space. The registrars services, which operate independently, are installed in the filled part of the building, open to an interior patio which communicates directly with the north garden. The project foresees a public car park, hidden under the plaza, with access from the adjacent streets.
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photography
© José Campos, arqf architectural photographyProject Team: José António Barbosa, Pedro Lopes Guimarães, Miguel Pimenta, Cristina Chicau, Henrique Dias, José Marques, Luís Monteiro, Paula Fonseca, Susana Machado, Teresa Aroso, Raul Andrade, Pablo Rebelo Structure: Alberto Teixeira Hydraulics: Luis Veloso Electrical: Paulo Oliveira HVAC: Arnaldo Monteiro Construction: José Coutinho Director of Work: Rafael Luzio#gallery-1 {margin: auto;}#gallery-1 .gallery-item {float: left;margin-top: 10px;text-align: center;width: 33%;}#gallery-1 img {border: 2px solid #cfcfcf;}#gallery-1 .gallery-caption {margin-left: 0;}