ILMA Architect of the Week: Adolf Loos

Do You Like Modern Architecture?

You can thank Adolf Franz Karl Viktor Maria Loos (December 10, 1870 – August 23, 1933).

Adolf  Loos was an Austrian and Czech architect and influential European theorist of modern architecture. His essay Ornament and Crime advocated smooth and clear surfaces in contrast to the lavish decorations of the fin de siècle and also to the more modern aesthetic principles of the Vienna Secession, exemplified in his design of LooshausVienna. Loos became a pioneer of modern architecture and contributed a body of theory and criticism of Modernism in architecture and design and developed the “Raumplan” (literally spatial plan) method of arranging interior spaces, exemplified in Villa Müller in Prague.

Adolf Loos Architect 02 Moller House

Villa Müller Elevation


Villa Müller Floor Plan of Mezzanine

Adolf Loos Architect 01

The Looshaus is a building in Vienna designed by Adolf Loos, regarded as one of the central buildings of Viennese Modernism. It marks the departure from historicism, but also from the floral decor of Secession, an an art movement formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus.

At age 23, Loos traveled to the United States and stayed there for three years from 1893–96. While in the United States, he mainly lived with relatives in the Philadelphia area, supported himself with odd jobs and also visited other cities such as the World’s Columbian Exposition in Chicago, St. Louis and New York. Loos returned to Vienna in 1896 and made it his permanent residence. He was a prominent figure in the city and a friend of Ludwig Wittgenstein, Arnold Schönberg, Peter Altenberg and Karl Kraus.

Inspired by his years in the New World he devoted himself to architecture. After briefly associating himself with the Vienna Secession in 1896, he rejected the style and advocated a new, plain, unadorned architecture. A utilitarian approach to use the entire floor plan completed his concept. Loos’s early commissions consisted of interior designs for shops and cafés in Vienna.

Modern architecture is a group of styles of architecture which emerged in the first half of the 20th century and became dominant after World War II. It was based upon new technologies of construction, particularly the use of glasssteel and reinforced concrete; and upon a rejection of the traditional neoclassical architecture and Beaux-Arts styles that were popular in the 19th century.  They also rejected embellishments.

Modern architecture continued to be the dominant architectural style for institutional and corporate buildings into 1980s, when it was largely deposed by postmodernism.

Notable architects important to the history and development of the modernist movement include Frank Lloyd Wright, Ludwig Mies van der Rohe, Le Corbusier, Walter Gropius, Konstantin Melnikov, Erich Mendelsohn, Richard Neutra, Louis Sullivan, Gerrit Rietveld, Bruno Taut, Gunnar Asplund, Arne Jacobsen, Oscar Niemeyer and Alvar Aalto.

Adolf Loos’ lamentation Ornament and Crime made a lasting impression on le Corbusier and Mies van der Rohe and left behind a body of attractive commercial and domestic work blending simplicity and great material warmth.

As noted by The Australian in the article Looking at Adolf Loos, modern architecture as it evolved through the middle decades of the 20th century, might have been better – more individualistic, humanistic and warmer in tone – if it had been more deeply attuned to the quirky legacy of Adolf Loos than the rigidities of Bauhaus-inspired internationalism. If Adolf Loos is our contemporary, it is not before time.

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Our Exclusive ILMA Interview with @Collier1960 Collier Ward

Collier Ward is a registered Architect, an aspiring novel and short story writer, an acknowledged construction industry influencer, and a follower of Jesus, who thrives on communication and community.

“One of my long-term career goals is to see more books, movies, and television shows about architects and architecture. For years I have said “Architecture Holds a Thousand Stories” and it remains an untapped source for dramatic content. If you are in charge of story development in the entertainment industry I would be glad to discuss the comedy and drama embedded in my profession. If you have interest in any of these subjects, I’d be pleased to connect with you.” -Collier Ward

Connect with Collier Ward on LinkedIn or  Twitter.


When and why did you decide to become an Architect?

As a child, I’m not even sure how old I was, I saw my older brother drawing a floor plan. I didn’t understand the series of rectangles and asked him what it was. He informed me that it was our house. To me, a house was depicted by the archetypal image of a simple box with a door, a sloped roof, and a chimney with a swirl of smoke. I told him it was an awful drawing. He explained that it was what we’d see from above if we took the roof off and looked in from above. Then I saw it! The bedrooms, the kitchen, the carport were just as they should be. Although I considered art teacher, artist, cartoonist, and ad man as possible careers, this childhood revelation of architecture proved to be my origin story.

What were some of the challenges of achieving your dream?

Other than a few financial struggles and loan debts (which don’t even compare to today’s students’) my schooling and internship were fairly typical. From the first day I walked on campus (Auburn University, 1979) to the day I became registered in North Carolina was just under a decade.

Any memorable clients or project highlights?

As an intern, I worked on the College of Architecture building at the University of North Carolina at Charlotte. The design architect was Gwathmey Siegel (I worked for the local firm that produced the Construction Documents.) I had the pleasure of detailing the three monumental stairs in the main gallery, based on concepts by Charles Gwathmy. Since then I’ve worked with many Architects who climbed those stairs and pulled all-nighters in those studios.

How does your family support what you do?

My wife and I were married in my third year of school. If there were awards for architects’ spouses Celese would have several by now. She has supported, humored, and encouraged me to this day.

Who is your favorite Architect? Why?

As a student, I had two architects (one past, one current) that inspired and influenced me most; both for their writings as well as their designs. I think it’s interesting that both Alvar Aalto and Robert Venturi practiced with their wives.

What is your favorite modern (contemporary) project? Why?

Having grown up in St. Louis, MO, the Gateway Arch (as much sculpture as a building) has always been a favorite landmark for me. It was a source of pride – we took visitors up when they came to town. It was also a link to my fascination with Finnish architecture.

Where do you see the profession going over the next few decades?

Our profession has transformed very little over the past three decades. Groups within the profession push for change (improved education, environmental sustainability, employment diversity, etc,) but to the rank and file architect (and the clients we serve) I’m not sure much has changed. Nevertheless, I have hope for future.

What does Architecture mean to you?

“True Architecture exists only where man stands in the center, his comedy and tragedy both,” said Alvar Aalto. When all is said and done, architecture is the stage upon which we live the stories of our lives.

If you could not be an Architect, what would you be?

This is my favorite question. I will always be an architect, but I hope to reach more people with my other passion – writing. For years I have said, “Architecture holds a thousand stories.” Our profession is a closed book to most people. I believe well-written stories will reveal to the population at large what Architects can do. Every other profession has its TV shows, books, and movies; why not Architecture?

What is your dream project?

Per my previous answer, I would like to be the story consultant for a movie or TV series that accurately portrays what architects do – and can do – for our society. I want a wide audience to know the joy and drama that is embedded in every work of architecture.

Final Thoughts on How to Be Successful?

As cliché as it sounds, hard work is essential. But not hard work and long hours for the sake of fulfilling a stereotype; hard work toward a personal goal. I quote Daniel Burnham; “Make no little plans; they have no magic to stir men’s blood and probably themselves will not be realized. Make big plans; aim high in hope and work…”

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We would love to hear from you on what you think about this post. We sincerely appreciate all your comments – and – if you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

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Our Exclusive ILMA Interview with Jeff Venezia, AIA of @DIGroupArch

Who is Jeff Venezia, AIA?

Jeff holds a Bachelor of Science in Architecture from the University of Virginia and has practiced in New Brunswick since 1981. He is presently a Principal Owner and President ofDIGroupArchitecture, a 32 person firm specializing in K-12 Education, Higher Ed, Senior Living and Healthcare. He heads the design and marketing efforts of the firm as well as the Academic Studio which includes K-12 and Higher Ed.

About the Firm

DIGroupArchitecture is a process-centric architecture and design firm. We work tirelessly with our clients to understand their priorities, evaluate the physical and budgetary constraints, and communicate potential options. As a result we create distinctive design solutions that help our clients achieve their vision, with unwavering attention to detail at every scale.

It is our unbiased approach to scale that helps us evolve in the changing climate of contemporary architecture. As many of our clients’ priorities have shifted away from ground-up architecture to renovations and adaptive reuse, our interiors studio has flourished and our graphic design studio has developed a diverse portfolio of projects in environmental graphics, signage and wayfinding, and brand identity.

80% of our business comes from repeat clients.They appreciate our “whatever it takes” approach and principal involvement at every level of every project. Our goal is to make every client a “legacy” client doing project after project and improving the experience of those who occupy the facilities we have created together as partners.

         Memorial Elementary School

         Phillipsburg High School

         Remsen Ave. Firehouse

         Jonathan Dayton High School Media Center


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When and why did you decide to become an Architect?     

I’ve wanted to be an architect since I was about 12 years old.  I loved model building, drawing and construction and just knew from that time on what I wanted to be.

What were some of the challenges of achieving your dream?

I think the biggest challenge has always been living up to the level of trust your clients place on you to deliver a project that meets or exceeds their expectations.

Any memorable clients or project highlights?  

Most clients are memorable in their own way.  Since a lot of our work is for repeat clients we get to know them extremely well over time, both professionally and personally.  The best highlights of any of our projects is the reaction of the end users as to how we’ve improved the quality of their everyday lives.  That occurs most often in our Healthcare, K-12, Senior Living and Community Rooms projects.  One of our top highlights was having our Memorial Elementary School in East Brunswick receive the 2013 AIA New Jersey Honor Award for Excellence in Design, the first NJ public school to be recognized with that award (see photos above).

How do Architects measure success?     

We measure success by how a project meets the goals established in the very beginning, especially with regard to program, design, budget and schedule.

Good design does not have to cost more – it requires patience and commitment to doing it right.

Grow the business, develop a transition of ownership strategy, continue to focus on improving our architectural, interior and graphic capabilities.

Who is your favorite Architect? Why?  

Unquestionably Alvar Aalto.  I love the way his buildings embrace the landscape and often look to him for inspiration.

What is your favorite historic and modern (contemporary) project? Why?  

My favorite historic building would be the Pantheon in Rome.  Favorite contemporary – the Kimball Art Museum in Texas by Louis Kahn.

Where do you see the profession going over the next few decades?

We need to reverse the trend of being considered by the public as a commodity.  We need to educate the public and our clients on the value added in what we provide in the services we perform.  We are not copy or toilet paper. 

Who / what has been your greatest influence in design?      

The greatest influence on my design work was my 3rd year architecture professor who demanded only the highest quality work from me and forced me out of my comfort zone to continually strive to learn from every project, to grow and become better as an architect.

Which building or project type would you like to work on that you haven’t been part of yet?   

Airport – I love the idea of doing something at that scale.

If you could not be an Architect, what would you be?    

A National Geographic photographer.

 What advice do you have for a future Executive leader?     

Always be true to yourself, treat people fairly and conduct yourself with the highest level of integrity.  Your word should be your bond.

What are three key challenges you face as a leader in business today and one trend you see in your industry?  

Challenges:  the economy, dealing with diversity in the work place and the ever-increasing reliance on technology.  As mentioned above, the competition and lowering of fees continue on a downward spiral.

What one thing must an executive leader be able to do to be successful in the next 3 years?  

Don’t just adapt to change – embrace it.

What are some executive insights you have gained since you have been sitting in the executive leadership seat – or what is one surprise you have encountered as the world of business continues to morph as we speak?     

Take risks and have the commitment to see them through.  Be a good listener.  Show a concern and appreciation for your employees.  Be proactive in solving problems.  Never let anything fester.  Once the attorneys get involved no one is happy with the outcome.

For more exclusive ILMA interviews click here.

We would love to hear from you on what you think about this post. We sincerely appreciate all your comments – and – if you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

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ILMA of the Week: Ludwig Mies van der Rohe


Ludwig Mies van der Rohe (March 27, 1886 – August 19, 1969) was a German-American Architect commonly referred to, and was addressed, as Mies, his surname. He served as the last director of Berlin’s Bauhaus, and then headed the department of architecture, Illinois Institute of Technology in Chicago, where he developed the Second Chicago School. Along with Le Corbusier, Alvar Aalto, and Frank Lloyd Wright, he is widely regarded as one of the pioneering masters of modern Architecture.

Mies, like many of his post-World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential twentieth century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings “skin and bones” architecture. He sought a rational approach that would guide the creative process of architectural design, but he was always concerned with expressing the spirit of the modern era. He is often associated with his quotation of the aphorisms, “less is more” and “God is in the details”.


Mies designed modern furniture pieces using new industrial technologies that have become popular classics, such as the Barcelona chair and table, the Brno chair, and the Tugendhat chair. His furniture is known for fine craftsmanship, a mix of traditional luxurious fabrics like leather combined with modern chrome frames, and a distinct separation of the supporting structure and the supported surfaces, often employing cantilevers to enhance the feeling of lightness created by delicate structural frames. During this period, he collaborated closely with interior designer and companion Lilly Reich.


Mies played a significant role as an educator, believing his architectural language could be learned, then applied to design any type of modern building. He set up a new education at the department of architecture of the Illinois Institute of Technology in Chicago replacing the traditional Ecole des Beaux-Art curriculum by a three-step-education beginning with crafts of drawing and construction leading to planning skills and finishing with theory of architecture (compare Vitruvius: firmitas, utilitas, venustas). He worked personally and intensively on prototype solutions, and then allowed his students, both in school and his office, to develop derivative solutions for specific projects under his guidance.


A master of minimalism, he sought to define a new modernist architectural style after World War I and pioneered the use of modern materials such as glass and steel. His style was rejected by the Nazis as un-German and he emigrated to the United States in 1937, where he was appointed the head of an Architecture school in Chicago.

The Barcelona Pavilion (Spanish: Pabellón alemán; Catalan: Pavelló alemany; “German Pavilion”), designed by Ludwig Mies van der Rohe, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition, It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the prestigious furniture specifically designed for the building, among which the iconic Barcelona chair.

Villa Tugendhat is a historical building in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German Architect Ludwig Mies van der Rohe. Built of reinforced concrete between 1928-1930 for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modernism.

Widely regarded as Mies van Der Rohe’s masterpiece, Crown Hall in Chicago is one of the most architecturally significant buildings of the 20th Century Modernist movement. Crown Hall was completed in 1956 during Mies van der Rohe’s tenure as director of the Illinois Institute of Technology’s Department of Architecture.

The Martin Luther King Jr. Memorial Library is the central facility of the District of Columbia Public Library (DCPL). Ludwig Mies van der Rohe designed the 400,000 square foot (37,000 m²) steel, brick, and glass structure, and it is a rare example of modern architecture in Washington, D.C.

The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945-51. It is a one-room weekend retreat in a once-rural setting, located 55 miles (89 km) southwest of Chicago’s downtown on a 60-acre estate site, adjoining the Fox River, south of the city of Plano, Illinois. The steel and glass house was commissioned by Dr. Edith Farnsworth, a prominent Chicago nephrologist, as a place where she could engage in her hobbies.

In 1958, Mies van der Rohe designed what is often regarded as the pinnacle of the modernist high-rise architecture, the Seagram Building in New York City. Mies was chosen by the daughter of the client, Phyllis Bronfman Lambert, who has become a noted architectural figure and patron in her own right. The Seagram Building has become an icon of the growing power of the corporation, that defining institution of the twentieth century. In a bold and innovative move, the architect chose to set the tower back from the property line to create a forecourt plaza and fountain on Park Avenue.

We would love to hear from you on what you think about this post. We sincerely appreciate all your comments.

If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

Frank Cunha III
I Love My Architect – Facebook

P.O. Box 335, Hamburg, NJ 07419
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
Licensed in CT, DE, FL, NJ, NY, PA.

Exclusive ILMA Interview with Tara Imani, AIA @Parthenon1 (Part 1)

What better way to ring in the new year than to highlight one of our new designer colleagues discovered on social media?

Tara Imani, AIA, CSI, is a registered architect and owner of Tara Imani Designs, LLC, a solo practice in Texas, focusing on residential renovations, commercial space planning, and architecture. She has been blogging for over a year now, beginning with her debut blog post on AIA KnowledgeNet in October, 2010 where she explored what is now a commonplace question in the field of architecture: “Is the Architecture Profession in Need of a Makeover Despite the Upturn in the Economy?” (<—You can click on the highlighted title to link to the blog and join the conversation).


Reconstruction of the Acropolis of Athens from NW: The entrance (Propylaia) to the Acropolis is at the bottom right, so that the first side of the Parthenon to be seen is the West side, the rear side.

Architect Q&A:

1)   When and why did you decide to become an Architect?

I discovered my love for architecture, interiors, and fine furnishings at a young age.  I enjoyed going furniture shopping with my mom and would find myself critiquing the various layouts in the showroom, wondering why the designers did it that way and wanting to try different layouts or do something similar in my own way. Maybe you’ve done this yourself, too, when you were growing up: rearrange the furniture in your parents’ home when they were out of the house for a while.  I did that to my mom on a few occasions and it met with much resistance.  That started at an early age, too- as soon as I was strong enough to move stuff around or coax my brother into helping. My passion for architecture started with house plans. After cleaning out the lower level hall closet and finding my parents’ stack of builder house plan books, I was hooked.  I began drawing my own floor plans and elevations, pinning them up on the wall in my bedroom.  My 5th grade bff (as the kids say nowadays) saw them and remarked at how much patience such detailed drawings would take; but to me it was sheer joy.  I never noticed the time. It was my dad who first told me I was going to be an architect.  And since he was an electrical engineer, he kept me well-supplied with proper drawing tools—sketch pads, quadrille paper, charcoals, pens, and pastels for rendering elevations. So I knew since 5th grade that I was going to be an architect.  In 8th grade, I did write in my journal that I wanted to be an interior designer.  So, I today, I am both—with a focus on Interior Architecture and space planning.

2)   What were some of the challenges of achieving your dream?

The biggest challenge has been overcoming fear.  The first fear was the looming board exam that I had heard mentioned whenever I told an inquiring adult what I wanted to be when I grew up.  So, along with my dream, I had a fear attached to it—of this monster test where I mistakenly believed I would need to bring the equivalent of my dad’s metal trunk full of books and reference materials to pass the exam. The other challenge was time management and the constant tension of wanting to spend time with loved ones (my boyfriend who became my husband) versus cranking out the project.  So, self-discipline and deferred gratification are two critical traits any architecture student will need to master early on if they want to be successful.

photo 1Gehry's Disney Concert Hall as captured by Photographer Mathijsvanden Bosch

Left: Tara’s website; Right: Gehry’s Disney Concert Hall as captured by Photographer Mathijsvanden Bosch.

3)   Any memorable clients or project highlights?

Every client and project has been a memorable experience and learning opportunity.  My most favorite firm to work for was Chris Abel Architects, AIA in Laguna Beach, California where we did high-end custom residential design for both new builds and renovations.  It was a beautiful place and location and everything about it was miraculous.  I worked for months helping Chris hand-draft a 5,000 sf beach home and additional guest house for a beachfront site in Kauai (using a now-ancient drafting arm- this was circa 1992).  The other memorable project I did with Chris was a two-story master bedroom suite and first floor pottery studio addition adjoining to an existing living room via an indoor atrium; it was a very eclectic home overlooking both the Pacific Ocean and the Aliso Viejo Canyon- the style can best be described as modern adobe exterior with an oriental interior motif (Chris designed a huge circle-shaped opening leading into the atrium which contrasted with the sloped adobe fireplace and otherwise rustic décor).  The most difficult part was getting the infamously strict Laguna Beach Design Review Board to approve the project and meet the height restrictions while ensuring the uphill next door neighbor’s view would not be blocked.  That was my first project to manage.  The client was very unique; she liked to wear (what we secretly referred to as) “leopard skinned bowling shoes” and during our morning jobsite meetings she preferred to drink her orange juice only after it’d been warmed in the microwave.  She was very astute and noted: “This is your first project, isn’t it?”  I didn’t quite know how to respond, so I simply acknowledged and clarified that no, it wasn’t my first one to work on, but yes, it was my first one to manage.  I knew I had a lot to learn about everything—especially about how to deal with clients and how to manage the bidding and construction process.  The latter point is a story for another day!

4)   How does your family support what you do?

Architecture can be an all-consuming business and few people can succeed while being loyal to their family (time-wise, etc.).  My father encouraged me to apply to architecture school and my mom enabled me to attend The Ohio State University by securing the necessary loans.  Otherwise, I was working as a bank teller for Buckeye Federal bank immediately following high school graduation.  The manager was upset when I left to go to school as they had put us new hires through three weeks of intense professional training at their special facility. So, two types of support are necessary—financial and emotional.  One without the other will not be sufficient. Over the years, family support has been touch and go.  But my dedication to architecture—whether consistent or not—remains my responsibility and no one else’s. In 1992, only five years after graduating from school, my husband and I made a decision to start a home health care and infusion therapy company with his sister, an RN.  It required us to move from southern California to Houston, TX.  My co-workers at Chris Abel’s firm thought I was crazy to move to the “armpit” of the south.  But work had been very slow and I was lucky to be employed at a time when many of my contemporaries were working outside the field.  It was a huge time of change, too, with firms transitioning to AutoCAD. I stayed in the healthcare business until 1998 and returned to architecture 6 months later.  I was able to find work because of the social connections I had made while studying for the licensing exams—so I always kept one foot in architecture while I was helping run the health care company.  And my family supported me by allowing me to take a paid 3-month sabbatical to study and pass the remaining exams.  I passed all except one- the design exam which became two computerized exams that I took and passed a few years later after our daughter was born.

5)   How do Architects measure success?

I can only speak for myself. When I think of a successful architect, I think of someone who has achieved a solid portfolio of built work spanning many years and whose buildings, designs, and/or residences resonate with their end-users.

6)   What matters most to you in design?

Design is a vast subject and covers so much.  I value beauty, good proportions, quality materials, and durability.

7)   What do you hope to achieve over the next 20-30 years?

That’s a long time.  Your question has prompted me to realize I really only think in terms of today and the next year—of course, I envision a great future for my family for many years. Professionally, I would like to continue in the area of tenant build-outs, space planning, and interior design.  I have been begging my husband for years to team up with me to renovate houses and I think he’s about ready to do so.

FLW Guggenheim NYC-Framed-Sml

Photo: Frank Cunha III

8)   Who is your favorite Architect? Why?

I can say that I am not an avid follower/groupie of any particular architect except that I love the designs of Andrea Palladio, the 14th c. Italian architect famous for his beautiful houses, symmetrical designs, and arched windows.  While a student, the theories of Finnish architect Alvar Aalto resonated with me— his inclusive programs (as opposed to Mies van der Rohe’s exclusive, stark plans). I also love many of Frank Lloyd Wright’s homes and especially his Guggenheim Museum and I love Frank Gehry’s Disney Concert Hall in Los Angeles—I guess in part because I have been there and experienced it. These days, I’m revisiting various architects’ manifestoes to get fresh ideas and perspectives. There is one architect I admire for her sheer perseverance as much as her work: Julia Morgan who was the first female architect in California who started out as a Civil Engineer and who endured many trials and challenges on her path to becoming a successful Architect.  Ironically, her work was absent from the curriculum at OSU.

9)   What is your favorite historic and modern (contemporary) project? Why?

My favorite historic project is The Parthenon in Athens, Greece (built between 447 – 438 B.C); I admire it because it is such an iconic image exemplifying all that is beautiful and graceful in architecture.  It is the inspiration behind my twitter handle: @Parthenon1. My favorite modern (contemporary) project is the Denver Airport design by Fentress Architects; I love tent structures and am so intrigued at how well-integrated the forms are with the rest of the structure and successfully done despite the harsh climate of wind, snow, and ice.  It, too, is a beautiful iconic image with the white peaks of the tents rhythmically rising, echoing the mountains beyond.

10)   Where do you see the profession going over the next few decades?

This is a particularly challenging question and one that I see many of us in the Architecture/Engineering/Construction industry grappling to answer every day on social media sites- what I call the new agora or Roman forum- such as Twitter, LinkedIn, Google+.  To read many tweets, posts and forum discussion threads is to realize that we’ve all embarked on a mysterious expedition to define the Next architectural manifesto that will solve the world’s problems through innovative, sustainable design.  It feels very much like we’re on the precipice of a major breakthrough but we haven’t yet been able to put it into concise words or build with new forms and materials. There are many thought leaders I look to such as Rachel Armstrong from Britain with her Architecture 2.0; and Ed Mazria who conceived and developed Architecture+2030 (a program to train architects to systemically address CO2 emissions from buildings). Definitely sustainable design, adaptive reuse and retrofitting existing buildings to be more “green” (yikes, I can’t believe I’m using that word!) and high technologies are going to govern how architects practice for years to come. I recommend reading “Building (In) The Future- Recasting Labor in Architecture” compiled and edited by Phil Bernstein and Peggy Deamer—according to at least some of the essays, the future of architecture is going to be much more fabricated off-site and mechanized like the car industry.  IKEA is one example of this with their new pre-manufactured housing.  I personally don’t like this trend but am keeping an open mind toward it.  I don’t want to see the loss of art and craft and design in the move toward BIM (Building Information Modeling) – another buzzword among many others such as IPD (Integrated Project Delivery- how a project is funded for risk/reward-sharing in profits).

Click here to read Part 2 of this interview.

Tara’s Contact Info:

Tara Imani Designs 10333 Richmond Avenue, Suite 150 Houston, Texas 77042 Ph: (832) 723-1798 Fax: (832) 300-3230 Email:

San Giorgio Maggiore by Palladio

San Giorgio Maggiore by Palladio

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We would love to hear from you on what you think about this post. We sincerely appreciate all your comments.

If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!

2013 is going to be great ~ Sending you lots of love, hope, peace, health, happiness and prosperity! 

Frank Cunha III
I Love My Architect – Facebook

P.O. Box 335, Hamburg, NJ 07419
mobile: 201.681.3551
direct: 973.970.3551
fax: 973.718.4641
Licensed in NJ, NY, PA, DE, CT.