“The Archipreneur Concept”: A Business Book That Brings Architecture Practice into the 21st Century


<a href='http://ift.tt/2aEdxtS Cano's office</a> in Madrid. Image © Iwan Baan

<a href='http://ift.tt/2aEdxtS Cano's office</a> in Madrid. Image © Iwan Baan

This review of “The Archipreneur Concept” by Tobias Maescher was originally published on Archsmarter as “The Archipreneur Concept: A Review.”

When I started my business almost four years ago, I read every business book I could get my hands on. Apart from a paper route in grade school, I didn’t have a business background. I hadn’t even taken any business classes in college. But after seeing many hardworking colleagues get laid off during the 2009 recession, I realized I wanted to call my own shots and be my own boss.

Needless to say, I had some catching up to do.

So I went to the library and the book store and got a stack of books on marketing, sales, and business finance. You name it, I read it. The problem was that I couldn’t always put these books into a context that made sense to me. I didn’t want to run a Fortune 500 business. I didn’t have a marketing team. I didn’t even know if I wanted to hire employees. I just wanted work for myself and build something of my own.

At that time, there weren’t many business books specifically for architects and designers. Sure, there were a few “how to start your own firm” books, but there wasn’t anything for the architect who wanted to do things differently. Who didn’t want to trade time for money or work only for clients in the traditional sense.

What I needed was a book that would help me think more creatively about what my business could be. A book that would show me examples of architects and designers who were doing interesting things outside of traditional practice. A book that illustrated business models that made sense to me, given my particular interests and skills as an architect.

It turns out, what I really needed was Tobias Maescher’s new book, The Archipreneur Concept.


Courtesy of Tobias Maescher

Courtesy of Tobias Maescher

This is an essential book for architects and designers who want to succeed at running their own business.

The Archipreneur Concept starts with a clear look at the deficiencies of our current architectural education system, where students are taught to emphasize form-making and individuality over interdisciplinary teamwork and business acumen. These deficiencies, as Maescher points out in the following chapter, are out-of-step with the new realities of architectural practice.

As I mentioned earlier, I witnessed first-hand the effects of the 2009 recession, when many talented architects were out of work. This reality made me understand that working for myself would actually be a more stable option than working for someone else. Freelance opportunities for architects are on the rise as firms, still smarting from the recession, look to stay lean and keep costs in check.

One of the most important steps in starting your own business, or even just doing freelance work, is shifting your mindset from employee to owner. You’re no longer trading time for money. You need to leverage your time to get the most impact. You need to look for opportunities and learn how to calculate risk. It’s not always an easy transition. Trust me, I know. Having worked as an employee for almost twenty years, I understand the difficulty in changing that mentality.


Courtesy of Tobias Maescher

Courtesy of Tobias Maescher

In my favorite section of The Archipreneur Concept, Maescher positions entrepreneurship as an attitude that can be adopted and cultivated, and is not exclusive to internet startups and tech companies. By shifting their mindset, architects too, can be entrepreneurs. The important thing is to think creatively about business opportunities and explore alternate business models.

One example of this is productized architectural services. Architects traditionally deliver custom services on a client-by-client basis. One of the issues with this model is that the business owner cannot leverage each project for maximum effect.

Productizing services turns one-off services into a highly repeatable process. The benefits are two-fold: clients know exactly what they’re getting and how much it will cost, while the architect can leverage each engagement to build a repeatable process. While this approach may seem counter to the designer’s instinct to never repeat a project, it can provide a more predictable revenue stream. As the author and entrepreneur Jeff Goins states, “Success is not about invention, it’s about iteration.”

This is just one example of the many business concepts illustrated in the book. Maescher takes a detailed look at opportunities for product development, including software and online courses, as well as the architect as developer. He also covers the basics of branding and marketing, skills I think every architect should cultivate.

The strongest parts of the book are the case studies. Each section of the book is reinforced with examples of architects who are putting the concepts into practice, and succeeding. These aren’t just classroom theories. As proof, Maescher presents detailed interviews with people like Modative and Eric Reinholdt, who are practicing architectural entrepreneurship every day.

As architects, we’re trained to innovate and think creatively. The Archipreneur Concept is a valuable guide that helps you apply these skills to your business.

Links to “The Archipreneur Concept” in this article are ArchSmarter affiliate links preserved from its original publication.

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These Everyday Household Items Convert Light Into Energy


Courtesy of Caventou

Courtesy of Caventou

London-based design firm Caventou has designed a series of “stained glass” everyday objects that turn daylight into electricity, even indoors.

Integrated with solar cells, Current Table and Current Window are both independent, intelligent power sources that function normally as household items.


Courtesy of Caventou


Courtesy of Caventou


Courtesy of Caventou


Courtesy of Caventou


Courtesy of Caventou

Courtesy of Caventou

As the first piece of furniture to harvest energy indoors, Current Table utilizes a colored glass surface—a modern version of stained glass—to generate its own electricity, which can be used to charge other devices, among other purposes.


Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Both pieces of functional technology can be monitored through an app, which reports light intensity and how much energy each item has harvested.


Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Courtesy of Caventou

Learn more about the project here.

News via Caventou.

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Tamarit Apartment / RAS Arquitectura


© Jose Hevia

© Jose Hevia


© Jose Hevia


© Jose Hevia


© Jose Hevia


© Jose Hevia

  • Architects: RAS Arquitectura
  • Location: Barcelona, Spain
  • Engineering: Mares Ingenieros
  • Structure: Diagonal Estructuras
  • Client: Private commission
  • Area: 140.0 sqm
  • Project Year: 2016
  • Photographs: Jose Hevia, Courtesy of RAS Arquitectura

© Jose Hevia

© Jose Hevia

The project takes place in a long, narrow and stately apartment whose façade connects to the access street via an elegant bow-window and to a large but not very attractive interior courtyard through a gallery. In between, 140 square meters to resolve more or less conventional housing requirements.


© Jose Hevia

© Jose Hevia

© Jose Hevia

© Jose Hevia

Two key strategies drive the design as a whole. The first is that there are no hallways between rooms; they connect directly via an enfilade of sorts. This gives rise to a series of intermediary spaces that lack a defined code or function, which transforms them into potential play, reading, storage rooms, etc. These spaces which serve as a backbone to the dwelling don’t even feature doors, and their partitions fall short of the ceiling, making them, as it were, rooms within an original container space.


© Jose Hevia

© Jose Hevia

© Jose Hevia

© Jose Hevia

The second decision is structuring all rooms on three sections, based on three levels. A top level — the original wooden beam and ceramic vault ceiling — runs throughout the house and is painted grey. Nothing breaks up this level, since partitions do not reach up to the ceiling. Running from 60 cm to 230 cm and painted white, an intermediary level encompasses and structures the rooms, closing in the space even though there are no doors and the partitions don’t reach the ceiling. The lower level, running from the floor to a height of 60 cm, features flooring rising up the partitions in distinctive contrast for each space, while maintaining symmetry with the entrance — tile for wet rooms, wood for living rooms and bedrooms, and a new type of tile for outdoor-facing rooms, the street-side bow-window and the gallery connecting to the courtyards. The thresholds linking the rooms feature a new material, white micro-cement, which likewise covers the partitions in the entrance, which was re-arranged to clearly establish the public spaces facing the street and the private spaces facing the inner courtyard.


Plan

Plan

The entire interior space is thus organised as a series of rooms which are set off but connected and which always connect to the two exits to the outside, through which light penetrates into more interior spaces, creating a beautiful light gradation. Spaces which require more privacy follow a similar pattern but with greater privacy.


© Jose Hevia

© Jose Hevia

The gallery leading to the courtyards was completely demolished and was re-built (both structurally and in terms of building materials) using enormous wood doors featuring different cuts and glasses of various transparency that manage to illuminate the interior despite its unfavourable orientation while blurring the unappealing view. 


© Jose Hevia

© Jose Hevia

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Training Center in Carvin / Atelier 2+1 Architectes


© Sergio Grazia

© Sergio Grazia


© Sergio Grazia


© Sergio Grazia


© Sergio Grazia


© Sergio Grazia

  • Bet Economist: PHD
  • Cvc / Fluids: SITAS
  • Structure: IN4
  • Main Contractor: Jean Lefebvre
  • Owner´S Project: SCI la Garenne de Sèvres
  • Cost: 4 500 000 € HT

© Sergio Grazia

© Sergio Grazia

An urban flagship on an old mining wasteland

On the periphery, neither an industrial zone nor an urban area, the project commitment was to create activities to ensure local governments and residents potential expectation. The showroom is the focal point of the building which thus opens on its environment as to become its flagship. 


© Sergio Grazia

© Sergio Grazia

On this site of 13 000m2, a single-story building was essential. 

The workshops, administrative offices and showroom are easily accessible from the wide central hall. The hall also overlooks a huge patio with an arboreal metal posts structure covered by a canopy. Thus, both inside and outside, the architectural design clearly distinguishes the administrative functions from that of the workshops, these two components of the program having separate entrances. 


Section

Section

The challenge and the essence of this project located in Pas-de-Calais were to provide natural light and create an overall lighting network. Thanks to the patio, to the canopy and the showroom, a bright light is distributed everywhere while the workshops and the chassis modules on the outskirt still enjoy natural light.


© Sergio Grazia

© Sergio Grazia

What about the site, a mining wasteland located on the grounds of the former Pit 12?

There were no constraints due to the grounds of the former slag heap. Yet it gave the opportunity to discover that the parcel is located partly on a lethal zone called by GRDF; next to a gas pipeline prohibiting the construction of an ERP. A Regulatory provision of mechanical protection was required to protect the pipelines. 


© Sergio Grazia

© Sergio Grazia

The aim of both L’Atelier 2 + 1 and the project management was innovative in order to anticipate the simultaneous work of these two separate but overlapping sites.


© Sergio Grazia

© Sergio Grazia

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Mountain-Top Restaurant / Gbau


Courtesy of Gbau

Courtesy of Gbau


© Pierre Vallet


© Pierre Vallet


Courtesy of Gbau


Courtesy of Gbau

  • Architects: Gbau
  • Location: 38410 Chamrousse, France
  • Area: 861.0 sqm
  • Project Year: 2014
  • Photographs: Courtesy of Gbau , Pierre Vallet
  • Client Assistant: Mdp Ingénierie Conseil

  • Fluids Engineers: Cipavem
  • Structural Engineering: Batiserf 

  • Economy: Ecogest
  • Landscape: Apu Romain Allimant Paysage 

  • Ski Lifts Consultant: TIM
  • Inspection Office: Apave
  • Construction Companies: Charpente Métallique, Métalleries Du Forez – Ets Blanchet

Courtesy of Gbau

Courtesy of Gbau

With an altitude of 2,250 m, la croix de chamrousse is the highest peak of the municipality’s ski slopes. The cable car and three chairlifts that converge here and the télédiffusion de france building bristling with antennae, have deeply altered this natural site and seriously remodelled its topography.


Section

Section

Plan

Plan

The mountain restaurant built to meet you as you step out of the cable car, is the first stage in a project redeveloping and restoring the entire mountain cap to its natural state. It involves laying a scree path, furrow or edge, which marks a lasso-shaped boundary between the congested inner side of the crest (pylons, mountain stations, ski patrol huts) and the better protected slopes. Its design takes an encircling-edge approach and is an illusion to the imaginative world of the stronghold or tumulus.


Courtesy of Gbau

Courtesy of Gbau

The restaurant is a curvilinear incision in the slope that curves round to the west to escape the electric wires’ route and it is an integral part of this furrow. It is its continuation and creates continuity. It sweeps brushing lightly, underpinning, cutting and then brushing lightly again: it starts and ends by blending and connecting with the natural terrain.on either side of this incision, the natural outline of ground is restored using scree: on the roof above and on the slope downhill from the restaurant, with the exception of the restaurant terrace given a gentle horizontal slope.


Detail

Detail

Backing onto the kitchens’ back-office, the restaurant dining room extends 80 m,bending to follow the contour lines. It is intentionally narrow – 5 m on average. It creates a huge open vista with a 180° panorama from belledonne to dauphiné, including oisans. The interior of the restaurant is completely panelled from wall to ceiling in plywood panels darkened with the copper brown stain suggesting a fine noble wood at little cost. The strong contrast with the overexposure outdoors is deliberate. It creates a ‘darkroom’ that amplifies the panoramic view. When the weather is bad, this interior provides a warm refuge against the harsh elements.


© Pierre Vallet

© Pierre Vallet

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Art and Architecture: “Original Framework” by Miguel Losh


© Bruno Lopes

© Bruno Lopes


© Bruno Lopes


© Bruno Lopes


© Bruno Lopes


© Bruno Lopes

When faced with a wall with over 30 years of history, rather than paint it white, as we usually do, Michael Losh shared with us his idea to take the memory of their collective studio and frame it, creating a dialogue between art and architecture.

Read more after the break.


Courtesy of Miguel Losh

Courtesy of Miguel Losh

We had this big naked wall with approximately 7m width and 3m height with all the remains still stuck to it after the first construction in our collective studio in Lisbon. 


Courtesy of Miguel Losh

Courtesy of Miguel Losh

Courtesy of Miguel Losh

Courtesy of Miguel Losh

The first idea was simply to recover the look and paint it all in white, and then think about how to decorate and intervene on it. Then with a closer look, we realized the wall had several original records written in pencil that combined with the stone and glue, not only should be preserved but highlighted because it ́s an original memory of the wall built over 30 years ago. 


© Bruno Lopes

© Bruno Lopes

So we picked several canvas, studied the best position and painted all in white except the canvas areas. The result is the transformation of an ordinary and “noisy” wall into an original artwork. 


© Bruno Lopes

© Bruno Lopes

© Bruno Lopes

© Bruno Lopes

© Bruno Lopes

© Bruno Lopes

News via: 

Miguel Losh
Team: João Mota, Ricardo Branco, Rita Proença e Fátima Marques.

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Iosa Ghini Associati Bring Italian Luxury to New Miami Skyscraper


Courtesy of Iosa Ghini Associati

Courtesy of Iosa Ghini Associati

A soaring new skyscraper dubbed the “Brickell Flatiron” is set to rise 213 meters above the skyline in BrickellMiami. Designed by Luis Revuelta, the tower features an organic floorplate profile with wide elliptical terraces, maximizing sweeping views of Biscayne Bay and downtown Miami.

These curvilinear, flowing lines are complemented by the interiors, designed by acclaimed Italian architect and designer Massimo Iosa Ghini of Iosa Ghini Associati. The Italian craftsmanship and renaissance-revival air of Iosa Ghini’s design together with the clean functionality of Revuelta’s architecture, presenting two harmonious elements of design in Miami; old school glamor, and contemporary luxury. 


Courtesy of Iosa Ghini Associati


Courtesy of Iosa Ghini Associati


Courtesy of Iosa Ghini Associati


Courtesy of Iosa Ghini Associati

Sitting at the epicenter of the downtown Miami financial district, the project will provide 548 residential units and 39,344 square feet of ground level retail. Its central location places it within walking distance to Mary Brickell Village and Brickell City Center, allowing users to take advantage of the lively cafe and restaurant scene in Miami’s most pedestrian-friendly neighborhood. The distinct shape of the building will differentiate it from the Brickell skyline, hinting at the sinuous architectural elements which also lie within. 


Courtesy of Iosa Ghini Associati

Courtesy of Iosa Ghini Associati

Massimo Iosa Ghini is renowned for his industrial design as much as his architecture. The holistic awareness of the two is apparent within his vision for Brickell Flatiron, which incorporates bold furnishings and premium Italian finishes within carefully considered spatial layouts. Each of his interior spaces, which aside from the residential apartments include a sky spa, gym, theatre, library lounge, and children’s center utilizes “clear surfaces, rich textures, fine raw materials, and bright natural light.”


Courtesy of Iosa Ghini Associati

Courtesy of Iosa Ghini Associati

My approach to design is to envision a single object, conceptualizing “full” architecture in which the exterior and interior are as one. When designing the interior spaces of Brickell Flatiron, I wanted to honor and incorporate the fluid aesthetics of the building’s exterior created by Revuelta Architecture International. – Massimo Iosa Ghini


Courtesy of Iosa Ghini Associati

Courtesy of Iosa Ghini Associati

The premium ground floor retail and dining are accentuated by the inclusion of specialty artworks in the grand lobby. Large scale paintings from New York artist Julian Schnabel, produced exclusively for Brickell Flatiron, will create a culturally rich and visually interesting art gallery for residents and visitors as they enter the building. 


Courtesy of Iosa Ghini Associati

Courtesy of Iosa Ghini Associati

The Brickell Flatiron is currently working through a contractual development and is set for completion in 2018.

News via Iosa Ghini Associati.

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Japonez Condesa / Taller David Dana Arquitectura


© Alessandro Bo.

© Alessandro Bo.


© Alessandro Bo.


© Alessandro Bo.


© Alessandro Bo.


© Alessandro Bo.


© Alessandro Bo.

© Alessandro Bo.

The creative process for this project was approached with the intention of achieving a new image that could adapt and reestablish a new dialogue with its context.


© Alessandro Bo.

© Alessandro Bo.

Plan

Plan

© Alessandro Bo.

© Alessandro Bo.

We took advantage of the site characteristics as well as the materials of the brand with the goal of enlarged them by embellishing the restaurant under a series of elegant and subtle interventions.


© Alessandro Bo.

© Alessandro Bo.

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Saskia Sassen, Krister Lindstedt and Mimi Hoang on the Architecture of Migration





At this year’s reSITE conference in Prague, speakers attended from around the globe to present differing perspectives on the challenges of migration, with topics of interest ranging from economics, to city planning to architecture. But as revealed by the following presentations, migration is a topic that requires interrogation on a number of different scales and in a number of different contexts: from the global economic focus offered by Saskia Sassen in her opening keynote lecture, to the focused challenges of designing micro-apartments shown by Mimi Hoang of nArchitects; and even to the unusual case presented by Krister Lindstedt of White Arkitekter, when a migration is undertaken not by individual people but by a whole town at once.


Proposal for Kiruna town square. Image Courtesy of Kjellander + Sjöberg


Carmel Place. Image © Field Condition


Interior of a micro-apartment at Carmel Place. Image © Pablo Enriquez


Proposal for a neighborhood in Kiruna. Image © White Arkitekter

Saskia Sassen

In her keynote speech, sociologist Saskia Sassen summarizes the forces that lead to migration and the ways that cities, globally, are failing to structure their economies and their design to take advantage of the opportunities presented by migrants.

Krister Lindstedt

In his lecture, Krister Lindstedt presents White Arkitekter‘s masterplan for the city of Kiruna, which due to the needs of a nearby coal mine is currently in the process of relocating two miles eastward.

Mimi Hoang

In her presentation, Mimi Hoang of nArchitects presents the firm’s design for Carmel Place, a residential building in Manhattan which New York City proposed as a pilot project to test out the effectiveness of micro-apartments in taming the city’s unaffordable rental market.

How Migration Will Define the Future of Urbanism and Architecture

Read more about the reSITE 2016 conference here.

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Buckminster Fuller’s Daughter Shares Her Father’s Best Lessons


Montreal 1967 World's Fair, "Man and His World," Buckminster Fuller's Geodesic Dome With Solar Experimental House, 2012. Image © Jade Doskow

Montreal 1967 World's Fair, "Man and His World," Buckminster Fuller's Geodesic Dome With Solar Experimental House, 2012. Image © Jade Doskow

It is the relation between the mind, which Bucky so often talked about, and experience or experiencing that I found to be the key that unlocks his work and inspired my own.

As Buckminster Fuller explained in an 1965 interview with Studs Terkel, his relationship with his daughter was very close. Now, in a previously-unpublished essay written in 1995, the daughter of “Bucky” Allegra Fuller Snyder has shared her father’s best lessons with Metropolis Magazine – explaining how she has adopted her father’s approach to learning and understanding the world. Both of them engaged in “experiencing” the living environment, “involving one’s whole self, not being present at, or observing, something, but “doing” that thing.”

As Fuller aimed to “reorganize the environment of man by which then greater numbers of men can prosper,” physical experiences were essential to the understanding of this environment and thus, to his production. As his daughter poetically describes: “His fingertips were exploring the universe around him. His fingertips were his antennae to experience. What he processed in his mind was only ever processed through that link to experience.”

Read the full essay by Allegra Fuller Snyder “Antennae to Experience: What Bucky Fuller Taught Me” here.

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