CREJ - Building Dialogue - March 2015
The proverbial backroom conversation between architects and designers frequently includes the topic of why “greatdesign” 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 conversation – one that would allow readers to deepen 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 changing face of Colorado’s communities over the coming 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 conversation from a different starting point, yet arrived at very similar conclusions. Sarah Semple Brown, FAIA, cofounder and principal 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 acclaim. 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 innovative 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 sampling 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 asking, “What is the value of great design?” 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 value 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 coordinated technically, or how the multitude of details 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 quality of the design.” Herr adds, “Cost is not a dictator of design quality – you can find a $300,000 house that is good design, and $1 million homes that are poorly designed. As architects, the challenge is, how can we push the design, yet stay within the appropriate cost bracket?” Circling back to the word “value” itself, Sheppard 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 measured 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 understanding 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 together 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.” Herr believes part of the reason American culture values design so differently than Europe is because Americans tend to be driven by their ability to quantify things. “So how do we quantify success?” he asks. “Is it about the dollar, or is it about how a space makes people happy, or makes them feel – the experience? It’s much easier to quantify dollars-in, dollars-out than it is to quantify an experience. That’s why people here are more driven by monetary value. An experience needs to be felt to quantify or put a value to it, and that is a great deal more challenging.” Semple Brown adds, “Yet, clients can learn.
They learn over time how much can be accomplished with good planning, simple form making and great design solutions. That’s what our clients are seeking and that’s what we deliver – simple, intuitive, comfortable, inspiring spaces. It’s all about the experience – you need to see and feel the work to truly understand the value.” Cole believes there is a “lot of truth” to Vitruvius’ philosophy in his book “The Ten Books on Architecture” – based on what he calls firmness, commodity and delight. “Firmness is about the integrity of the building. Commodity refers to the financial and physical resources – using them in a prudent and thoughtful way. And delight is about beauty and the experience,” she explains. “It is our responsibility to balance these three and help our clients understand that, as designers, we need to consider all of them. If you can sincerely and earnestly work to do this well, you can bring a product to fruition on time and on budget, and with delight.” “People interested in design tend to take it in through visual means – ‘look at all these cool photographs!’” adds Herr. “In reality, we live in our environments by moving through them, touching, smelling, feeling heat and cold. It’s a much richer experience than what a photograph can share. Too many people believe that if a space photographs well, then you’re done. But that approach is one-dimensional – and it diminishes the value of ‘experienced’ architecture. That’s where the real value is.” Cole sees a shift happening, however. “Our clients are getting more and more sophisticated. They are well traveled and well read, and many have worked with another architect. So it’s less and less of a hurdle to promote good design,” she notes. “The greater challenge is to work it into the budget while also meeting the energy and sustainability criteria that we now deal with on public buildings. Governments are also demanding more of their buildings today.” Herr concurs with Cole. “Great design boils down to the Vitruvian triad – firmness (does it work?), commodity (does it make economic sense?) and delight (does it bring beauty?),” he shares. “I would argue that a lot of design in our age captures function and economics, but it’s hit or miss if it’s beautiful. Apple has clearly put a very high priority on the ‘beauty’ part and they have benefitted. But you look at other companies in the PC industry and they are not pursuing or prioritizing beauty in the same way. We have learned that people will pay more for beauty.” “The global ‘value’ of great design is that architecture can change lives,” concludes Sheppard. “It’s about far more than just the pragmatic. But this lofty concept is ultimately accomplished through a relentless focus on the details. A designer must understand senses, and psychology, and color theory and how they impact people. A light-filled interior is good, but not every light-filled interior is good design. So, the layers are important ... Memorable, intriguing, fascinating projects demonstrate an understanding of these layers, even if it’s not obvious at first glance.” “The emotional responses (as opposed to physical elements) in environments provide another kind of value that is much harder to define,” he adds. “There is no formula one can follow. It’s more of a layered recipe. And not all designers have the ability to introduce emotion, art and feeling into spaces – which is why this ‘add-on’ value is less tangible, but just as important. Design that changes people’s lives is the ultimate value.” “We as architects have an interesting imperative here in the U.S.,” adds Herr. “If we as designers can tell the story and carry the message out to the end users, then we may be able to catch the wave of curiosity about food, products and architecture that will build over time into a society that becomes more saturated with an intrinsic valuing of design.” Herr concludes. “Great design takes time. It must be carefully considered … (and) the process it takes to get to there is rarely valued because most people don’t understand it. If they truly understood it – then they might value it.”