Interdisciplinary Education for the AEC Industry October 3, 2011Posted by randydeutsch in collaboration, education, problem solving.
Tags: Architecture + Construction Alliance (A+CA), California Polytechnic State University, Chicago, crossdisciplinary, Howard Gardner, InSB, integrated school of building, interdisciplinary education, multidisciplinary, transdisciplinary, wicked problems
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We’re about to do something about that.
More on that in a moment.
Interdisciplinary education is essential for would-be professionals to address complex problems in the built environment.
Problems design and construction professionals face are intractable, complex and – as Howard Gardner attests – “wicked.”
Problems that are difficult or impossible to solve because of incomplete, contradictory and changing requirements.
Problems that require the vantage of many players – working openly, sharing information.
Problems that occur in rapid succession, often simultaneously.
An interdisciplinary education helps students to see these problems from multiple perspectives, resulting in quicker and more assured responses.
The goal with interdisciplinary education is to teach the whole architect, engineer and contractor – in the end creating more-complete, well-rounded, T-shaped design and construction professionals.
Coming closer to a Total Design education that considers learner’s needs, interests and abilities vs. fragmented competence in subject matter: the threshold of current thinking and teaching.
Interdisciplinary Multidisciplinary Trans-disciplinary Cross-disciplinary Education
Part of the problem is knowing what to call it when the A, the E and the C work together.
In school – there’s teamwork and collaboration.
In practice – there’s Integrated Project Delivery, Integrative Practice and Integrated Design.
Here’s how I explain the difference in my book, BIM and Integrated Design:
Terminology can admittedly get confusing. There is integrated design, integrative design, integrated buildings, integrated design process, integrated practice (IP) and integrated practice delivery (IPD.) To understand the difference between IPD and integrated design in its simplest terms, one, IPD, is a delivery method; the other, integrated design or ID, a larger concept and process—free of contractual identity—that contains IPD.
Simply put, to integrate means to combine or coordinate separate elements so as to provide a harmonious, interrelated whole, organized or structured so that constituent units function cooperatively.
In school the challenge is that you need to have a base to work from before you can integrate or collaborate effectively.
Undergraduates – certainly in their first two years of schooling – can’t be expected to collaborate well since they have yet to develop a thorough understanding of how their disciplinary specialty fits with others.
A more in-depth look into this topic can be found here.
Architecture + Construction Alliance (A+CA)
7 years ago, deans and department heads of the accredited schools of architecture, degree programs in construction and those containing both programs, began to meet to discuss ways to collaborate, establishing working groups to share perspectives and showcase best practices for collaboration of architecture and construction programs.
It was soon determined that their gatherings were not sufficient to create the closer connections and joint endeavors necessary to sustain such efforts.
Thus, the A+CA was born.
The mission of the A+CA is to foster collaboration among schools that are committed to interdisciplinary educational and research efforts between the fields of architecture and construction, and to engage leading professionals and educators in support of these efforts.
An example of such a program is the PDCI San Luis Obispo, CA USA (the Planning, Design & Construction Institute, College of Architecture & Environmental Design, California Polytechnic State University) offers integrated studios for architects, architectural engineers and construction managers using an integrated project delivery approach. More here Cal Poly Home .. CAED Home .. PDCI Home
As A+CA explains, the professions of architecture and construction are undergoing significant changes as they respond to multiple demands and opportunities to increase collaborative project work.
They are propelled by changed societal and client expectations to more fully coordinate their formerly separate roles and responsibilities for the social, environmental, and financial performance of projects, while Building Information Models (BIM) and other digital technology provide emerging new vehicles for integration.
These changes – in our built environment professions – need to be reflected in the education of future professionals, with a major emphasis on fostering superior interdisciplinary knowledge, and team based skills that support synergy and innovation in the 21st century professional context.
A unique ability to play a leadership role in the industry
Architecture + Construction Alliance is a consortium of US universities that
1. have both architecture and construction programs within the same college, and
2. are prepared to act together to foster the necessary interdisciplinary and collaborative education needed by our professions.
Such an alliance of these universities has a unique ability to play a leadership role in the development, pilot testing, assessment and dissemination of courses and projects through coordination of the faculty, staff, and financial support for this activity.
The Fall 2011 A+CA meeting will be held on November 9th, prior to the ACSA Administrator’s Conference in Hollywood, CA
The Spring 2012 A+CA meeting will be held in April, in conjunction with the CIB Board Meeting in Washington, D.C. This marks the first time in the CIB’s history that the Board meeting will be held in the US. A+CA meeting details forthcoming.
Member Founding Schools
Auburn University, California Polytechnic State University, Clemson University, University of Florida, Georgia Tech, Mississippi State University, University of Nebraska, University of Oklahoma, Prairie View A&M University, Southern Polytechnic State University, Texas A&M University, University of Texas – San Antonio, Washington State University, Wentworth Insitute of Technology & Virginia Tech
Oh, and one more.
(A new kid in town.)
The New Chicago School
Freestanding, not part of a preexisting university or college.
Which means it is less encumbered.
And, like architecture itself, a work in progress.
Integrated School of Building Chicago IL USA
The Mission of the school is to educate and advance the knowledge of students in architecture, engineering, and construction by means of a collaborative and innovative platform.
Featured here recently at ArchDaily
Areas of concentration include Construction Management, Project Management, Real Estate Development, Dynamic Design & Fabrication, BIM & IPD, BIM & Energy Modeling, Landscape Architecture & Public Space Development, Sustainable Design, Building Commissioning, Building Forensics, Post-Disaster Design & Reconstruction, Social Design & Development and Preservation & Historic Resource Management.
Twitter handle @theInSB
“A better AEC education is not about making better architects, or engineers, or builders. It is about all coming together as one.” @tcpg
Architect 2Tweets – The Week in Tweets May 28, 2011Posted by randydeutsch in architect, architect types, architecture industry, books, career, collaboration, creativity, employment, identity, management, sustainability, technology, the economy, transformation, transition.
Tags: architect Barbie, architects, architecture, CONSTRUCT, construction, retweets, tweets, twitter
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Take a look. Click on the links to find articles, websites and other resources.
If you are not a Tweeter, by browsing the list of micro-posts you will get a good idea of how I use it. And if you like what you see, follow me on Twitter @randydeutsch
Online Attendee Registration Opens Early June for @CONSTRUCTshow Free Exhibit Hall Admission & Discounted Education Packages thru Aug 11
The Architect of Flowers
‘Dreamlike and ethereal’ stories
Insurer: Payment delays, fragile construction industry conditions mean more building subcontractors go out of business
The first warning sign that a project is in trouble. Sometimes it even begins before the project does
Model of San Francisco, made with 100,000 Toothpicks, began in 1976 – 3000 hours later
Renter Nation: Since housing meltdown, nearly 3 million households have become renters. 3 million more expected by 2015
“There’s nothing off-putting about sustainability. Find someone who is in favor of purposely ruining the future”
THE construction industry, regarded as a barometer for economic activity, is now a volatile, unpredictable barometer
Why crumbling of America’s transportation infrastructure is a good thing, according to developers
In a modern day Dark Ages with the potential for another great Renaissance? The 21st Century Renaissance
Polymath, Renaissance person, Multidisciplinarian (!) – Why we all must become one
To compete in a knowledge-based economy business leaders need to reinvent themselves as innovators in services
Connections, James Burke’s iconic BBC series on the history of innovation, free to watch online
The Collaborative Designer May 23, 2011Posted by randydeutsch in Ambiguity, architect types, books, change, collaboration, problem solving, questions.
Tags: co-creation, collaboration, Conceptual Age, Conceptual Economy, David Holston, Design Economy, empathic design, HOW books, HOW design, participatory design, Shawn M McKinney, The Strategic Designer
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Summary: You don’t need to be a designer to benefit from the best practices espoused in this magnificent new book. A must-have for designers, but also for those in project management and anyone who works with designers.
Based on over 100 interviews with designers, researchers and educators, The_Strategic_Designer by David Holston provides an overview of the design process and best practices.
The Strategic Designer: Tools and techniques for managing the design process, published by F+W Media and HOW Design, is billed as a Strategic Graphic Design Thinking book.
Despite this categorization, the subject matter transcends graphic design and can be universally applied to any of the design trades and professions including product and environmental design.
The book description will sound familiar to anyone working in architecture and related design professions:
As designers look for ways to stay competitive in the conceptual economy and address the increasing complexity of design problems, they are seeing that they must not only be experts in form, but must also have the ability to collaborate, to design in context and be accountable through measurement.
By adopting a process that considers collaboration, context and accountability, designers move from makers of things to strategists.
The book focuses on the designer’s workflow, ideation techniques, client relationships and methods for measuring the success of their projects.
An excellent foreward by Shawn M McKinney gets things off to a fast start – which, alone, is worth the investment in the book.
Each chapter covers a specific design phase emphasis, providing a practical step-by-step approach, complete with tools and techniques.
Overview of the Design Process – a process rife with opportunities for misinformation, dead ends, and divergent tracks, as well as amazing outcomes
The Value of Process – the benefits of having a well-defined design process
The Collaborative Designer – emphasizing co-creation, communication, mutual benefit, respect and trust in a strong client-designer relationship. This is a particularly rich chapter, addressing and answering such questions as: What makes a Good designer? What Makes a Good Client? and Clients to Avoid. There’s a wonderful sidebar on: Seven Principles for Managing Creative Tension.
Empathic Design – explaining how research provides a path and imperative for moving forward
Understanding the Business – includes a breakdown of basic strategy techniques and an explanation of the purpose of business analysis as understanding and defining goals of the client
Designing with the End User in Mind – with an emphasis on facilitating and moderating participatory and collaborative work sessions. The Designing for People chapter focuses on research as a valuable tool for gaining insight into the organizational needs of clients and their prospective audiences.
Managing Ideas – especially when ideating with others in a participatory or collaborative setting, relying heavily on the experiences and knowledge of people involved.
Making Strategy Visible – how the designer takes an empathic approach to design that connects business goals with user needs.
Design Accountability – asking: Why is design hard to measure? And answering by sharing significant research findings and metrics. Salient quote: “The price for a seat at the decision-making table is accountability.”
Planning in a Turbulent Environment – the days of using a linear design process are over. Strategic designers face increasingly wicked problems. A helpful framework offered by project management.
Refining Your Process – so it can provide a common understanding for “how things get done” mitigating wasted efforts while creating value for the client and user alike.
The author places the book and subject squarely in Dan Pink’s Conceptual Economy, a term describing the contribution of creativity, innovation, and design skills to economic competitiveness, especially in the global context.
Later in The Strategic Designer, Rotman School of Management dean Roger Martin says that the world is moving from the Information Economy to a Design Economy. A small distinction, but one that unnecessarily complicates matters. I would look to a book such as this to clarify the playing field, at the very least to acknowledge that the labeling of epochs and phraseology are still a work-in-progress.
The book’s strength is not in creating new knowledge – but in repackaging what is largely already known, experientially by every designer – in an easy to carry tome.
Readers, for example, who have perused Wikipedia articles on various topics related to design strategy will recognize the source of several of the author’s summaries.
In this sense, the book is not a product of the Conceptual Age, but instead is a well-designed, convenient and accessible agglomeration, aggregating both explicit and, perhaps the greater achievement here, tacit knowledge on the subject. The book is no less of an achievement for doing so.
The design world is a much better place for having this book at its disposal.
Conclusion: The Strategic Designer is a must-have book for designers, those who manage design projects and those who work with designers in a collaborative setting.
Addenda: How can this book not have a single review?
HOW books makes books on high quality paper, books that feel good in the hand, and themselves serve as exemplary reminders that ebooks should not be our only option. The Strategic Designer is no exception.
A Lifeline for a Profession Adrift May 7, 2011Posted by randydeutsch in BIM, books, career, change, collaboration, creativity, environment, fiction, IPD, marginalization, pragmatism, productive thinking, questions, Revit, technology.
Tags: BIM, building information modeling, case studies, cradle to cradle, design-build, integrated design, integrated practice, integrated project delivery, IPD, lean construction, sally hogshead, virtual construction
Using books as floatation devices is nothing new.
Cradle to Cradle, subtitled Remaking the Way We Make Things, is printed on waterproof paper for this reason.
Poetry anthologies served this purpose after 9/11 as did commonplace books carried by soldiers.
In fact, the book I’m about to introduce you to explains the original use of the word “communication” to mean bringing something to the “common place, to the community, to make it part of the larger social group.”
That is what I hope to accomplish with this review.
Building Knowledge in Architecture is a new book and lifesaver by architect, educator, researcher, scholar and poet, Richard Foqué.
On the academic side, Foqué is a professor and dean emeritus at the Henry van de Velde Higher Institute of Architecture at the University College Antwerp.
On the practice side, Foqué is the founder and honorary principal of FDA Architects (now OSAR), one of the largest architectural firms in Flanders.
Richard Foqué’s work is characterized by the integration of architecture, art, design and science and reflected in the book “Bringing the World into Culture”, dedicated to Foqué and in which 21 eminent scholars, architects and designers bring a tribute to his work. An interdisciplinary thinker, Foqué lives and works in Antwerp, Belgium.
But don’t read Building Knowledge in Architecture because of his credentials.
Read this book because Richard Foqué is the first poet to write beautifully and meaningfully about the architect, design, creativity,
And as importantly, digital design tools such as BIM and collaborative work processes such as integrated design, design-build, lean construction and design thinking, subjects at the focus of these discussions.
You had me at Introduction
A book, like any of us, competes in a marketplace for attention.
Building Knowledge in Architecture, until today, appears to have been satisfied waiting patiently to be discovered on library shelves.
Book, wait no more.
Because that’s how long our attention spans today have been shortened to.
Reader, here I’ll introduce you to what will surely become a fine traveling companion and fellow conversationalist in the weeks ahead.
But I’ll need 9 minutes to do so – not 9 seconds. So please bear with me.
Man Measuring the Clouds
A passing glance at a sculpture, Man Measuring the Clouds, inspired Foqué to reflect on architecture and what it means to be an architect today.
“The architect works in the field of tension between imagination and reality. The architect’s task is to convert the dreams and often unreachable wishes of the client into a buildable concept, which should be functional, technically resolved, and in compliance with all building and safety codes, but at the same time must inspire a sense of well-being and have the necessary aesthetic qualities to contribute to and enrich its context.”
Foqué then asks:
“Is the architect the person who is measuring the clouds all the time? Is architectural design, per se, an impossible task to perform? In other words, what is the essence of being an architect? What are the skills, competencies, and knowledge an architect needs to perform as a true professional?”
Aware of the access to practical knowledge readily available to other fields such as medicine, business and law, things can be otherwise for the architectural profession, the author sets out in search of a robust knowledge base architects can access:
“In my own practice, I have endeavored to use my professional experience and accumulated know-how in an innovative way for every new commission. But I have always been left with a feeling of discontent: Could I have done better? Did I use all the creative potential and knowledge at my disposal, and did I not overlook essential elements?”
Foqué concludes that the architectural profession no longer has a shared knowledge base. Building Knowledge in Architecture asks all of the important questions:
“Why did we abandon or sacrifice (this) knowledge base? Why is the architectural profession drifting? Why are we sometimes reinventing the obvious? Why do we struggle to cope with contemporary technological evolution, and why is it so difficult to integrate in a satisfactory way new findings and insights into our design solutions? Why are we losing ground, and why are essential responsibilities of our professional practice being assumed by others?”
One page into the book, you realize you have underlined every line. It is one of those books.
The book is organized in two parts.
In Part 1, Building Knowledge in Architecture serves as a practical overview of contemporary architectural design methods, and proposes design – apart from science and art – as a third way to investigate the real world.
“Perceiving themselves as practitioners of a ‘creative’ profession, architects hover between science and art.” p. 25
This is one of the very few books that discuss new digital design tools such as building information modeling (BIM) from academic, theoretical and practical standpoints (discussed for the first time on p. 93.)
But also integrated project delivery (IPD) or at least a facsimile of the same.
In the section called The Exteriorization of the Design Process, Foqué indicates that recent evolution of communication information technology processes forces designers
“…to interact increasingly with his environment. He has no escape, so to speak, but must engage in a permanent dialogue with his surrounding world.” p. 82
Foqué points out that the concept of transdisciplinarity – and the way specialized knowledge can be integrated – harkens back to the work of developmental child psychologist, Jean Piaget, in the 1970’s.
Where, according to the author, specialized knowledge needs to be incorporated into a comprehensive body of integrated knowledge, “within a global system of values and well-considered choices.”
Per Piaget, those who have taken part on integrated design teams will recognize the suggestion that multidisciplinary collaboration is, at root, child’s play.
“Learning should be revalorized in the sense that the creators of knowledge should also be held accountable for the application of that knowledge.” P. 24
“It is recognized that at the modern university, there exists a hierarchy of knowledge, which starts with the basic and fundamental science at the top, applied science in the middle, and technical skills at the bottom.” P. 26
Explaining why digital design tools, while used extensively, are infrequently taught at the university.
“…grounded in the field of tension between ‘technical’ performance and ‘artistic’ creation. It is exactly in that field of tension that every professional discipline grounds its own knowledge base.” P. 26
Foqué defines a critical component of the architect’s arsenal, intuition, as “a not-yet-conceptualized and not-yet-systematized form of knowledge.” P. 27
Before I go on to quote every line in the book, I want to point out an additional pleasure in reading a book written with a poet’s sensibility.
In describing the synergistic integration of art, science and technology, Foqué uses the seemingly simple example of learning to ride a bike.
“If you describe every part of a bike in extreme detail and add these descriptions together, you will by no means have produced an appropriate description of a bike.”
He concludes this explanation:
“In other words, it is not by knowing the why that you master the how. You need to add the artistic dimension, the art of bike-riding.”
As only a poet – who is also an architect, educator, scholar – could have written.
Foqué explains the now familiar story of how architects abandoned responsibility, and in doing so, relinquished authority, over the past 40 years.
He asks: How can we reverse this decline?
Part 2 of the book presents his case, so to speak.
Reinventing the Obvious
In Part 2, Building Knowledge in Architecture makes the case for case studies in architecture.
The case goes something like this:
Because case studies are used as teaching tools at law, medicine, and in MBA programs, architectural training should also include more reading and creating of case studies.
Here’s the problem with this argument:
It doesn’t need to be made.
In the introduction, the author asks: Why are we sometimes reinventing the obvious?
And then proceeds to fall into this same trap.
Architecture curriculums already make use of case studies. I know, for example, when I taught an integrated design/technology studio, we made great use of them.
They are not only, as the author argues, a practical tool for documenting complicated building projects, finding solutions to technical problems and expanding a firm’s expertise.
They are also excellent opportunities for having architecture students work in teams and learn how to collaborate on a project team while still in school.
The complexity of building projects almost guarantees that the teams will be multidisciplinary.
An example is Aaron Greven’s course in the College of Architecture at Illinois Institute of Technology (IIT) in the Integrated Building Delivery program, a class that focuses on integrated practices and the technology that facilitates collaboration across a broad range of building project participants, for the Masters in Integrated Building Delivery program, a post-professional program that is in its pilot phase.
While the example does not prove the rule, I have previously reviewed these case study presentations here.
And more recently, they have been reviewed here.
The book does an excellent job explaining case study research as a means to establish a knowledge base and, as importantly, develops a practical method to do so.
“Architecture is no longer considered a true discipline, based on a comprehensive knowledge base, as it was for more than 2000 years. It is clear that this situation is no longer tenable, if architecture wants to survive in the Information Age, and in a quickly changing globalized world. A key question regarding the discipline of architecture today is how we can build a store of knowledge again.” P.174
But for me, proving the case for use of case studies in architectural education is not the reason to read this book.
Perhaps it is not case studies that are needed but a knowledge management and information system that can readily access the design professional’s accumulated knowledge.
There are people out there who do just this.
But this book does provide the rationale as well as a unique approach to constructing case studies, grounded in the arguments and methodology presented in the first part of the book.
And more importantly, this book explains how we can build knowledge in our profession and industry through the use of case studies.
The strengths of the book overwhelm its few weaknesses.
Weaknesses first. For all of the wonderful discussion about design and creativity throughout the first part of the book, there is nary a general mention of or reference to either in the index. It is almost as though the index was created for academics who might scrutinize sources for perfunctorily academic reasons but alas, not for the general reader’s ease of use.
Likewise, many of the otherwise wonderfully rich sources cited, are from the 1970’s or earlier. The book would have benefitted the reader (but no doubt not fellow academics) by referencing more contemporary examples of the same ideas or even the cited author’s more recent work.
On the strength side, the book’s diagrams are truly spectacular and help to illustrate many of the book’s finer concepts.
Another remarkable and no doubt unintended strength of the book is it is eminently tweetable.
A book of well-composed sentences, Building Knowledge in Architecture is remarkably aphoristic, and there are literally hundreds of quotable 140 character lines that are just crying out to be tweeted on Twitter:
“Intuitive thinking and rational thinking are not opponents; they are the twin poles between which the artist structures reality.”
Foqué explains that in earlier craft societies, severe penalties were imposed on those members who reveal knowledge in public. P. 93
Today, we are rewarded for the same by being retweeted.
See below for how critical Twitter is to this discussion.
Read or drown
It doesn’t matter if you don’t learn anything new by reading this book (you will.)
Because, after reading it, you will be able to say that you know what you know for the first time.
And that is some accomplishment. For any book.
It is absolutely critical that you read this book. Why?
Here are 3 reasons:
For all of the reasons I have stated up above.
For the reason that it tells us where we have been, where we are today and where we are headed.
And for this reason:
When drowning and you are thrown a life preserver you don’t say, “no thanks, I’ve seen one of these before,” and toss your line to safety aside.
A strength of this author, as mentioned, is that he has one foot in academia and the other in practice, a perspective evident in nearly every sentence:
“Professional disciplines…reduce the gap between real world problems and academic research, research increasingly captured by its own agenda.” P. 25
A book such as this can go a long way starting to fill the gap between education and practice.
That the author is a published poet can be seen in the book’s nearly perfect prose – so clear that you will not need to go back and read any sentence twice.
But you will do so anyway.
Because the sentences are so well-written they’ll strike a chord in you.
And you will find yourself rereading them for the sheer wonder and pleasure.
So don’t read Building Knowledge in Architecture because it develops a general design theory, a theoretical framework and practical instrumentation to establish a knowledge base for the discipline of architecture.
Read it if you want to improve your understanding of the impact and motives on decision making so that your designs are more responsive to real needs.
Read Building Knowledge in Architecture because you are an architect, an educator or student.
Read it because books like this are why we still have books.
Read Building Knowledge in Architecture because we as a profession are adrift and this book has been thrown to us as a lifeline.
Read it because at a time when the publishing and construction industry are experiencing upheavals, it is heartening to discover a book that is as well-written and well-illustrated as it is well-constructed and physically beautiful.
The book feels good in the hand, like a book by Peter Zumthor.
When you hold it for the first time you will feel
as though you have done so before,
as though the book is being returned to you
after a long absence.
To you alone.
That is because this book has been written for you.
The book, Building Knowledge in Architecture, was recommended to me by Ryan Schultz, founder of
@theoryshaw P. 78 of Building Knowledge in Architecture (Design as a rational Process: The Triangle Broken) could be your mission statement. Thanks!
FYI This blog was posted for readers at my other blog by a different name.
Tags: AIA, Architectural Record, BIM, Coxe Group, elitism, integrated design, john brockman, knowledgenet, Record Houses, third culture, two cultures, Weld Coxe
Between us and them.
It’s not a matter of who’s on top and who’s on bottom – one being high and the other low – for they are both high-minded.
High-minded, that is, about different things.
The Two Cultures was an influential lecture, given just over 50 years ago this week, by scientist and novelist C. P. Snow about how the breakdown of communication between the “two cultures” of modern society — the sciences and humanities — was holding us back from solving the world’s major problems.
Architecture’s two cultures, similarly, can be best described as “high design” and “high delivery”.
In other words, architects devoted to architecture as art, and architects devoted to serving clients.
This model owes something to Weld Coxe, founder of the service professions management firm The Coxe Group, who passed away last month.
You can find a clear description of their model, published 25 years ago, here.
For simplicity’s sake, I am clumping together service and delivery, for they have one big thing in common: a client.
For some this might be likened to clumping together Vitruvius’ commodity and firmness and pitting them against delight.
Whereas, for high art (paper architecture, etc.), while patrons are welcome, they aren’t necessary.
It’s almost impossible to describe the two cultures without making a value judgment.
Innovators vs. Perpetuators of the status quo.
Ideas vs. Things.
Form vs. Function.
Thinking differently vs. The standard of care.
Sophisticated urban architects vs. Prosaic suburban architects.
AIA members vs. SARA members (or any other so-called alternative-AIA organizations.)
Local office continuing education events sponsored by USG Corp. vs. Outlier office sponsored industry events by Big Ass Fans.
You get the idea.
In fact, it was a magazine that got this whole discussion rolling.
At the AIA Committee on Design Knowledge Community, an architect started a KnowledgeNet discussion thread last month concerning the Record Houses 2011 magazine issue.
The argument boils down to one word: elitism.
Record Houses, the argument goes, is elitist.
Exclusive, exclusionary and undemocratic.
Various voices chimed-in, leaving messages that, generally, complained the houses awarded year after year exhibit poor construction decision-making.
Or are uncomfortable to live in.
Or aren’t code-worthy.
Or don’t use construction best practices.
Or are unsustainable.
Or they leak.
In other words, their comments seem to say, “they may be art but I wouldn’t want to live in one.”
Several mentioned that these high-design homes perpetuate the image of the architect as designing for themselves, for each other or to receive awards and recognition.
Anything, really, but for what the world needs from a home today: shelter, safety, solace.
That Record Homes, if viewed in a doctor’s office by a non-architect, may leave the wrong conclusion of what we truly stand for as a profession, of where our true interests lie, and of what we value and believe.
In defense of the Record Houses issue, one architect admitted liking one of the houses:
“Do I design this way? I don’t have the client, the budget or, let’s face it, the talent.”
“There are some beautifully resolved and detailed houses in the article, why the hate? I will argue for the issues of safety in public buildings but to use that as a metric for the merits of design for a home is misplaced…”
One counterpoint sums up the opposing side’s argument:
“Great architecture should be based on more than art alone. Otherwise it is sculpture.”
Architecture’s Third Culture
Just as CP Snow’s Two Cultures were welcomed by a Third Culture 20 years ago, so are ours today.
Snow’s Third Culture was a group envisioned as “curious non-scientists who could bridge the gap between scientists and humanists.”
In 1991, literary agent John Brockman wrote an essay entitled “The Third Culture.”
Architecture’s Third Culture could also be best described as a bridge.
One that can bridge a gaping hole between design and construction.
Architecture’s Third Culture would bridge the gap by removing the “vs.” between the two sides.
Replacing “vs.” with an “and.”
Today, for the world we face, we need to do both.
We need to be both.
Both/and. Not either/or.
For a world in need we, as architects, need to be more.
Because the world needs more.
And we have what it takes – as individuals, teams, firms and profession – to rise to the occasion.
We cannot afford any longer to stand apart.
To emphasize one side over the other.
Or ignore one side altogether.
Yes, the world needs beauty as much as it needs our services.
We need, today more than ever, to integrate our predilections and capabilities and stand together as one profession, however diverse we may be as individuals.
And we can start by dropping the divisiveness.
Replacing “vs.” with a simple “and.”
Architecture’s Next Destination (AND)
Call it the Yes AND movement.
We commit, here on out, in our work and in our lives, to address both ideas and things.
Both form and function.
Technology and process.
Academics and practitioners.
Design and construction.
Both thinking differently and exceeding the standard of care.
Beauty and sustainability.
BIM and integrated design.
To creating sophisticated, urban places and the revitalization of the suburbs.
To belong to – and volunteer at – any organization of our choosing.
Despite our schooling and training, which may have emphasized one over the other.
What we ought to have been doing all along.
It’s like the old improv “Yes And” game.
The game represents a vital rule of improvisational theater:
Never deny your fellow actor.
Take what you’re given, whatever line you’re fed, and say “yes and…”
Be willing and able to accept the ideas the other person conveys.
Then, it’s your turn to add to the scene.
This improv principle is known as “Yes And.” Here’s how it works:
At the beginning of the scene, Character #1 will begin by establishing setting and plot.
Character #1: What a terrible time to be an architect!
Following the “Yes And” method, Character #2 will accept the premise and add onto the situation.
Character #2: Yep and the boss said we don’t get no salary until this model is coordinated.
Character #1: Yes and ain’t he the meanest cuss we’ve ever worked for?
Character #2: Yep and it’s made me think about leaving behind this cowboy life and headin’ off for bluer horizons. (Learn more about the method here.)
Seated with the project team, someone tosses out an idea that troubles you.
Never deny your teammate. You respond by saying, “Yes and…”
Don’t like what the client has given you in the way of a program, schedule or budget?
Never deny your client. “Yes and…”
Don’t like what the economy has given you?
Never deny your circumstances. “Yes and…”
Or the site. Or the budget. Or the schedule.
Yes And: Not either/Or.
Yes And: A Collaborative Attitude.
Yes And: Architecture’s Third Culture
Yes And: Architect’s New Direction
Yes And: Architecture’s Next Destination
This is the message we want to be making to others.
Do you agree?
Watch for Architecture’s Two Cultures (AND a Crucial Third) Part 2
In Search of another Type of Architect January 29, 2011Posted by randydeutsch in architect types, BIM, change, collaboration, essence, identity, the economy, transformation, transition.
Tags: ARCHITECT magazine, collaboration, empathy, ENFP, ENTJ, Myers-Briggs
Lately, a number of my own comments left at various sites seem to stop the flow of the discussion thread.
They’re conversation-ending comments.
Is it me? The equivalent of my comment’s breath?
Is it something I said?
Or is it my Type?
I believe the best commenters (and architects) play well with others – they reference each other’s comments, build on them, politely beg to differ.
And they politely beg others to respond.
Their comments move the discussion forward.
Mine seem to just sit there like a ton of bricks. Anchoring the discussion the way a chunk of concrete anchors wiseguys at the bottom of the lake.
As though to say, um, thanks for sharing (not.)
Take for example this comment that I left at AIA’s new flagship publication, Architect Magazine.
The article is entitled “A Difficult Character” about how, when a leadership consultant reviewed the Myers-Briggs tests of 100 architects, he discovered there really is an “architect type” — and maybe a difficult one.
The big finding of the article is that the most frequent type among the architects was ENTJ — extraversion, intuition, thinking, and judging. ENTJs accounted for a whopping 31 percent of the architects that the consultant tested, despite the very low frequency of the type (estimated at 1.8 percent) within the general population.
The article is well-written and engaging. I just thought it was strange that it didn’t acknowledge earlier research that seemed to contradict – or inform – its findings.
So I said as much in my comment:
Posted by: randydeutsch | Time: 1:26 PM Wednesday, January 19, 2011
When Donald W. MacKinnon conducted his famous Myers-Briggs tests on architects in the 1950s and 1960s (published in In Search of Human Effectiveness) he found the vast majority of successful, self-actualized, creative architects to be ENFPs. Our apparent transitioning from FPs to TJs over the past half-century raises two questions: 1. Had architects with less pedigree (read: success, esteem, creativity, self-actualization) been tested 50 years ago would they have likewise exhibited a preference for ENTJ? and 2. Our organizations, profession, industry and world all demand a greater ability to work collaboratively, in an integrated manner: perhaps we would be better off with ENFP’s perception and empathy – two qualities in high demand (and, it appears, low inventory) when working on collaborative, integrated teams?
Is it possible to report your own comment as offensive?
That comment hit the ground with a major thud and pretty much put an end to what had been an otherwise interesting and energized online discussion.
You can still hear the echoes in the corridors of online comments everywhere.
The irony, of course, is that my comment was pure ENTJ: technically accurate, flawlessly judgmental, completely logical,
And not at all what the discussion needed at that moment.
It lacked perception and cooperation.
What was needed at that moment was a classically ENFP response: one that exhibited empathy.
One that perceptively, and collaboratively, worked well with the commenters who came before – to assure that there would be commenters who came after.
Soul Searching for another Type
Type Talk, along with Please Understand Me, are the 2 best books I have come across that describe the different personality “preferences” or types.
Type Talk’s chapter headings pretty well sum up the essence of each type:
ISTJ Doing What Should Be Done
ISFJ A High Sense of Duty
INFJ An Inspiration to Others
INTJ Everything Has Room For Improvement
ISTP Ready to Try Anything Once
ISFP Sees Much But Shares Little
INFP Performing Noble Service to Aid Society
INTP A Love of Problem Solving
ESTP The Ultimate Realist
ESFP You Only Go Around Once in Life
ENFP Giving Life an Extra Squeeze
ENTP One Exciting Challenge After Another
ESTJ Life’s Administrators
ESFJ Hosts and Hostesses of the World
ENFJ Smooth-Talking Persuaders
ENTJ Life’s Natural Leaders
Architects, by and large, are natural leaders. And leadership is something we could use a great deal more of right now.
But when you dig down a bit into what makes ENTJs who they are – what makes them click – largely has to do with their need for control.
And control is not something in great demand today.
In fact, it may go a long way to explain some of the frustration of architects who are unwilling to collaborate – whether by sharing their BIM models, participating on integrated teams or even sharing their work and responsibilities with colleagues.
Work, more and more, is occurring simultaneously – requiring lateral thinking – not in a linear fashion.
And that hurts.
And is incredibly draining. All that psychic energy spent trying to get such an unseemly and messy world to line up.
Architects have long been order makers – not order takers.
But life more and more is unpredictable and unrelenting.
Architects are a bit like Mickey Mouse as the sorcerer in the cinematic animation Fantasia.
We can’t help ourselves from wanting the world to stand on command, in some orderly way.
But nonetheless can’t seem to mop quickly enough to hold back the deluge.
Which reminds me of a favorite quote from F. Scott Fitzgerald’s The Great Gatsby:
“I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart.”
Architects who show a preference for ENTJ want the world to be in uniform and at a sort of moral attention forever.
And you know, the world is just not cooperating.
Can ENTJs become ENFPs?
The short answer is: Yes.
Long ago, when I first took the Myers-Briggs assessment, I had been assessed as an ENFJ.
But not long after I noticed that many of the world’s most creative architects were ENFPs.
So I wanted to become one myself.
I put myself through a crash course of sorts. One of the things I did was to catch myself when I was passing judgment, to stop, take a deep breath, and substitute a more general – and hopefully helpful – observation or perception instead.
I tried to show more empathy than criticism whenever possible.
In fact, for years I taught a segment of a graduate level professional practice course where I purposefully assisted lifelong ENFJs and ENTJs who wanted to become ENFPs.
When I retested I was sure enough an ENFP and have remained one ever since.
Except for the times I revert, such as when reading through a great discussion thread and I feel compelled to leave an ENTJ-type comment.
It’s that part of me that wants the world to be in uniform and at a sort of moral attention forever.
And you know, I may be collaborating, but the world’s just not cooperating.
Design in the Open December 4, 2010Posted by randydeutsch in architect, collaboration, identity, IPD, questions.
Tags: co-creation, co-creative, collaboration, cooperation, crowdsourcing, participatory design
With little interest in giving a dog and pony show, I want the meeting to be a working session.
To give them a taste of how we – as a team – are to work with.
And to make good use of everybody’s time.
Get some real value out of our brief time together, whatever the results.
We’re not going to pretend we have all the answers.
So we’ll ask a lot of questions.
And answer some of their questions with questions of our own.
Not to be difficult.
But to engage the client in a dialogue.
An Identity Problem
Participatory design is a design approach that seeks to actively involve all stakeholders (employees, partners, customers, citizens, end users) in the design process to help assure that what is designed meets their needs and functions well for all.
It involves cooperation and collaboration, and the attitudes and mindset necessary to allow these practices to flower.
Prior to its popularity in the 60’s and 70’s, participatory design was known as Cooperative Design.
Now we have Crowdsourcing and Integrated Design.
And would you know it, Co-Creation, too.
In The Power of Co-Creation: Build It with Them to Boost Growth, Productivity, and Profits, authors Venkat Ramaswamy and Francis Gouillart explain how to tap into ideas, design and build products and services by engaging directly with employees, stakeholders, clients and suppliers.
Even with competitors.
The applications to, and implications for, Integrated Project Delivery (IPD) – especially in terms of how co-creation can help to lower risks and costs – are readily apparent.
“Participatory design always works.”
And like IPD it involves a democratization and decentralization of value creation among other benefits.
Participatory design is a far more democratic approach to design than most architects today would be comfortable with.
And that’s too bad.
It’s one that requires relinquishing control of the very design process that the architect struggles with to lead.
The American architect Charles Moore – a successful proponent of participatory design – had flippantly said that, in his own case, his oversized ego allowed him to relinquish his reigns on design.
This is an accurate statement in that Moore alone among architects at the time (1980’s) had the self-awareness and self-belief – the confidence – that he could take any form the masses came up with and turn it into an exceptional work of architecture.
And he was almost always right.
Charles Moore, an incredibly intelligent and creative architect and entrepreneur, late in his career said that the only architectural truth that he discovered was that “participatory design always works.”
Plain Modern: The Architecture of Brian Mackay-Lyons presents the work of Charles Moore’s internationally acclaimed, California-based firm Moore Ruble Yudell, whose unique expertise in community involvement and participatory design has profoundly influenced the course of contemporary architecture.
Moore’s advocacy of user participation in the design process influenced a whole generation of designers.
One of these was Brian MacKay-Lyons of MacKay-Lyons, whose mentor was Charles Moore.
A Design Process by any Other Name
But in changing names of this powerful design process over the years have we inadvertently thrown the baby out with the bath water?
Today we may talk about building social ecosystems, designing engagement platforms and expanding scope and scale of network interactions, but what we really mean when we say transforming enterprise operations through co-creation is…participatory design.
Whatever name you give it, participatory design is fast replacing traditional thinking that viewed design innovation as a proprietary activity.
Changing names on such a regular basis has led to books such as the unlikely (and awkwardly) titled “Crowdsourcing: Neologism, Independent contractor, Outsourcing, Crowd, Participatory design, Human-based computation, Citizen science, Web 2.0, … intelligence, Distributed computing.”
Architectural collaborator Dave Premi reflects on participatory design as a highly creative and evolving process when he looks back on his experience collaborating:
“I have been involved with MacKay-Lyons’ participatory design process on a number of buildings. Each time we created a new process, since every client has its own requirements. You have to mold the process each time to suit the requirements. It’s not a ‘one-size-fits-all’ method.”
Other take-aways from Charles Moore and his protégé MacKay-Lyons’ on participatory design:
- To succeed, the architect can’t have his mind made up before working with the public on the design
- No preconceived ideas
- The secret to making it work: don’t get defensive
- Have the conviction that you can make a nice building out of anything anyone comes up with
- In the participatory design process, “the public define the shapes, we refine them.”
- Refining building form is up to the architect; their sole domain
- Participatory design is somewhat similar to advocacy planning of the 1960s where architects acted as midwives for lay people’s visions
Design in the Open
Architects, upon being asked a design or building question, can no longer say let me go back to the office and study it.
Because it’s all integrated and participatory from here on out.
It’s all open source.
Today we have science in the open, theater in the open, “out in the open” with CNN’s Rick Sanchez.
But design in the open?
To succeed, get buy-in and move projects forward, architects and other design professionals will need to design in the open.
Learning from Participatory Design
Take this exchange from a recent interview in the Huffington Post between Guy Horton and Witold Rybczynski:
Guy Horton: In your opinion, can architects reclaim more of a public role? This is something that is discussed in professional circles. There is the perception that they are more insular and out of the loop and have ceded much of their power to developers. What can architects do to elevate the visibility of their role?
Witold Rybczynski: I just watched an interview with Charles Moore on YouTube. He was talking about how architects should listen to the public, rather than dictate to it. It was quite compelling. That was in the 1980s, and neither postmodernism nor Moore’s vision of participatory design caught on. Not many architects had Moore’s confidence to share design decisions with their clients. Moreover, architects tend to be persuaders rather than listeners. Success in the architectural profession–realizing one’s vision in something as large and complex as a building–requires a strong ego and a single-minded, almost obsessive, attention to detail. These qualities can easily turn to arrogance. It is, as the French say, a déformation professionelle.
If the result is an increase in participatory design, here’s to a déformation professionelle in 2011.
Watch the interview.
And read this book: one of the best books ever written on the subject for those who want to encourage full participation in their own work, universally esteemed and revered,the Facilitator’s Guide to Participatory Decision-Making by Sam Kaner et al. Highly recommended.
Unlearning to Collaborate November 28, 2010Posted by randydeutsch in architect, BIM, books, collaboration, IPD, management, problem solving, sustainability, the economy.
Tags: BIM, collaboration, Glenn Murcutt, Howard Gardner, IPD, Michael Tomasello, Peter Zumthor, unlearning, Why We Cooperate, wicked problems
Are we wired to collaborate?
Michael Tomasello in Why We Cooperate argues that we are – up until a certain age. Then – through conditioning – we forget. Tomasello’s book itself is an interesting act of cooperation, where the author invited his severest critics to poke holes in his argument and explore the implications of his work in light of their own research.
To put it another way: as we grow we cooperate conditionally, attending to the behavior of others. This has huge implications for architects and design professionals who might be naturally collaborative – through sharing knowledge, learning, mentoring and teaching – but are otherwise conditioned by the culture of the firm where they work.
Some firms encourage collaboration while others discourage it by focusing exclusively on individual achievement or by not valuing knowledge sharing. In a sense, you are collaborative because the culture of your organization is one that promotes and encourages collaboration.
The Latest Buzzword?
The word “collaboration” seems to have been invented to provide adults with a serious sounding activity that we, as children, seemed to do naturally.
We like to think of collaboration as the latest business buzzword but of course is nothing new. The word is actually 130 years old, making headlines nearly 100 years ago in the New York Times. We are all still trying to figure out how to do it effectively or at least how to sell it as a unique way architects work.
In any event, there’s a great deal we need to unlearn in order to return to our original sharing attitude and collaborative ways, including bad habits we’ve picked up since we left the cocoon of school and embarked on the hard knocks of a career in architecture and construction, where we learned to be mistrustful, skeptical, competitive, secretive, working independently out of silos. We unlearned all of the critical natural habits, attitudes and mindsets necessary to work effectively on integrated teams.
While collaboration extends and reorients insight, increases efficiency, creates credibility and community, the word itself is too often loosely defined.
A definition of collaboration particularly relevant for our age of Building Information Modeling (BIM) and Integrated Project Delivery (IPD) is a process through which people who see different aspects of a problem can constructively explore their differences and search for solutions that go beyond their own limited vision of what is possible. (Grey, 1989)
Collaboration is simply when people work together to create something that couldn’t be done by someone on their own. We do it all the time when designing buildings, resolving problems or working with owners to deliver solutions. The difference today is that we need to get even better at working together and sharing knowledge to solve problems, which are getting larger and more complex.
Moving beyond our boundaries – personal, organizational – requires that we see our blind spots and who better than our fellow collaborators – seeing-eye professionals – can help us see our blind spots?
To do so we have to seek out people who have other pieces of the puzzle.
Collaboration is best used to solve what Howard Gardner called “wicked” problems with “imperfect, changing or divergent solutions.” The problems architects face today are wicked in that they are complex, defying simple formulations and easy solutions, such as fighting global warming or increasing productivity in the construction industry.
Problems aren’t only wicked – they’re simultaneous – occurring at the same time. Buildings aren’t only complicated, becoming increasingly complex; they also change quickly, marked by a sense of urgency.
To remain efficient and effective, recognizing when it’s unhelpful to collaborate can be important. There’s no need to collaborate, for example, on simple, repetitive, fast turnaround assignments.
Conditions for Successful Collaboration
We don’t trust that this diverse group of people we hardly know will be able to perform better than we can on our own and tend to feel more comfortable and self-assured managing tangible things such as projects over people and relationships. Fortunately, architects are more people-focused later in their careers.
In addition to being people-focused, here are eight preconditions for successful collaboration:
Chemistry – because how can you work well together if you don’t like each other?
Equal, multiple expertise – it’s not truly collaboration if the manager cannot participate in design and the designer cannot participate in managing – it’s an assembly line.
A willingness to play – because fun leads to better, more creative results.
Listening – because it’s about the process of making something together.
Having an open mindset
Willingness – you must choose to collaborate – it can’t be done at gunpoint
Willful effort to work together to get things done; and
Trust between those involved
Because architects find themselves questioning their relevance, their collaborative participation is crucial. We perhaps sent the wrong message by recently honoring sole practitioners such as Glenn Murcutt and Peter Zumthor because it glamorizes autonomy over working together.
Why collaborate? Because if you don’t you will not fully participate in public, community, creative and economic life. We may be natural collaborators, but now it is time for us to build collaborative cultures.
Out-of-Work Architect Speaks September 10, 2010Posted by randydeutsch in BIM, books, career, collaboration, employment, optimism, questions, survival, technology, the economy.
Tags: best firms, conferences, conventions, employee engagement, public speaking, Pugh + Scarpa, scott berkun, Snøhetta, toastmasters
What’s so interesting about an unemployed architect saying something?
So interesting that you just have to read about it?
Or hear it for yourself?
Is it because up until now the out-of-work architect has been silent?
And suddenly – like an oracle – has something to say?
In the time I have been out of work – since earlier this year – I have been busy completing the writing of a book (my publisher expects to see the manuscript in 6 weeks,) creating content for two blogs,
And doing some public speaking.
So much so that my wife doesn’t consider me unemployed.
In fact, when she hears me refer to myself in public using the “u” word she’s momentarily taken aback.
Until she remembers that’s why she so often sees me voluntarily do the dishes and it all comes back to her.
Yes, I’m also learning new software and technology, applying for an MBA, interviewing at exceptional architecture firms, attending networking meet-ups and awaiting call-backs on some building design RFQs and RFPs – as well as making the kids lunches, helping with homework and walking the dog.
But in the meantime, this out-of-work architect speaks.
What have I gotten myself into?
Isn’t public speaking the thing where they say more people at a funeral would rather be the person in the coffin than the person up on stage giving the eulogy?
In all fairness, I have been a lecturer in graduate level building science/building technology at the University of Illinois at Chicago for a number of years.
Where I would present – no doubt to the chagrin of my students – upwards of two hours at a stretch without so much as a bathroom break.
And I was a playwright in an earlier life (though, according to one director, couldn’t act my way out of a paper bag.)
So I have some comfort in front of crowds.
Though you wouldn’t know it from recent attempts.
Speaking before peers on topics of interest – all of whom are experts in their domains – is something altogether different.
Earlier this year I gave the public speaking thing a try.
At KA Connect in Chicago – with mixed results.
KA Connect itself is an amazing, stimulating and entertaining conference with the next one – KA Connect 2011 – being held at the Fort Mason Center, San Francisco in April.
I can’t wait.
When they posted the thing on iTunes (for my kids and their friends to play and lambast me in public ridicule and merriment from the backseat of my car when I drive them to the movies) I was reminded of three rules that I would take to heart if I ever ventured into public speaking again:
Rule #1: Practice.
Rule #2: Practice.
Rule #3: Practice.
I can’t think of a better use of my time right now while I await my next big challenge than to travel all across the country, speak in front of large audiences of peers – often at other’s expense with modest honorariums – about the things that matter most to me.
I get to learn a great deal about myself – and even more about these topics – as I conduct research in preparation for the talks.
Stating your opinion in a blog post is one thing.
Being able to talk intelligently, entertainingly, on your feet representing all sides of the subject is something else altogether.
Yourself, in 100 words or less
One of the first, most challenging things you need to do when you speak is supply the conference organizers with a short written summary describing, well, you.
It’s an exercise everyone ought to go through – condensing yourself down to what’s absolutely essential – for someone else to know.
Here’s what I came up with my need-to-know blurb:
Randy Deutsch AIA, LEED AP is a lead design architect focusing on and dedicated to large, complex sustainable projects. A university instructor leading graduate-level building science, design studio and professional practice courses, he served on Chicago Architectural Club’s Board of Directors and as AIA Chicago Board as Vice President. Randy is a frequent blogger – with www.architects2zebras.com and www.bimandintegrateddesign.com both recently featured in ARCHITECT magazine – and the author of BIM and Integrated Design (Wiley, 2011,) a professional thought and practice leader, an Integrated Project Delivery (IPD) facilitator, speaker, mentor and recipient of the AIA Young Architect Award.
Here are brief summaries of the four talks I am giving in the next 8 weeks.
I’ll be giving the opening keynote talk in the Training & Development theme of Engaging and Cultivating Top Performers, entitled:
Keeping Employees Engaged in an Age of Disruption
Randy Deutsch AIA, LEED AP, Architect, Author and Consultant, Deutsch Insights
What motivates employees to stay engaged and eager to contribute?
As the advent of new digital technologies enables collaborative work processes (that I discuss at length in my other blog,) what are the social impacts of these disruptive tools and process changes to firm culture and morale?
What motivates employees to share, collaborate and act transparently when working on integrated teams?
Learn how the new team workflows affect how employees engage with project work, each other and with the firm.
This session will illustrate how firms are turning to employees themselves to determine how best to stay engaged and motivated when the focus is set on the bottom line.
Well, that at least is the bar I have set for myself.
Everyone – especially those in HR – knows what it takes to keep employees engaged in normal times.
But how about keeping employees motivated and engaged in the new normal?
That’s something few have written or spoken about.
At the summit, among other notables, Markku Allison will be speaking on collaboration, John Soter and Pam Britton on leadership and training, and Knowledge Architecture founder and KA Connect creator Chris Parsons will be speaking on Leveraging Social Media Tools and again with the mercurial Marjanne Pearson and Christine Brack on talent management and benchmarking.
I have to get from Vegas to Toledo with, wouldn’t you know, no direct flights.
Another opening keynote talk (I’m noticing a theme. Did word get out that I’m a morning person?)
The Well-Informed Architect: Reasons to be Optimistic Randy Deutsch AIA, LEED AP, Architect, Author and Consultant, Architects2Zebras
This is how I describe my session in the brochure:
Architects are trained to be on the lookout for problems. We wear our skepticism as a badge of pride. Our dissatisfaction with the way things are keeps us focused, energized and motivated, while being optimistic is a sign of weakness. This session will focus on informed optimism as a critical attribute of all leaders and explain how to develop this attribute to attract clients, do our best work, collaborate with others, attract and retain employees and enjoy the work we do. This program promises to teach the steps to take to achieve informed optimism in your own work and practice.
You might be wondering about now, How did I get myself into this?
You might recall that about 6 months ago I wrote a somewhat controversial blog post entitled 81 Reasons Why There Has Never Been a Better Time to Be an Architect.
Organizers of the conference who wanted to see the author of this post tarred and feathered in a public venue generously offered to have me speak.
And I inexplicably complied.
The 2010 AIA Ohio Convention website, built around the theme: A Shared Vision from Different Perspectives, contains this sentence:
Keynote speakers include Craig Dykers of Snøhetta, Angela Brooks from Pugh + Scarpa, and Randy Deutsch.
Snøhetta… Pugh + Scarpa…Deutsch?!
Let’s just say when I first saw what esteemed company I was in I had a Zelig moment.
60 minutes of uninterupted optimism is what I promised to deliver.
60 minutes of uninterupted optimism is what they’ll get.
Questions? Complaints? Contact AIA Ohio
Beyond Convention is the theme for this year’s convention.
The convention planning committee invited speakers to share their knowledge and expertise with fellow practitioners and allied professionals as part of a special convention to address the changes occurring within the architectural profession and the implications on the future of practice.
They encouraged industry leaders and forward-thinking professionals who are on the cutting edge of practice, management, technology, collaboration, research, training, and mentoring to submit proposals to discuss trends that are changing the way architects practice.
I have Christopher Parsons, of Knowledge Architecture and KA Connect fame, to once again thank for this one.
Chris, the incomparable Laurie Dreyer and I will be speaking on the PMKC topic of
(Re)Learning to Collaborate Randy Deutsch AIA, LEED AP, Architect, Author and Consultant, Deutsch Insights
In 50 words or less,
Collaboration used to be simple. We knew how to do it as children. We have made it harder than it needs to be. Join Randy Deutsch, Laurie Dryer, and Christopher Parsons for an informative, entertaining, and contrarian tour through social media, knowledge management, IPD, and collaboration.
Followers of my blogs know that I ask lots of questions. In my portion of this session I’ll walk attendees through what I’ve learned along the way about:
- Why collaborate?
- How do we as professionals learn to collaborate?
- Is it something we need to learn?
- Or is it something we are born with and forget/just know?
- What distinguishes collaboration from working on teams?
- Is collaborating always desirable? How do we know?
I love, absolutely love, the AIA TAP conferences.
Can’t get enough of what they have to offer.
What’s different about this NTAP from previous TAP conferences, this one will be held in multiple venues and also virtually.
I have probably learned as much from them as from anything else I’ve encountered.
And so it is a thrill to be able to participate in this event.
This time, I won’t be getting up alone in front of a large crowd of peers.
I’m going to be moderating a panel of the world’s – and industry’s – most esteemed colleagues.
The session’s entitled:
Crossing the IPD Chasm with BIM Moderated by Randy Deutsch AIA, LEED AP, Architect, Author and Consultant, Deutsch Insights
The short of it is:
Early adopters of IPD have been well-documented. What role will BIM play in IPD going mainstream? What will it take to bridge the gap? Join industry leaders Phil Bernstein FAIA, Jonathan Cohen FAIA and Howard Ashcraft for a provocative discussion addressing what roles BIM plays in where IPD is headed.
Phil Bernstein FAIA. Jonathan Cohen FAIA. Howard Ashcraft.
And I get to ask them questions.
Should be a great, memorable panel and Q & A.
The proposed panel will be a moderated dialogue and interactive discussion among three notable panelists representing different expert perspectives from the AECOO community exploring how BIM can help bridge over the collaborative work processes and delivery method gap – brought about by concerns about interoperability, risk and responsibility, and the building lifecycle.
- What’s next on the horizon for IPD? Will this stall? Will it take off? What’s stopping owners and firms from adopting and implementing IPD? What’s with the workarounds – IPD as a philosophy but not a delivery method; IPD-ish projects; IPD-lite approaches and minor trust-based adjustments of existing team collaborations – and are they as effective and truly IPD?
- How does use of BIM encourage or discourage the widespread acceptance of IPD as a delivery method? Do architects need to return to startup mentality, by conducting the search for a new scalable, repeatable business model?
Again, lots of questions that I am eager to hear answered.
This panel discussion will focus on BIM tools and work processes that are going to be required for the industry to move toward a more collaborative project delivery methodology.
Participating venues include Washington D.C., Albuquerque, Chicago, Columbus, Dallas, Los Angeles, New York, Phoenix, Salt Lake City, San Francisco.
Let me know by leaving a comment here if there are other participating venues you know of that you don’t see here.
While nothing compares with the experience and tips you get from joining a Toastmasters club in your area, I have read dozens of books on public speaking and have to say Scott Berkun’s book, Confessions of a Public Speaker, is my overall favorite. I love all of his books, but this one covers the topic in such a realistic way anyone who reads it will benefit immediately from his wisdom, experience and the tales he shares of others. Great read. Read it free here or here, borrow it from the library or get the 5 star rated book here. Better yet, watch this experience public presenter speak.
If you have done some public speaking, I’d love to hear about it. Leave a comment or contact me at firstname.lastname@example.org
A Better Way for Architects? August 28, 2010Posted by randydeutsch in architecture industry, change, collaboration, marginalization.
Tags: communication, paperwork, personal fulfillment, site visits, storytelling
Note from blogger: I just received this email from Peter Janko, Lumenelle President and Product Design Engineer for Lighting Restoration, Design and Manufacturing. While the email was addressed to me, it ought to be read by all architects. I have always benefited from Pete’s advice, thoughts and suggestions. His insights into the world of architecture and construction – and his creative mind and clever way with words – make Pete a model collaborator and teammate. These may be tough words but he always has architects’ best interests in mind. Thank you Pete!
I have followed all of your posts and blogs for quite some time and think that you have some great messages for your fellow architects. But there is one aspect of architecture that I feel is very important but I see slipping away. That is architects should make it a priority to get closer and more personally involved in their projects.
Yesterday we finished our lighting restoration project at the Rialto. Unlike most projects, where after you finish, you just sort of “ride into the sunset” off to the next project, the completion of this project was bittersweet. It took us an hour to say our goodbyes as Rialto staffers stopped by one by one while were packing up our equipment to leave. Even though it is a 1 1/2 hour drive (in good traffic) they made us promise to visit often and stay in touch. Two days before we finished, the Rialto held an open house to see the work on “The Duchess” close up. By the time they opened the doors, it was estimated that over 100 people were standing outside waiting and turnout was 2-3 times what they expected. I made a 30 minute presentation on the restoration. The question and answer session afterward went for over an hour. People came up to us after my talk and shared their personal connections to the Rialto with us. We all felt like family. This is what makes being in preservation/restoration so worthwhile.
Although all of us like to see stories about us in the media, I am disappointed at how this story was told. There are a few bullet points on the history but I think the articles totally miss the real significance of the whole purpose of the work at the Rialto. The whole human interest/history aspect is absent. I think this is one of the major reasons why saving out historical treasures is such an uphill battle. To the media, I would like to say, “It’s the people behind the building, then and now, – otherwise, it only a pile of bricks and metal.”
The backstory is pretty profound. The Rialto Square Theater – “The Jewel of Joliet”
was saved from being torn down in order to build a parking garage…
“A feisty, spirited group of citizens took the challenge and began the wildly successful “Save the Rialto Campaign.” Dorothy Mavrich, president of The Rialto Square Arts Association, got the campaign rolling, and all stops were pulled out to offer an alternative plan to the awful thought of selling the land to developers,.. ” See
By isolating themselves from the day-to-day life of their projects, architects deny themselves so much in the way of personal fulfillment and trap themselves in the mundane.
I hear complaints that they can’t make it out to the project because they are trapped at the office having to get caught up on paperwork. I have heard architects complain that when they chose to enter the field of architecture, they did so to be creative – not to deal with mountains of paperwork. I can tell you from personal experience that a two hour visit to the project site to solve an issue in real time can eliminate two days worth of delay and hours of paperwork on the project. Forms and documents are prominent on the AIA website. So what is AIA really about? Iron clad forms? In contrast, our contract with the Will County Exposition Authority (for the Rialto) was simply their signature on the bottom of our 8 page proposal (one page for each chandelier type defining the work to be done on each one). We worked out a calendar schedule (1 page) with Rialto management so that our work did not impact there event schedule. That became our only addendum. Nine sheets of paper plus our insurance certificates and we were off on our two month project – get this – with a government agency.
We have to live in the world we create. So tell those architects out there that there really is a better way.
Peter Janko, Lumenelle President and Product Design Engineer for Lighting Restoration, Design and Manufacturing, restores and recreates historic lighting fixtures, designs and manufactures custom lighting products in styles ranging from vintage to contemporary. Lumenelle has created custom light fixtures for clients from casinos to hotels to museums (Glessner House Museum – Chicago.) In addition to their work at the Rialto Square Theater, Lumenelle was involved in the largest hotel renovation in North American history with their restoration of 23 crystal chandeliers for the Grand and State Ballrooms of Chicago’s landmark Palmer House Hilton.