Design on the Haus
To say that this past week has been a time of change is quite the understatement. While not as roiled as the current political arena, the PR industry is evolving, too. Following up on last week’s post, here’s more insight from the latest Global Communications Report, compiled by the USC Annenberg Center for Public Relations.
Most of the PR executives surveyed for the report anticipate change in the structure of their agencies and departments to better address changes in the communications landscape over the next five years, primarily driven by the adoption of new technologies and increased demand for content delivery across more channels. There is universal agreement that over the next five years, executives will be expected to deliver more strategy, more creativity and more measurement.
Relationships also are shifting. Corporate communications clients acknowledge that they value agencies more for their strategy and creative prowess than for their “arms and legs.” Meanwhile, agencies disclose that about 30% of the time they report into marketing or brand management, versus 34% into corporate communications.
By 2020, agency leaders expect to see their revenue streams shift away from earned media, but it will still be the dominant revenue driver at 36%. Meanwhile, all of the other media categories will grow—owned to 24.6%, shared to 24.2% and paid to 12.9%. In total, PR executives predict 63% of all media outlets will offer paid placement opportunities in five years. Ironically, only 8% rank media-buying skills as an important staff skill for the future.
“The pace of change in public relations has never been faster than it is today, but at the same time, it will likely never be this slow again,” added Paul Holmes, editor of The Holmes Report, which partnered on the research. “Both agencies and their clients recognize that change is occurring, but it is not clear that they appreciate the extent, when it comes to finding non-traditional talent or developing non-traditional services, particularly outside of earned media channels.”
Looking to the future, it is clear that PR as a profession is changing. All survey respondents agree that in five years their jobs will become more complex, challenging, and strategic. Only 27% of agency leaders believe by the year 2020 the term “public relations” will clearly and adequately describe the work they do.
To best serve our clients in the architecture and engineering fields, we keep on top of the evolving state of the PR industry. The 2016 Global Communications Report, a comprehensive survey of senior public relations executives by the USC Annenberg Center for Public Relations, predicts the worldwide PR agency business will grow from its current estimated size of $14 billion to $19.3 billion over the next five years. To accommodate this growth, agency leaders anticipate their headcount will increase over the same period by about 26%.
Industry leaders, both in agencies and in-house, believe future growth will be driven by content creation and social media, as well as more traditional activities such as brand reputation, followed by measurement and evaluation. Earned media still ranks relatively high for both corporate and agency leaders. Paid media ranked last of 18 possible growth drivers.
“Overall, we are sensing a continued optimism about the direction the industry is headed, which is good news for people entering the field,” said Fred Cook, Director of the USC Center for Public Relations. “But questions remain about the industry’s ability to attract the right talent, adapt to new technologies, and increase the level of investment required to capitalize on these opportunities.”
Both agency and corporate executives strongly agree that the ability to attract and retain the right talent is their greatest challenge, and the majority of both groups believe the PR industry is not good at sourcing talent from outside its ranks, citing salary levels as the major obstacle.
Traditional expertise still tops the list of skills communications departments and PR firms view as key to success over the next five years. Written communications is the skill ranked most important by client and agency respondents. When asked what personal traits they felt were critical for the future, industry leaders ranked traditional values of teamwork and hard work near the top—but they also believe their teams are already strong in these areas. They say more horsepower is needed in curiosity, creativity, and critical thinking.
When asked about diversity, only 45% of agency heads and 44% of corporate executives believe their ranks are as diverse as their clients’ customers or stakeholders. Both groups cite lack of access to diverse talent at senior and entry levels as the primary challenge.
“It’s clear that finding the right talent is by far the most critical factor in the PR industry’s future growth,” said Cook. “The more complicated question is what skills should this talent possess. Industry leaders still value traditional communications skills but are searching for more strategy, creativity and diversity.”
In a follow-up post, we’ll take a more detailed look at what’s in store for public relations pros.
…for the opportunity to work with amazing clients. And to review this list of selected editorial coverage during the month of October, it seems that many members of the media share our enthusiasm!
Architectural Products takes a look at Arup‘s work at the Samsung Device Solutions Americas Headquarters [pages 86-90]
A residence by Dillon Kyle Architects, featured on the recent Houston AIA Home Tour, is featured on Culture Map Houston
The Chicago Sun-Times talks with Deryl McKissack of McKissack & McKissack about the NMAAHC
Architectural Record examines the unique acoustics engineered by Arup at San Francisco LightHouse
AGORA, a new cancer research facility by Behnisch Architekten, is documented by Contract magazine
Francis Cauffman‘s New York Hotel Trades Council building was featured in this year’s Open House New York. CurbedNY has the scoop
The Real Estate Deal Sheet cites Rider Levett Bucknall‘s “US Q3 Quarterly Construction Cost Report”
There’s a design formula to the traditional haunted house. Among the hallmarks of horror:
A Historic Pedigree. Gothic, of course, is the go-to architectural style for scares, but a spare, blank-windowed farmhouse can also induce apprehension. And the notorious Amityville Horror home was a mild-mannered Dutch colonial.
Fearsome Features. Turrets, towers, and wrap-around porches are all specter-worthy settings. Leaded- or stained-glass windows—cobwebs are optional, but a nice touch—frame blood moons quite well.
The No-Maintenance Look. While crumbling staircases, broken or boarded-up windows, and peeling roof shingles may be a handyman’s nightmare, such decrepit details heighten the impression that a house has been abandoned to the spirits.
The contemporary buildings featured in this post display none of these classic traits, but have some disturbing qualities nonetheless. Their foreboding facades—some evoking mechanical torture chambers, others with a ghostly or skeletal character—might deter even die-hard trick-or-treaters.
Of their transformation of a former prison/school/funeral home, artist-architects Christophe Berdaguer and Marie Péjus state, “To us, architecture is a space for imaginative possibilities, for telling stories to ourselves and others. It is above all a collective dream, that of a community of people and ghosts.”
House 77 was designed by dIONISO Lab. Stainless steel shutters covering the front of the building are perforated with cryptic symbols. These siglas poveiras are part of a proto-writing system that has been used by the inhabitants of Póvoa de Varzim, Portugal for many generations. Typically inscribed in wood or stone, they are used to signify family histories, identify property, and are also used as magical-religious marks.
Meticulous Photoshopping is behind [ahem] the work of French photographer Zacharie Gaudrillot-Roy. He says, “This series of photographs offers a vision of an unknown world that would only be a picture, without intimate space, with looks as the only refuge.”
Photo: Yao Li
As part of the China International Practical Exhibition of Architecture, the Number Four House by AZL Architects sits in an isolated valley. Much as a traditional Chinese scroll reveals select segments of its content, the horizontal breaks in the building’s contoured concrete facade control the views of the surrounding terrain.
Rare Architects wrapped a laser-cut scrim made of powder-coated aluminum around the Town Hall Hotel in London, an adaptive reuse project. It acts as a phantasm of sorts, blurring the boundaries between architectural eras and places, an apparition in the streetscape.
I’ve recently noticed that a number of my peers are being recognized by our profession, and have been accepted as Fellows to the American Institute of Architects. I feel that I’m at the appropriate stage of my career to be elevated to this honor, but when I looked into the application process found that it’s really complicated, intimidating—even scary! Do you have any advice on how I can overcome these jitters about professional development?
Frozen in Fear
So, you want your name in lights? That’s terrific! Well, ’tis the witching season, so let’s hope your name isn’t lit up in lights like a jack-o’-lantern! Of course, we like Halloween (the candy part, not the ghosts and skeletons part). Eek—the Doctor shouldn’t prescribe candy, because it’s not good for you! So in the spirit of the season, let’s confront our demons, shall we, Frozen in Fear? Here’s what I think you need to do to thaw yourself out.
First, it’s essential to remember that no one else is going to toot your horn unless you do it. I know, I know—you want to think that if you design great buildings, people will see them and just call you up to design a new project (the Doctor has talked about this elsewhere, and she’s pretty sure that it’s possible for that to happen. But realistically, you can’t always rely upon that as a strong outreach strategy.)
Here’s what does work. Halloween is all about putting on a costume, right? If you’re uncomfortable with the idea of pursuing personal recognition, then the Doctor advises you to try on a new outfit. Look, this is all about your reputation, and we want to help you grow it. There are many ways to do this—getting press, winning awards for your work, and getting professional recognition for you, yourself! You—and you alone—can build your reputation. There, I said it, and it wasn’t so scary. As some of you architects know, applications for Fellowship in the American Institute of Architects (FAIA) are due on October 14. Similar professional recognition programs include the Royal Institute of British Architects’ international fellowships (FRIBA) and the American Society of Civil Engineering Fellows. Let me encourage you to start pursuing a fellowship or honorary fellowship in architecture, or whatever your field may be. There’s just no substitute for being recognized by a jury of your peers for your hard-earned work (I know, that sounds much more like a walk through a cemetery than a stroll through the roses, but bear with me!). Also, make sure you get advice from your colleagues who have been through the process—you don’t want to have to find your way in the dark. These can be time-consuming projects, but if you start early, they’re a lot, lot less scary.
While architects come and go, their edifices live on. Seeking immortality on a smaller scale, the grave markers of some noted designers provide a bit of insight into how these creative forces sought to be remembered. If this subject fascinates you, we recommend Their Final Place: A Guide to the Graves of Notable American Architects by Henry Kuehn.
Cimetiére de Roquebrune-Cap-Martin
Cote d’Azur, France
Temple Beth El Memorial Park
Yale Art and Architecture Building *
New Haven, Connecticut
* In 1998, a portion of the architect’s cremated remains were introduced into the duct-work of the building as part of “The Ventilator Project” by artist Mark Bain.
Ludwig Mies van der Rohe
We’re proud to share some of our clients’ stories that have appeared in the media in September. Next week, in keeping with the frightful nature of October [we refer, of course, to Halloween—not the presidential campaigns] we’ll take a look at tombstones of designers and architects.
Orion Fulton of Arup shares thoughts on creative financing of higher education construction projects in College Planning & Management
A new view of luxury retail design by Kevin Kennon Architects is reviewed in Visual Merchandising & Store Design magazine
Texas Architect editor Aaron Seward pens an insightful profile of Houston architect Dillon Kyle
Deryl McKissack, president of McKissack & McKissack, speaks to The Washingtonian about building the new National Museum of African American Culture and History
Dezeen reports on the new elevated park in Atlanta designed by Rogers Partners
Earlier in this academically-oriented month, the AIA announced the recipients of its Committee on Architecture for Education awards. This year, the jury selected 12 educational facilities that met the criteria of “furthering the client’s mission, goals, and educational program while demonstrating excellence in architectural design.” Of that dozen, we’ve picked our five favorites.
Mundo Verde Bilingual Public Charter School, John F. Cook Campus
Studio Twenty Seven Architecture
Mundo Verde is a sustainability-focused school that consists of two buildings: the renewed historic school and a new pre-K annex. Within the older building, breakout nooks and cubbies are carved from the generous corridors and abandoned ventilation chases. New windows provide natural light to the building core. The façade of the pre-K annex is designed to be deferential to the historic school. A third floor learning terrace, large windows, and building orientation provide for light-filled classrooms which wrap around the natural landscape of the interior play court.
Dwight-Englewood School Hajjar STEM Center
Englewood, New Jersey
The designers of this new building found inspiration in the integrative STEM curriculum as they created an adaptable facility that fosters a cross-disciplinary community. Inside, seven flexible classrooms and eight science labs center around a double-height community area that serves as an “innovation hub” where students are free to explore ideas and projects. Moveable furniture, audio-visual capabilities, and write-on surfaces encourage students to “hack” the space and shape their own learning process.
Kennedy Child Study Center
Pell Overton Architects
New York, New York
In adapting a 1930s warehouse building, the design team faced a number of challenges in the 25,000-square-foot space, including an unusually low ceiling and a lack of natural light. In response, a series of large, colorful lighting bays are cut into the otherwise smooth ceiling, creating the perception of greater height and illumination from above. To further relieve the compressed nature of the lower floor, administrative offices are arranged around two open work areas, providing visual access to new windows and allowing daylight to filter deeper into the space.
Richard Ivey School of Business, Western University
Hariri Pontarini Architects
London, Ontario, Canada
Echoing the architecture of the campus, a towering great hall anchors the entry lobby, with the dining hall, library, and amphitheater extending into the surrounding landscape as distinct pavilions. Designing from the inside out, the architects created spaces that support the school’s case-based and team learning pedagogy. The research-based design process involved numerous workshops and a survey of 60 top business schools. The building’s materials—stone, concrete, glass, copper, steel, walnut, and Douglas fir—were selected for their elemental and timeless qualities.
Steven L. Anderson Design Center, University of Arkansas
Marlon Blackwell Architects; associate architect: Polk Stanley Wilcox Architects
The addition provides 37,000 square feet of new studio, faculty offices, and seminar space as well as a 200-seat auditorium and an exhibition gallery. This project is a hybrid of a historic restoration and a contemporary insertion and expansion. Post-tensioned concrete and Indiana limestone honor the weight and substance of the original structures, while a frit-glass brise soleil and steel curtainwall create a contemporary figure. The overall design establishes a tangible discourse between past and present, while providing state of the art facilities for 21st century architectural and design education.
Time again for pencils, books, and teachers’ dirty looks: School’s back in session. Several of Hausman‘s clients have made recent and future contributions to campuses around the world; here’s a look at a few of these projects.
York University, Bergeron Center of Engineering Excellence
Providing structural, mechanical, electrical, and civil engineering services, Arup delivered this project by BIM, streamlining a process that would usually take two weeks to three days. Designed by ZAS Architects, the building is dedicated to creating “renaissance engineers” through a multidisciplinary curriculum and integrating learning with industry and the global engineering community.
Portland State University, School of Business Administration
Located in close proximity to downtown Portland, this school is positioned to integrate with the city’s rich network of public open space and diverse urban uses. Rejecting the single-building construction that dominates the 200′ x 200′ street grid, the design for the 135,000-square-foot structure appears as two distinct buildings sharing a city block. This approach enhances the public realm by providing a more diverse streetscape, reinvigorating existing links, and creating new arteries between the urban center and its related pedestrian paths, transportation routes, and parks.
Dillon Kyle Architects
This outdoor pavilion serves both symbolic and physical purposes. Sited at the crossroads between the middle and high school campuses, the pavilion is inspired by the sukkah, a temporary structure that is used in the Jewish Festival of Sukkot. Jewish tradition holds that a sukkah must have at least 2 1/2 sides and be open to the sky. The pavilion is used by the school for the sukkah ritual, but also serves an everyday purpose as a place for students to come together for learning, eating, school performances or casual interactions. The materials are tied to the architecture of the school; a limestone base forms informal seating and aluminum forms the pergola-like armature. Similar to classic Greek amphitheaters, a berm visually grounds the structure on the otherwise flat landscape. Creating this topography also amplifies the pavilion’s monumental nature as a central focus, both symbolically and physically, for the campus.
Korman Center, Drexel University
“Our design aspires to give new life to the public face of the Korman Center by projecting openness and transparency and creating dynamic, day-lit interior spaces that connect with an active front porch on the Korman Quad,” says Dana Tang, partner at Gluckman Tang Architects. Renovations planned for the 1958 structure call for the addition of a 9,000-square-foot solarium at the entrance that will serve as a two-story lobby and community space. There will be a cantilevered terra-cotta screen that will serve to protect the interiors from solar heat gain. The classrooms will also undergo makeovers.
Joseph A. Natoli Construction
Rutgers University; Institute of Food, Nutrition, and Health
New Brunswick, New Jersey
The three-story, 80,000-sf facility houses 25 principal investigators researching genomics and molecular nutrition. The $34-million project includes 37,198 square feet of research space, 825 square feet of administration area, and 28,263 square feet of community space. The remaining 13,425 square feet are occupied by mechanical systems and circulation areas. Related site improvements include utility extensions and relocations, building support, and service access.
You’re never too old or too wise to learn. For the time-pressed architectural professional, attending lectures and panels discussions are excellent ways to explore current and classic topics of interest. Here’s our picks for some of the best design-oriented presentations at schools and cultural institutions for the next few weeks.
District Architecture Center
421 7 St NW
Washington, DC 20004
Join AIA|DC’s Committee on Architecture for Education (CAE) for networking, light refreshments, and Pecha Kucha-style presentations at the “Back to School” Fall Social. This event will showcase current work related to the design of learning environments by firms in the DC metropolitan region. Presentations will highlight emerging trends and new design work, including designs still on the boards, completed within the last year, or under construction. Presenting firms include: cox graae & spack, Little, Marshall Moya, Perkins Eastman DC, Quinn, Evans Architects, Shinberg Levinas, Stantec, Studio 27.
960 E 3 Street
“Architecture in the Age of Digital Media” aims to address the speculative directions for architecture in relation to contemporary digital culture. As information becomes increasingly mobile, instantaneous, and pervasive, we take look at the current impact of digital media and the roles online publications and social media will play in the future of architecture and design. Among the panelists joining moderator Bruno Juricic: Birgit Lohmann, CEO/Editor in Chief, designboom; Devin Gharakhanian, Creative Director, SuperArchitects; Amelia Taylor-Hochberg, Managing Editor and Podcast Co-Producer, Archinect; Lucy Redoglia, digital marketing and social media, LACMA; Benjamin Bratton, SCI-Arc Visiting Faculty/Cultural Studies and author of The Stack.
222 W Merchandise Mart Plaza, Suite 100
Chicago Design Summit
“The Iconic House” returns as a session at the Chicago Design Summit. Julie Hacker, FAIA, moderates a panel of four residential architects who will discuss a house from the past that has most influenced their architectural thinking as they present images of their own built work. Representatives from Robbins Architecture, Booth Hansen, Wheeler Kearns Architects, and Melichar Architects will participate.
Cornell School of Architecture
943 University Avenue
Ithaca, New York
Gisue Hariri: Architecture, Nature, and Cultural Identity
For Hariri+Hariri Architects, design is a holistic, boundary-less enterprise ranging from master planning and architecture to interior design, furniture, lighting, product design, and jewelry.
Bard Graduate Center Gallery
18 West 86 Street
New York City
Docomomo: Gallery Tour of Artek and the Aaltos: Creating a Modern World
Join DOCOMOMO New York/Tri-State for a special gallery tour of Artek and the Aaltos: Creating a Modern World, led by its co-curator, Bard Graduate Center Gallery Director Nina Stritzler-Levine. Artek, whose name is a combination of “art” and “technology,” is a pioneering Modern design firm established in Finland in 1935 by Alvar and Aino Aalto, Maire Gullichsen, and Nils Gustav Hahl—a group that shared a progressive vision of the arts and a commitment to enhancing the cultural and social ideals of Modernism throughout the world. Now in its 80th year, the company is being featured in its first US exhibition. Running through September 25, the show considers the Aaltos’ shared practice through the lens of this groundbreaking company, whose under-recognized and multifaceted mission far exceeded its manufacturing of bentwood furniture designed by Alvar Aalto, for which the firm is best known. This exhibition offers for the first time a specific analysis of Artek’s distinct international role as a disseminator of modernism in art, architecture, interiors, furniture, and other products.
Rice School of Architecture
6100 Main Street
Françoise Fromonot, professor at École Nationale Supérieure d’Architecture de Paris-Belleville and Editor of Criticat Journal of Architecture asks—and, we assume, answers—the question “What place is this time?”
MIT School of Architecture
77 Massachusetts Avenue
Morphogensis of Flux Structure
Mutsuro Sasaki, Prof. Dr. Eng., is an emeritus professor at Hosei University in Tokyo, Japan. He is also a founder of Sasaki Structural Consultants since 1980 as well as SAPS / Sasaki and Partners since 2002. Sasaki is an expert of shell structures and a pioneer in the field of computational morphogenesis in structural engineering. His researches focus on the development of design techniques using structural optimizations and form findings based on the mathematical principle of structural mechanics. He has developed the sensitivity analysis method for free-curved shell structures that defines optimum structural solutions within complex design criteria. Recently completed works applying this method includes Meiso-no-Mori Crematorium (2006), Rolex Learning Center (2008), and Teshima Art Museum (2010). His research-based practice extends the analytical works of Antonio Gaudi, Heinz Isler, and Frei Otto into the field of computational designs that has helped shape the contemporary architectural scene in Japan and abroad. Sasaki is a long-term collaborator of Toyo Ito, Sejima and Nishizawa of SANAA, and Arata Isozaki. He has received numerous awards for both theories and practices, including AIJ Prize in 2003 for Sendai Mediateque (2000) and IASS Tuboi Prize for Extended ESO Method in 2004.
VERGE 16 Summit Series: Circular Economy
Santa Clara Convention Center
5001 Great American Parkway
Santa Clara, CA
Chris Luebkeman, the Director of Global Foresight, Research + Innovation at Arup facilitates a discussion exploring the requirements of cities and regions in fostering closed-loop systems of commerce, where products and materials can be continually in use.
USC School of Architecture
Harris Hall, Gin D. Wong, FAIA Conference Center
New Work: Ma Yansong
Beijing-born architect Ma Yansong is recognized as an important voice in the new generation of architects. As founder and principal of MAD Architects, Ma leads design across various scales. Many of Ma’s designs follow his conception of the “Shanshui City”, his vision to create a new balance among society, the city and the environment through architecture.
The Cooper Union
7 East 7 Street, The Great Hall
New York City
Alejandro Aravena, Elemental: Current Work
Alejandro Aravena founded ELEMENTAL in 2001 in Santiago, Chile with Gonzalo Arteaga, Juan Cerda, Victor Oddó, and Diego Torres. Aravena is a partner and executive director. He is the 2016 Pritzker Prize Laureate and served as the Director of the XV Venice Architecture Biennale. ELEMENTAL focuses on projects of social impact, including housing, public space, infrastructure, and transportation.
AIA NY Center for Architecture
536 LaGuardia Place
New York City
Cocktails and Conversations Series
Architect Shohei Shigematsu, Partner/Director of OMA New York Architects and Amanda Dameron, Editor-in-Chief, DWELL magazine, discuss current architecture and design issues in an informal setting.
Carnegie Mellon University
School of Architecture
5000 Forbes Avenue, Miller Gallery
Architecture With and Without Le Corbusier: A Talk with José Oubrerie
An internationally renowned French architect and protege of Le Corbusier, Oubrerie was the project architect for the Saint-Pierre de Firminy Church, seeing the final design through to completion in 2006. Other projects include the French Cultural Center in Syria, the Miller House in Kentucky, and the Chapel of the Mosquitoes in New York.
260 West 23 St
New York City
Architecture & Design Film Festival
In his new film, “The Architects: A Story of Loss, Memory, and Real Estate,” director Tom Jennings follows the international competition to rebuild the site of the World Trade Center after 9/11. Focused on the unrealized design proposal from United Architects, the film sheds light on the importance of this public competition, which delicately considered the site’s history, symbolism, and future. United Architects was a collaboration between Greg Lynn of Greg Lynn FORM, Kevin Kennon of Kevin Kennon Architects, Ben van Berkel of UNStudio, Peter Frankfurt of Imaginary Forces, Jesse Reiser & Nanako Umemoto of Reiser + Umemoto Architects, and Alejandro Zaera-Polo & Farshid Moussavi of Foreign Office Architects.
Bancroft Way/College Avenue
Jessica Rosenkrantz & Jesse Louis Rosenberg: Nervous System
Founded in 2007, Nervous System has pioneered the application of new technologies in design, including generative systems, 3D printing, and webGL. Nervous System releases online design applications that enable customers to co-create products in an effort to make design more accessible. These tools allow for endless design variation and customization. Nervous System’s designs have been featured in a wide range of publications, including WIRED, The New York Times, The Guardian, Metropolis, and Forbes.
Harvard Graduate School of Design
42-48 Quincy Street
New forms of urban order through solar orientation are suggested by recent projects by leading architects and urbanists, correlating the shape of the city to a complex and contradictory economy of solar performance. At this talk, Thom Mayne (Morphosis) and Jeanne Gang (Studio Gang) will present work from their respective practices and discuss their relationship to the ideas of architect Ralph Knowles, the pioneering theorist of the “solar envelope.”