How To Earn A Six-Figure Salary as an Architect


© Skitterphoto via Pixabay (Public domain image)

© Skitterphoto via Pixabay (Public domain image)

This article was originally published by The Architect’s Guide as “How To Earn A Six Figure Architecture Salary.”

Architecture salary. Perhaps one of the most talked about and passionately debated topics in the design community. I receive more emails on this subject than almost anything else. 

Previously, in 5 Factors Affecting Your Architecture Salary, I covered several variables that contribute to your income. However, for this article I want to highlight the areas that will produce the best return on your investment of time and money. 

While earning six figures doesn’t mean what it used to, it is still a very admirable (and achievable) goal. So how do you go about reaching this significant architecture salary milestone? Let’s discuss.

Just a quick note, I will be discussing how you can earn a large salary through an employer. I won’t cover running your own office for this post. However this can be a route to a high income—potentially very high.

1. Start now

If you are just beginning your architecture career it is unlikely you will be able to earn $100,000+ per year today. However, now is the time to focus on developing the points below. By the time you are twenty years into your career and earning half of what you should be it is often too late to make up the difference.

The architecture profession is a relatively slow accumulation of experience and qualifications. The sooner you can master the following points the better positioned you will be in the [near] future to command a higher salary than your less capable peers.

2. Develop your skills

The definition of insanity is doing the same thing over and over again and expecting a different result. The same is true for your architecture career. If you are doing the same thing everyday and expecting a higher salary it is unlikely to happen.

What can you do today that will make you more valuable tomorrow? Increasing your “hard skills” is a relatively easy first step to implement.

Hard skills examples:

  • Design skill
  • Software knowledge
  • Code knowledge
  • Industry awareness
  • Hand drawing
  • Data analysis
  • Qualifications
  • Degrees
  • Foreign languages

However it is just as important to develop your “soft skills.”

Soft skills examples:

  • Communication skills
  • Leadership skills
  • Adaptability and flexibility
  • Problem-solving
  • Decision-making
  • Creativity
  • Team-working
  • Time management skills
  • Willingness to learn

These typically take longer to perfect so you need to start now. Focus on one topic per day and try to tweak one aspect of your work day or routine to improve one of these skills. The book The Compound Effect by Darren Hardy explains this process beautifully.

3. Switch jobs

The average salary increase an employee receives when starting a new job is between 10% and 20%. Based on an average “Unlicensed Architecture / Design Staff 1” salary of $58,200, this translates to an annual increase of $5,800 to $11,600!

Often it can be difficult to get substantial raises from your current employer, beyond the standard 3% – 5% cost of living increases. However, making calculated, strategic moves can greatly boost your base salary. If you are looking for a new position, start by checking out the 7 Reasons Why Your Architecture Job Application Is Being Ignored.

4. Reduce the stress of others

In a recent interview with Mark Cuban, he stated one of the keys to success is to “reduce the stress of your co-workers”.

When you are at work, reduce the stress of your colleges and supervisors. If you can reduce other people’s stress, those people will gravitate towards you. You will be seen as the leader and your colleagues will eventually want to work for you.

Here is a link to Mark’s excellent interview, I highly recommend watching.

5. Be the best

Without a doubt specialization is key to a high salary in architecture. In other words, “what do you do better than anyone else?” This can be as broad as expertise in a certain building typology or as specific as airport BIM Management (who, by the way, can make substantial incomes).

In a recent U.S. News article on Architect Salaries, “the best-paid 10 percent in the profession made approximately $121,910, while the bottom 10 percent made about $44,940.”

The top 10% makes almost 3x the bottom 10%! It pays to be the best.

Looking at the data from the AIA Salary Calculator:

For example, an Architect III position:
Ten or more years of experience, licensed architect who plans and develops medium- to large-scope projects with many complexities, executes and coordinates projects, and may oversee a large staff of architects and technicians.

In New England (CT, MA, ME, NH, RI, VT) the mean salary is $104,600.


Courtesy of The Architect's Guide

Courtesy of The Architect's Guide

Keep in mind this is the average, so while some made less, others made more. While this does require 10+ years of experience there are ways to reduce this number by working through school to compress the post-graduation years required.

6. Take responsibility

As the saying goes, “don’t ask permission just ask for forgiveness”. Responsibility is not something that is just handed out, you need to take the initiative and go above and beyond what is expected.

You can’t be at the bottom of the pyramid and expect to be well compensated. If you want to climb the pay scale you must challenge yourself by taking on more responsibility, which will ultimately translate to more income. This doesn’t necessarily mean working long hours but you need to be as efficient and productive as possible.

If you are just beginning your career, start small. Take on the task of leading a small portion of a project. By proving to others that you are reliable and dependable you will be rewarded over time.

7. Have regular performance reviews

This is an opportunity for you to discuss with your supervisor(s) what you have contributed to the firm and will provide in the near future. Depending on the size of the office these may be organized by the HR department or you may need to take the initiative to set up a meeting.

Make sure you are well prepared with specific examples. How and where you have been successful? What do you want to provide moving forward?

You can think of this as re-interviewing for your own job. While that may sound scary it is meant to emphasize the importance of your review and why you are asking for a raise. Generally you should have this sit down once a year but if there has been a major change in your role or responsibilities it could be sooner.

Remember, just taking up office space and breathing air for a year does not qualify for an increase. Neither does the cost of living or your personal financial situation.

8. Get your license

One of the best places to begin on your journey to a high architecture salary is to become licensed. Yes, it is expensive and takes a lot of time but it is very important to advance in the profession.

If you don’t believe me just look at the senior members of your or other architecture offices. Are they licensed? Odds are most of them are registered architects. There are exceptions, but it is best to follow a proven path.

In the U.S. NCARB is making it easier to complete your license by reducing the number of tests and required hours of internship experience. Tear off the band-aid. Just get it over with. The longer you wait the more difficult it will become to finish the exams.

Depending on your state you can complete the exams BEFORE you complete the Intern Experience Program, and you can record MORE than 40 hours per week.

Both of these techniques can greatly reduce the time it takes to become licensed. The longer you hold a license generally the more you are worth in the marketplace.

9. Move to an urban area

This may not be the best solution for everyone but since we are putting all the options on the table, this can be the quickest route to a six figure income. Often by following the cyclical construction booms you can take advantage of a hot market looking for talent.

The big benefit of working for an architecture office in a prominent city is that the salary will almost always be higher than the equivalent job in a rural environment. Of course the reason often cited for this is the higher cost of living.

However, if you are willing to live below your means and skip the penthouse apartment you will be financially better off in the long run. Setting your salary high as early as possible will be a huge advantage throughout your career.

10. Develop Multiple Income Streams

This topic is perhaps outside the scope of what we have been discussing but if we are strictly talking about breaking the $100k annual figure, it is relevant.

I recommend that everyone have multiple income streams. The riskiest position to be in is where one company provides your only source of income. Think about your skill set and what you can do on the side to generate additional income.

There are hundreds of ways to earn additional cash related to the architecture profession. Who knows, that side work may turn out to be even more profitable than your day job.

Pick up freelance architecture work? Provide model building or rendering services? This can not only provide income in the short term but also create long term connections and contacts. Ultimately, this may lead to additional work or even a more lucrative position.

One note on side jobs, depending on the type of work you are performing your employer’s liability insurance can prohibit freelance work, so be sure to do your homework.

I hope this has been helpful for your architecture salary goals. So what are you waiting for?

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Below The Extraordinarily Textured Surface of This Unique Polish Concert Hall


© Patryk Lewinski

© Patryk Lewinski

This article is part of our new “Material Focus” series, which asks architects to elaborate on the thought process behind their material choices and sheds light on the steps required to get buildings actually built.

The CKK Jordanki (Jordanki Cultural and Convention Center) by Fernando Menis is located in the historical center of Torun. It respects the shorter height of the surrounding buildings to preserve the views of the river and better fit the natural environment that surrounds it. The building was designed to have a more natural look, like a ‘rock’ that marks the transition from the urban plot to the park that surrounds it. In this interview we spoke with Fernando Menis who explained in depth how the selection of project materials contributed to the design process, helped in the inclusion of universal accessibility, and the project’s construction.


© Jakub Certowicz


© Jakub Certowicz


© Patryk Lewinski


© Patryk Lewinski


© Malgorzata Replinska

© Malgorzata Replinska

What were the main materials used in the project?

FM: Concrete and “picado.” “Picado,” coming from the Spanish word for chipped, is a new material, certified by both Spain and Poland’s Institute of Construction Research, and consists of mixing concrete with other materials, and breaking it up after assembly, to achieve certain acoustic effects. In the case of CKK Jordanki the “chipped” effect has been achieved by mixing concrete with recycled red bricks or with volcanic stone.


Courtesy of Fernando Menis

Courtesy of Fernando Menis

In terms of materials, what were your main sources of inspiration and influence in selecting them?

FM: The greatest source of inspiration has undoubtedly been the historic city center of Torun, the city where CKK Jordanki is located. Torun, a UNESCO heritage city, has a strong Gothic legacy and its façades are almost all red brick.


© Jakub Certowicz

© Jakub Certowicz

Can you describe how decisions on materials were considered within the conceptual design?

FM: The essential concern was to obtain an excellent acoustic container since the focus of the project was a Concert Hall. As such we have been concerned about materials that could give good results in terms of reflection, distribution and sound absorption. In this sense, the “picado” made with brick complements the geometry of the Concert Hall and reflects and distributes the sound very well. We also always try to make the most of local companies and resources, so in addition to the concrete, we used waste bricks from a local company (Ceramsus). Finally, in terms of materiality and from a contemporary interpretation of a traditional material, we wanted to reference the Gothic legacy of the city of Torun, whose red brick is omnipresent: in CKK Jordanki the “picado” red brick permeates the interior as well as appearing in the facade, in an expressive contrast with the white concrete that was also used there. 


© Jakub Certowicz

© Jakub Certowicz

© Jakub Certowicz

© Jakub Certowicz

© Patryk Lewinski

© Patryk Lewinski

What were the advantages of these materials during construction?

FM: The concrete provided by CEMEX Poland and the bricks provided by Ceramsus are both locally produced materials, so that in addition to helping to boost the local economy, their prices were very affordable. Moreover, the brick we used was waste, we recycled it creatively, giving it a new form and function. The “picado”, acts as a tool within the acoustic system we designed for the building.


Courtesy of Fernando Menis

Courtesy of Fernando Menis

Did you face any challenges due to your material selection?

FM: The word challenge is very fitting when discussing this project because everything is pure invention and innovation. We wanted to try new methods for acoustics, to demonstrate that it is possible to create a new type of auditorium without wood, to demystify the baroque. Then all these challenges were conquered when the new concrete was approved in official laboratories and certified in Spain and Poland.


© Patryk Lewinski

© Patryk Lewinski

Were there any other possible materials considered for the project? If so, how would the design have changed?

FM: From the outset, when I first visited Torun and discovered that the essence on which that historic city was built was the red brick, I decided to use that material mixed with concrete. In other words, the end path had been chosen from the beginning, although the idea was developed and perfected along the way, with the different tests and trials that we were carrying out.


© Patryk Lewinski

© Patryk Lewinski

How did you research and choose the suppliers or contractors for the materials used in the project?

FM: When I arrived in Poland, I looked into how they worked there, what customs they had, what they were best for, what the most competitive prices were, after taking all of this into account, we designed the construction system, always according to the constructive culture of Poland.


© Jakub Certowicz

© Jakub Certowicz

*CKK Jordanki recently received the 2016 CEMEX Building Award in the Universal Accessibility category for the international team.

CKK Jordanki / Fernando Menis
//cdn.embedly.com/widgets/platform.js

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CASA MKAC / UAU collectiv


© Philippe van Gelooven

© Philippe van Gelooven


© Philippe van Gelooven


© Philippe van Gelooven


© Philippe van Gelooven


© Philippe van Gelooven

  • Architects: UAU collectiv
  • Location: Hasselt, Belgium
  • Architect In Charge: Massimo Pignanelli, Elfi Eerdekens
  • Area: 286.0 m2
  • Project Year: 2016
  • Photographs: Philippe van Gelooven

© Philippe van Gelooven

© Philippe van Gelooven

From the architect. With a particular predilection for the modernist style, Massimo Pignanelli found the perfect house for his young family in Hasselt. The single-family house right outside the city centre of Hasselt was built in the early sixties in a structure of concrete beams and columns filled with non-bearing wall elements. This constructive principle grants the house a sleek, sober and balanced look. The balanced architectural concept needed to be refreshed to contemporary standards, though. The characteristic construction was kept during the renovation which transformed both the existing property and the new spaces together into a consistent whole.


© Philippe van Gelooven

© Philippe van Gelooven

Site Plan

Site Plan

© Philippe van Gelooven

© Philippe van Gelooven

Following the program of demands, an extension was created to the building which is fully in function of multipurpose rooms for the young family and the demand for a practice area. The embedding of the house in the surrounding green is emphasised because the extension is immersed in the landscape. The large patio here forms the connecting element towards the garden and ensures that new and old are disconnected. Together with the vide in the entrance hall, an airy house is created with a lot of light and view of the surrounding green. The green character of the environment with a unique view therefore provided the incentive to organise the living area on the upper floor. The versatile character of the practice area in the basement is also done full justice because of the vide as a connection with the garden.


© Philippe van Gelooven

© Philippe van Gelooven

© Philippe van Gelooven

© Philippe van Gelooven

The original and iconic vertical sectioning was respected by designing the extension under the level of the existing concrete framework of the upper floor. Inside the framework an ingenious filling is realised with alternating slanted, deeper and flush planes. Round lines subtly appear in the façade and later also in the various details in-house. The whitewashed brick outer walls combined with black windows and doors create tranquillity and accentuate timelessness. The combination of carrara statuario marble, white concrete floors and white walls continues the calm atmosphere inside throughout the house. The contrasting black marmo nero marquino creates a sober look. The characteristic house got an upgrade, as it were, to modern comfort and this of course with respect for the original concept.


© Philippe van Gelooven

© Philippe van Gelooven

1st Floor Plan

1st Floor Plan

© Philippe van Gelooven

© Philippe van Gelooven

2nd Floor Plan

2nd Floor Plan

© Philippe van Gelooven

© Philippe van Gelooven

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Krøyer Square / Vilhelm Lauritzen Architects + COBE


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST


© Rasmus Hjortshøj - COAST


© Rasmus Hjortshøj - COAST


© Rasmus Hjortshøj - COAST


© Rasmus Hjortshøj - COAST

  • Client: NCC Property Development

  • Landscape: GHB Landscape Architects
  • Engineer: COWI
  • Contractor: NCC Construction


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

From the architect. Krøyers Plads is a five-story housing project with a significant location in the centre of the Copenhagen harbour area designed by Danish architects Vilhelm Lauritzen Architects and COBE. The award-winning and Nordic Eco-labelled project is now finished. The project is based on a hyper-democratic and contextual approach where folded roofs and architectural heaviness create a dialogue between old and new, and a modern, empathetic interpretation of the architectural uniqueness of the old Copenhagen warehouses.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

Krøyers Plads is a significant location in the centre of the Copenhagen harbour area. The site constituted a gap in the continuous rows of old warehouses that sit perpendicular to the harbour and was an architectural and political battle eld in Copenhagen for more than a decade. When the nal building design for this beautiful historical site was developed by Vilhelm Lauritzen Architects and COBE, many architectural proposals had already been rejected by local organizations and politicians for various reasons.


Site Plan

Site Plan

With a prime location in the Copenhagen harbour, opposite the Royal
Playhouse, the historical Nyhavn, and next to the world’s best restaurant, Noma, the project consists of 3 story housing units with 105 apartments ranging from 79 to 250 m2 in size. The ground floor of the three buildings houses restaurants, shops and a supermarket. Krøyers Plads is surrounded by a wooden waterfront promenade, which has become a favorite spot to catch the sun in the Danish summers.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

A hyper-democratic approach
Set between 300-year-old industrial warehouses the new development is based on the constraints and demands from the public voices of Copenhageners and is a modern interpretation of the old buildings that are so characteristic for the harbour front in Copenhagen.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

”The neighbours were for instance invited to help define the height of the buildings and to help select the materials – both crucial for the way the new Krøyers Plads relates to its surroundings. Instead of inventing a new building typology, Krøyers Plads became a reinvention of the one already found adjacent to the site – the industrial warehouse,” says Dan Stubbergaard, Founder and Creative Director at COBE.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

The design is based on a hyper-democratic approach. An architectural storytelling that through a dialogue with the local community strives to create a meaningful and comprehensive in ll. The approach was to translate all signi cant characteristics of the old warehouses, such as the harbour facing gables, the heavy expression, building height and materiality, into modern design parameters that meet both functional and climatic demands.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

The design by Vilhelm Lauritzen Architects and COBE was begun in 2011. In 2013, construction started and now the modern housing project is finished and the new owners have moved in.


© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

Elevation

Elevation

© Rasmus Hjortshøj - COAST

© Rasmus Hjortshøj – COAST

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House E / EXHIBIT Arhitectura


© Cosmin Dragomir

© Cosmin Dragomir


© Cosmin Dragomir


© Cosmin Dragomir


© Cosmin Dragomir


© Cosmin Dragomir

  • Architects: EXHIBIT Arhitectura
  • Location: Strada Hermann Oberth, Brașov, Romania
  • Architect In Charge: Johannes Bertleff, Dragoș Oprea, Adrian Ianchiș
  • Area: 570.0 ft2
  • Project Year: 2015
  • Photographs: Cosmin Dragomir
  • Collaborators: Mihai Lambescu, Cristina Matei, Ioana Păvăluca, Răzvan Andrei

© Cosmin Dragomir

© Cosmin Dragomir

From the architect. The fronts of Hermann Oberth street were gradually densified in the last 60 years. A prevailing house residential district in the ’50s, densely built, on small sites with narrow spaces between the buildings, the area was remodeled during the communist with the introduction of the blocks of flats. Nowadays, this narrow street is the border between the row of houses and the compact alignment of the blocks of flats. The client, owner of one of  the houses mentioned above, wanted a larger, continuous living space, bathed in sunlight with large glazed surfaces.


© Cosmin Dragomir

© Cosmin Dragomir

One of the first challenges was harvesting the sunlight amid a neighborhood consisting of blocks of flats.


© Cosmin Dragomir

© Cosmin Dragomir

Plan

Plan

© Cosmin Dragomir

© Cosmin Dragomir

Our answer was a translucent house placed over the existing house.The translucent shell is punctured by transparency towards the favorable views of the area.


© Cosmin Dragomir

© Cosmin Dragomir

The structure of this lightweight extension does not overlap with the structure of the old house creating, in fact, its own genuine structural framework.


© Cosmin Dragomir

© Cosmin Dragomir

Section

Section

© Cosmin Dragomir

© Cosmin Dragomir

The proximity of the neighboring houses was a very inciting topic for us. The new house commits to dialogue with the closely neighboring blind walls. Opposing a noble, translucent wall, to a neighboring, indifferent blind wall generates a positive communication between the two.


© Cosmin Dragomir

© Cosmin Dragomir

Leaving aside theory, the inner free living space of the addition mesmerized the owners gives in contrast to old house underneath.


© Cosmin Dragomir

© Cosmin Dragomir

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Cave House in Loess Plateau / hyperSity Architects






Cave House in Loess Plateau / hyperSity Architects


Cave House in Loess Plateau / hyperSity Architects


Cave House in Loess Plateau / hyperSity Architects


Cave House in Loess Plateau / hyperSity Architects

  • Architects: hyperSity Architects
  • Location: Weinan, Shaanxi, China
  • Architects In Charge: Yang Shi, Shojun L
  • Area: 278.0 m2
  • Project Year: 2016




From the architect. This house is a renovation project of “wow home” TV series, for the client Ye Liangchen, a Internet star, who lives in the Loess Plateau of Shanxi Province. The original house is one of typical traditional cave courtyard in the village, in disrepair, and almost collapsed condition. 


Site Photo

Site Photo

Site Photo

Site Photo

It included a main cave as the living space in the north, and three rigid side caves as the bedroom space in the eastern part. In an area of about more than 50 square meters and the depth is 11 meters without a kitchen and toilet, the space of main cave was extremely dark and damp.





Given the traditional cave has the advantage of warmness in winter and coolness in summer, the design strategy follows tectonic of vernacular cave dwellings, but ensures that that each room is well ventilated and lighted. The design strategy is to preserve the northern cave houses, and to transform the run-down southwest wing caves into couple of independent spaces oriented to the south, which contain a kitchen, bedrooms, storage room, a dining room and a toilet. 


Diagram

Diagram

Axon

Axon

The preserved main cave is divided into two separated functions, the inner space as grandma’s bedroom, while the outer space as living room for family gathering. Taking into consideration the sunlight and ventilation in the cave, a circular glass light well sized in 1.5-meter diameter is devised in the middle of the cave. The main entrance of main cave is transformed into a wooden grid façade and glass curtain wall, which introduces plenty of sunshine.   In front of the cave entrance is a new semi curved canopy, which prevents the strong wind from the northwestern Mongolia.   













Besides the improvement of living conditions, the prototype of walled structure compound is applied in the new design with more dynamic courtyard sequences. Courtyards introduce the nature to the house. The architect intends to maximize the outdoor space visually and psychologically.  Hence, 5 scattered courtyard landscapes are created within the compound, and connected through a zigzag path similar to the Chinese garden to create a tranquil atmosphere and infinite spatial experience. These areas also enable fresh air and daylight to enter every single house. 









The architect is committed to the integration of new building and local environment. The new houses are strictly controlled within the red line and the original building height. In the aspect of the selection of materials, the new building adopts the technology of traditional rammed earth, which composed of the mixed clay and sands from the top of surrounding mountains. By doing so, this building appear unique texture and color, whereas the effects of rammed earth in other places would appear various because of different origins of the clays. The application of rammed earth not only reflects the local building traditions, but also brings in the strength and permanence of stone with the warmth and simplicity of wood.  It also profoundly helps reduce the budget of project.





Re use the previous furniture for interior space so that people can feel familiar from the old life.





Rural people deserve a modern life and ample modern facilities. However, rural areas should not be the lower versions of the city, and should not be the followers of the city. Instead, it should maintain the intimated relations to the sky and the land.





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Rock & Branch / Hyunjoon Yoo Architects


© Youngchae Park

© Youngchae Park


© Youngchae Park


© Youngchae Park


© Youngchae Park


© Youngchae Park

  • Architects: Hyunjoon Yoo Architects
  • Location: 395 Sindaebang-dong, Dongjak-gu, Seoul, South Korea
  • Architect In Charge: Hyunjoon Yoo
  • Design Team: Jinsung Heo, Jaehong Kim, Daeun Seo
  • Area: 465.9 m2
  • Project Year: 2016
  • Photographs: Youngchae Park
  • Structural Engineer: Seum
  • Construction: Pureun jongwon construction
  • Mechanical Engineer: Min Sung engineering
  • Electrical Engineer: Hyeob-In

© Youngchae Park

© Youngchae Park

Rock & Branch

 Janitor’s Shelter for Boramae Park

A Tail of The Hill

The building has such unique program and location. This facility is served as a place where the park janitors rest, wash and store cleaning tools at the same time. Boramae Park has small and large hills within the park. The site is located at the endpoint of one of those hills. The fan shaped area, which is about two-thirds of the site, is in contact with the road and the rest one-third touches the end of the hill. In fact, the site is in-between the last tail of the hill and the road. With the site given, the park required a shelter for the janitors and the storage for the equipment. 


© Youngchae Park

© Youngchae Park

© Youngchae Park

© Youngchae Park

The rock and the branch

First, the initial design concept was to minimize the shape of the site, which results an arc-shaped mass along the road providing a shelter for the janitors. Then, the arc-shaped mass has been elevated from the ground in order to allow the flow of the hill into the inner courtyard of the building. The floating mass is supported by the several storage rooms rather than the columns. Since these storage rooms are the continuation of the land and should portray the rocks on the mountain, they are finished with black exposed concrete and are scattered randomly on the ground. The floating mass, a shelter for janitors, is treated with exposed concrete and layered with the vertical wooden louvers. The width of the wooden louvers are especially thin as the entire building illustrates an image of the rock – storage rooms on the ground – and the branch – floating shelter – in the mountain.


© Youngchae Park

© Youngchae Park

Second Floor Plan

Second Floor Plan

© Youngchae Park

© Youngchae Park

An interactive elevation

The main elevation of the building is about two-thirds of curved surface and one-third of straight line. As the road passes around this elevation, people who walks around the building would experience a visual variation with the wooden louvers arrayed throughout the curved surface. A slightly wide spacing of the louvers allows the observer a visual alteration depending on his or her viewpoint – the exposed concrete surface is much revealed from the front view and it is gradually concealed as the viewpoint changes. By walking around the site, the observer could capture the sequence of elevation in which the finishing material alters between the concrete and the wood. 

The four pine trees

While arranging the building on the site, preserving the existing four pine trees has been emerged as a critical issue. In order to minimize any harmful work to the nature, the building has been set back a few meters from the site boundary and doing so, one of the storage buildings has been digged into the hill. The hill then naturally continues to the terrace above the storage, which further connects to the courtyard. Consequently, the four pine trees has become the key elevation of the building, which enable a gentle flow from the outside hills to the inner courtyard. 


Diagram

Diagram

Diagram

Diagram

Diagram

Diagram

Diagram

Diagram

An open path

The site is situated where the promenade starts. Furthermore, various circulations through the park is crossing around the site. In order to preserve the circulation flow, the main shelter has been built on pilotis whereas a few storages are dispersed on the ground floor. In doing so, the pedestrian path is fully reserved and also the generous open area below the facility could be used as a public space for special occasion.


© Youngchae Park

© Youngchae Park

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Courtyard near West Sea / META – Project


© Su Chen, Chun Fang

© Su Chen, Chun Fang


© Su Chen, Chun Fang


© Su Chen, Chun Fang


© Su Chen, Chun Fang


© Su Chen, Chun Fang

  • Architects: META – Project
  • Location: West Sea, Beijing, China
  • Design Team: Wang Shuo, Zhang Jing, Yaping Wu, Yin Cheng, Qianqian Chang, Han Wang, Guowei Zhang, Tian Lan
  • Area: 800.0 m2
  • Project Year: 2013
  • Photographs: Su Chen, Chun Fang
  • Lighting Consultant: Xiaowei Han

© Su Chen, Chun Fang

© Su Chen, Chun Fang

Unlike the introverted quality of the traditional courtyard house, the owner of this site asked for a variety of mix-use program, including tea house, dinning, party space, office, meeting, as well as dwelling and entertainment. The contemporary and sometime “public” program opened up the courtyard to become “extraverted”, so as to induce more human interactions. 


Before . Image © Su Chen, Chun Fang

Before . Image © Su Chen, Chun Fang

These required us to break the general understanding of the courtyard as an enclosed typology by introducing the experience of “meandering in the hutongs” into the courtyard, and the interventional approach was derived from the unfolding spatial narrative of hutong life. 


Diagram 1

Diagram 1

The cautions with which specific renovation measurements are made demonstrate circumspection. First, we converted the narrow corridor squeezed between two rows of brick building to a mode that is compatible with the hutong-courtyard typology by demolishing the temporary structure to the east and in the middle, so as to introduce cross-sectional changes along the 60-meter long site. 


© Su Chen, Chun Fang

© Su Chen, Chun Fang

Then by adding 3 different types of “loggia” at the hinge of the expanded spaces, we redefined the layers in the longitudinal depth, thus reconstructed a “three-step-courtyard” in the spatial sense.


© Su Chen, Chun Fang

© Su Chen, Chun Fang

Here the “three-step-courtyard” is not an imitation of the traditional symmetrical courtyard pattern in the hutongs, but a contemporary reinterpretation of the multi-layer courtyard space and its possible variation along the depth, andhow it will shift the movement of steps and sense of space. The owner’s life – all the mixed programs, were sorted and divided by 3 courtyards full of vegetation, making the daily routine of walking in and out the site a continuous spatial experience full of rhythm. 


Detail

Detail

© Su Chen, Chun Fang

© Su Chen, Chun Fang

Detail

Detail

In the process of renovation, one might find some interesting spatial model, but in the end, it all has to integrate with the life it carries. 


© Su Chen, Chun Fang

© Su Chen, Chun Fang

Further beyond, what interested us in the renovation is how design strategy can appropriately reduce the amount of construction: using existing footprint to make small-scale buildings, using wood, brick, tile…all these local materials, using local craftsmanship but through new tectonic method, to respond to the problem in everyday scale and at the local level, so the users’ lives can unfold in it naturally. 


Plans

Plans

Intervention in the hutongs therefore needs to be based on the true understanding of life and culture, the “Aura” of a thing as Walter Benjamin pointed out, instead of rigid protection to its physical appearance.


© Su Chen, Chun Fang

© Su Chen, Chun Fang

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Missouri State University, O’Reilly Clinical Health Sciences Center / CannonDesign


© Gayle Babcock

© Gayle Babcock


© Peaks View LLC


© Gayle Babcock


© Gayle Babcock


© Gayle Babcock

  • Architects: CannonDesign
  • Location: Springfield, MO, United States
  • Architect In Charge: David Polzin, Design Principal
  • Area: 58000.0 ft2
  • Project Year: 2015
  • Photographs: Gayle Babcock, Peaks View LLC
  • Landscape Design: CDI
  • Civil Engineering: Land3 Studio
  • Mep, Fp, Telecom: KJWW

© Gayle Babcock

© Gayle Babcock

The O’Reilly Clinical Health Sciences Center is a new teaching and learning facility serving as the third of a trio of buildings that make up the College of Health and Human Services at Missouri State University. Through its careful siting and unique physical presence, the new building creates a micro-campus for the college within the university’s broader campus context. Its bold, angular form cantilevers over the building’s chamfered corner entry, acknowledging its companion buildings and inviting in the students who circulate between them.


Diagram

Diagram

Public Space Diagram

Public Space Diagram

Programmatically, the center is comprised of undergraduate and graduate curricula in occupational therapy, nursing, nurse anesthesia and physician assistant studies, with each requiring tailored classrooms, specialized skills labs and simulation labs, faculty offices and support spaces. The building cuts back its southwest corner to create a second entry plaza for a ground level outpatient clinic serving the local community.  Housed in an otherwise purely academic building, the clinic is designed to be not only a fully functioning healthcare facility but also provide real-world experience for students.


© Gayle Babcock

© Gayle Babcock

Section

Section

© Gayle Babcock

© Gayle Babcock

Collaborative spaces for students flow throughout the building, creating an interior “street” in the social sense and continuously connecting all levels by a faceted, undulating wood ceiling. The lobby itself contains a variety of options for student collaboration, from café tables outside the center’s main lecture hall to seating pods for small group interaction. Spreading vertically from the lobby and flowing across level two, additional seating pods, a tech bar and group study rooms adjoin the more formal learning spaces.  The street culminates at the third level in a student lounge with dramatic views back to the main campus and an outdoor courtyard terrace that doubles as both respite and didactic learning space for occupational therapy instruction. Collectively, this variety of collaborative environments connect teaching and simulation labs, and also form community space that brings students from diverse programs together for inter-disciplinary learning.


© Peaks View LLC

© Peaks View LLC

Materially, the building reinterprets the campus’ palette of limestone and cast concrete with a fiber cement rainscreen. This material choice helps define the dual character of the building’s expression – it is at once a light structure, barely touching down on the campus, and simultaneously a chiseled mass. In either interpretation, it is a significant addition to the campus’s growing array of contemporary architecture.


© Peaks View LLC

© Peaks View LLC

Product Description. Swiss Pearl was selected as the exterior cladding material, as its planar characteristics coupled with a concealed mounting system resulted in the visual emphasis remaining on the chiseled building form.
The glass was selected to be as color neutral as possible, so as to resemble voids nested within the building mass. 


© Gayle Babcock

© Gayle Babcock

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State Supreme Court Upholds Architecture’s Legal Right to be Ugly


© Pixabay user Skeeze. Licensed under CC0 Public Domain

© Pixabay user Skeeze. Licensed under CC0 Public Domain

The Supreme Court of Vermont has ruled that architecture is legally allowed to be ugly.

The judgement was made in response to lawsuits filed by Vermont residents against several planned solar developments, claiming that the “unsightliness” of the panels was damaging to their property values.

But the court found that ugliness alone does not qualify as nuisance under state law, citing a long-standing rule barring private lawsuits based solely on aesthetic criticism.

“Property values are affected by many factors; a decrease in market value does not mean there is a nuisance, any more than an increase means there is not,” argued the court in their statement.

Prosecutors had previously argued that the nuisance law was wide-reaching enough to cover the claim, noting the state’s tradition of valuing “scenic resources” in policies including strict anti-billboard  laws.

News via WCAX.

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