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18 / BUILDING DIALOGUE / MARCH 2015
T he proverbial backroom conversation
between architects and designers fre-
quently includes the topic of why “great
design” is often undervalued or misunderstood
when it comes to our built environment. After
more than a decade of partaking in both formal
and informal exchanges that danced around
this question, Building Dialogue seemed like the
perfect venue for opening up a thoughtful con-
versation – one that would allow readers to deep-
en their understanding of the impact of genuinely
great design on our lives and surroundings.
While this topic is somewhat elusive, it is key to
elevating design quality within the rapidly chang-
ing face of Colorado’s communities over the com-
ing years. Thus, in an effort to deepen the dialogue,
I asked four of our state’s top architects to share
their thoughts with me. Each approached the con-
versation from a different starting point, yet ar-
rived at very similar conclusions.
Sarah Semple Brown, FAIA, cofounder and prin-
cipal of Semple Brown, and Jeffrey Sheppard, AIA,
design principal and cofounder of Roth Sheppard
Architects, have each personally invested more
than 30 years in designing many of our state’s most
notable, beloved spaces and buildings to great ac-
claim. Today, at the pinnacle of their careers, they
continue to raise the bar on the quality of design
here in Colorado. Christopher Herr, AIA, design
principal of HDR Architecture, and Maria Cole, AIA,
principal of gkkworks, have demonstrated their in-
novative approach to design in a wide variety of
project types over the last decade, earning their
place in the ranks of the most respected designers
in the state.
It is my hope that a small sam-
pling of their thoughts, captured
here, will catalyze a compelling,
multidisciplinary dialogue about
the true value of great design in
Colorado and beyond.
I begin our conversation by ask-
ing, “What is the value of great de-
sign?” Semple Brown responds with
a simple, honest statement, “Value for
some people is very black and white
– it’s about dollars. Yet it’s the thoughtful solutions
integral to great design that create the greatest val-
ue for the money invested.”
She continues, “Design fees are often considered
a very different commodity than the many other
expenses incurred in creating a space or building.
While it may seem like a lot of money to some,
our clients recognize that design fees are actually
quite reasonable in the larger scheme of things. In
the case of a restaurant, for example, the quality of
design is linked with how well it functions, is co-
ordinated technically, or how the multitude of de-
tails involved are integrated with the restaurant’s
concept or brand. In an office environment, great
design is about retention, and attracting the best
employees through a functional, productive and
inviting workplace. In both of these cases, there is a
direct relationship between the
user’s satisfaction and the quali-
ty of the design.”
Herr adds, “Cost is not a dictator
of design quality – you can find
a $300,000 house that is good de-
sign, and $1 million homes that are
poorly designed. As architects, the
challenge is, how can we push the
design, yet stay within the appropri-
ate cost bracket?”
Circling back to the word “value” itself, Shep-
pard believes the concept is defined differently
for each project and client. “A
designer must determine what
their clients perceive as value,”
Sheppard explains. “But, it will
be different from sector to sector.
Design decisions are then mea-
sured against those agreed upon
‘value-based goals.’” He emphasizes
that it’s imperative for everyone to
agree on what “value” is before they
create a project together. “The concept of value is
too vague and general¬ – you need to dig deeper.
In actuality, there are two levels of ‘value.’ The first
is upfront, tangible, defined value, and the second
is longer-term, intangible life-cycle value,” explains
Sheppard. “Tangible value requires a clear under-
standing and common language between a client
and their architect around the specific values they
hold for a project. Life-cycle value is less tangible,
which means that its outcomes are not as obvious
and only become more apparent over time. A lot of
intangible things are layered into our designs.”
Cole suggests a powerful way of thinking about
the value of great design. “Think about design in a
similar way that you would define a great piece of
literature,” she begins. “It strongly resonates with a
time and place, but it is based on universal themes
that are hard to put a finger on. You may not as a
layman know how it’s put together, but as a reader
you know you’re reading a masterpiece.”
She continues, “The same happens in architecture.
Does the building resonate with the program and
place? Does the craft of how the building comes to-
gether resonate with the purpose and meaning of
the client or organization? Does it have a big idea or
concept – like a plot in a book?”
Herr adds, “I think there’s a contrast between
America and the rest of the world in terms of how
the value of design is perceived. In the U.S. we’re all
about disposability – from water bottles to razors to
houses – and ‘first-cost’ considerations. In contrast,
in Europe and Latin America, good design is highly
regarded, thus its value is more endemic in both
the general and design population.”
Cynthia
Kemper
Principal,
Marketekture
Colorado Pulse
Sarah Semple
Brown
Christopher
Herr
Jeff Sheppard