Design Manifestos: Bill Baxley of Leo A Daly

Bill Baxley is a designer of exceptional creativity and vision, especially notable for his client-centered approach at Leo A Daly in Minneapolis, Minnesota. He emphasizes dialogue, transparency, and accessibility in his practice, resulting in designs that serve the public by creating meaningful spaces. His work in the corporate, public, and educational realm has been awarded locally and nationally. He emphasizes the message of sustainability not only through the selection of materials and methods, but by creating work that will meet the evolving needs of clients and the community for generations. Modelo spent some time learning about what inspires the designs behind Bill’s award-winning projects.

On becoming an architect
My father was a civil engineer in the Coast Guard so we moved around a lot. I started thinking about architecture by chance. I was coming to the end of high school and was expected to go to college. I realized I needed to focus on something. Architecture looked interesting to me but the high school I attended didn’t have classes that gave me much exposure to anything relatable.

This was a leap not really of faith, but of interest. So I jumped. Most architecture schools required a portfolio to get in. I had to manufacture one in between football practices. I laugh when I think about that. I can’t believe I got in anywhere.

On discovering his voice as a designer
That’s something that’s ongoing. I feel like I am learning to speak, but the tone of that voice seems to change with regularity. I realized I had something to say, when I could offer perspective which was based on experience. Because we moved around so much, by the time I was 15 I think I had lived in or travelled to all 50 states. I was constantly having to meet new friends and discover each place that we lived rather quickly. This has translated into a, robust and expansive discovery process about where it is we’re doing the work and who it is we’re doing the work for. Our designs are formed by what we learn initially and how that learning is transformed and built upon throughout the design process.

On joining LEO A DALY
I’m in my sixth year at LEO A DALY. I was interested in joining LAD because they were primarily an engineering-focused office and did not have a recognized design voice here in Minneapolis. The idea of helping to create that culture, to hire people that were interested in developing that -forming it out of this amazing legacy that LEO A DALY has cultivated over the past 100 years was exciting. We are making great headway in terms of building that group and expanding the types and range of projects that we get involved with. We do a lot of different things in a lot of different places. Our ability to be dexterous about programs, different clients, different locales has been formative for our process.

On principles he strives to adhere to
The process of inquiry is really important for us. Not to over-simplify but we do a lot of listening and a lot of asking of questions when we start work. That takes the form of research, of visiting places, and of meeting lots of people, before we start really thinking about the work itself. That’s true for different scales of projects and different typologies. It’s gearing ourselves, and our clients, to get rid of our preconceptions and being able to re-see each problem in a new way.

On his role as Vice President and Director of Design
I work with an amazingly talented group of architects, engineers, and designers at LEO A DALY. Sometimes my role is about the creation of things, but most of the time it’s about making sure that what we’re creating is the right thing, challenging the status quo and developing a culture here in the office. I’m the guy that’s asking all the questions that’s poking around the edges to make sure we’re looking at the right things.

On recent projects that represent the firm’s unique approach
We recently completed three projects that are quite divergent. The first was a memorial that we did in St. Paul on the grounds of the Capital. It’s a memorial for the fallen firefighters of Minnesota. LEO A DALY been involved with some significant memorials, the most recent being on the Mall in Washington D.C. with the World War II Memorial. This Fallen Firefighters Memorial project was pretty unique for our group here in Minneapolis. We spent a lot of time with firefighters, their families, and the Capital Planning Board in St. Paul to shape an amazingly unique and wonderful experience. It’s a simple expression but a poignant experience for everybody that visits. It is mostly constructed of weathering steel. Within the pattern of memorials on the mall, ours is the only structure that has a lid on it. It’s a very powerful experience in which we leveraged our questioning of materials and how they’re used, what a memorial experience should be like, and how it celebrates the sacrifice of these fallen firefighters.

On a different scale, we’re repositioning a campus for the National Intelligence Agency in Bethesda, Maryland. This was the old Geospatial Agency campus; it’s right along the Potomac River. It was built in the 40s and was a collection of mostly windowless old brick buildings. Director Clapper of the National Intelligence Agency wanted to build an embodiment of the post-9/11, more cooperative way of working for the 16 different agencies that have offices in this complex. In the architecture, we envisioned a continuous field of security climates and exterior spaces that could celebrate the place- the idea of a campus stitched into a neighborhood. It allowed us to explore the nature of a cyber facility, how it could be repositioned for the future, and how its engagement in the landscape could talk about a new way of working for this group.

We also just finished a headquarters building for The Toro Company here in Bloomington, Minnesota. It’s essentially an office building but it also engages the landscape in a way that’s really compelling. What was interesting for us about this project was to study the Toro products themselves. They follow a very definite methodology and tectonic of how these products go together. Our building, in a very simple way, reflects this understanding of the equipment itself and how the products shape the landscape. It is a very simple parti but it expanded their understanding of what their working environment could be and also tells a really great story about Toro itself.

On his design toolkit
I’m kind of an old-school guy. I do a lot of sketching but I actually do a lot of physical modeling. My favorite material is manila folder. I think it grew out of necessity because there were always piles of manila folders around and it was always easy for me to get some glue, some tape and some scissors or an Exacto knife and get some ideas going rather quickly. Sometimes we’ll take photographs of them, we’ll scan them and we’ll start to study the physical aspects of projects.

We’ve been on a full Revit platform for some time now, along with Rhino, Grasshopper, and Adobe suite as our main digital tools. Those are tools that our very talented designers use much better than I do. Our design ideas tend to be grounded in this very analog, haptic realm that we share with our clients. What’s fascinating is that we can take those into the digital realm and just study them in ways that we’re envisioning while we’re folding manila folders and doing sketches. We’ll kind of do this back and forth until we lock in and then the digital format takes over.

On the state of design software today
It’s amazing actually. What’s amazing is how quickly things are evolving and changing. There seems to always be a new way of looking at things- VR is coming onto the forefront here and I think in a few years that’s going to be amazingly transformative. Our workshop has many tools. One of the challenges we have is using the right tool, and using it at the right time. Maintaining our robust design environment is incumbent upon us being smart about the tools we use and know when to change them.

On the future of architecture in the next 5–10 years
There seems to always be this immense pressure on doing more for less and doing it quicker, and doing it more intelligently. I don’t think that’s going to change. It seems we’re in this discovery process about what these tools can do for us. Hopefully we can begin to leverage them in a way that isn’t simply reactionary or revelatory. I’m looking forward to a more congruous process when these tools become more integrated. Maybe it’s generational. The way we think is different than the way these subsequent generations will think about and use digital tools.

On the future of the firm in the next 5–10 years
For a firm that is 100 years old, in many ways we feel like a boutique group. I hope we maintain that sense of flexibility and nimbleness. We do a pretty robust job of building information modeling (BIM) but in terms of the leveraging of these digital tools from a design standpoint, I feel like we’re still in the crib. I believe this will also enable us to balance expertise and skill sets within our workplace. I’m looking forward to those two things coming together in a way that robustly increases our ability to leverage these digital tools from a design standpoint. I am certainly excited about the possibilities of that.

On advice he would give his younger self
This is so easy to say in hindsight- but I would tell myself not to be so timid. To be unafraid of messing up. What I mean by that is I have had a wonderful wealth of experience really early in my life, which gave me confidence in just about any situation, but sometimes it’s good to let the provocateur take over and create a little more imbalance. It will force to you to change your stance, and perspective and always re-see things in a new way.

Design Manifestos: Matt Baran of Baran Studio Architecture

Matt Baran founded Baran Studio Architecture in 2010 at the peak of the Great Recession. In his spare time, he worked on concepts for architectural robots that shifted their form and location to adapt to various contexts. This work won him an AIA award in 2006, and a full scholarship to UC Berkeley to complete a master’s thesis on adaptable robotic architecture. Upon graduation he began to teach at UC Berkeley and the Academy of Art. He also worked on the construction of a dwelling that employed the adaptive theories he had been exploring academically. These efforts were the beginning of Baran Studio. Currently, Matt continues his efforts, working closely with staff and clients to further explore architecture that is closely adapted to its context. Modelo recently spoke with Matt and learned more about his robotic approach to architecture and what inspires his designs.

On becoming an architect
When I was younger I was interested in fine arts, and I was doing a lot of sketching, drawing and painting. I realized that because I’d come from a very modest family background — a working-class background — to survive I needed to do something that was going to pay. Fine art didn’t seem like it was going to do that. I was looking through a course catalog and saw a drafting class at a community college. I thought I’d give it a shot. I thought that’s what architecture was — drafting up homes or something. I thought ‘well, it’s good enough, I’ll work on this for a while and see where it goes.’ I had some help from some family and they guided me towards university. I got into USC, and when I arrived they basically re-trained me and I started to understand at that point that architecture was art — not just drawing preconceived-looking houses. They started forcing me to think about things more abstractly. I was excited at that point and it took off from there.

On discovering his voice as a designer
For architects, it’s a combination of experiences. You can guide your voice on some level and it just sort of happens to you on some other level. When you’re younger you just try everything and you see what other people are doing and you see what’s in the magazines. When you’re being trained, you’re experimenting and trying to develop a voice.

Coming up into the late 80s and early 90s there was a lot of Deconstructivism theory that was going on, and that still factors into my work and my voice now. I’m not so interested in traditions of order. Earlier on I was influenced by my social class background, and for me there was a required resourcefulness and improvisation that went into who I was. There is part of me that was looking at more unconventional places and unconventional means of construction because I grew up around that.

I’m still very interested in places that have been erased, such as spaces under the freeway and places that were considered undesirable. I try to look at those places and say ‘what can I extract from them? How do you find beauty in places that are traditionally considered not beautiful? How do you take advantage of what’s there and try to bring it up? And not try to “fix it” but try to actually take what’s there and bring out the positive in it?’ A lot of Oakland and Detroit is like that, San Francisco has some of that as well. I’ve been working with developers and clients that are interested in those places. You have to work with them to find a way to take what you had, from context to budget. How can you take an inexpensive or common thing and make it into something uncommon and give it a voice — let it be beautiful as opposed to being considered an unfortunate necessity? That’s how a lot of the work we do evolves.

On starting his own firm
That was another thing that was out of necessity. Speaking to this idea of improvisation or resourcefulness- the economy had collapsed. I had gone back to school; I was tired of working for other people. It wasn’t exactly how I would do things, and I didn’t feel a lot of architects were willing to do the things I wanted to. I went back to school, retooled, and thought about some of these ideas I had. In the process I actually did a development project, where I was the developer, the designer, and the builder. I started being able to express some of these concepts in the work. But when I came out of school after getting the degree, there was nothing. There were no jobs. It was a desert for architecture. So I just taught because I had a Master’s. I started teaching at Berkeley and at the Academy of Arts. I continued some of these ideas in the courses that I was running and then started to express them in the built projects that I was doing. It just took off from there. The economy has rebounded and it seems to all be going very well. The work has evolved out of those initial ideas. I started the firm because there was nothing else.

On how his approach has evolved
Some architects choose to look at evolution as striving toward greater ‘consistency’ and some architects choose to see it as a process of change. I’m more interested in the latter. We’re always trying to adapt the design process and language to the given problem. The office is collaborative, and people are always bringing ideas to the table. I try to be as open to those ideas as possible. I think it’s inappropriate when the same design is used repeatedly. There are architects out there that are doing that — Gehry is the obvious one. They have a signature and they do it if they’re in Dubai, New York, or Minneapolis. Alternatively, it is possible to take a process and apply it. You have a process that looks to context and looks to function. It’s a time-worn thing but it’s gotten lost because people are looking at everything outside of architecture that they can find.You can look to elements that simply inform architecture and it suddenly becomes a very radical thing again. There are other architects who are more famous out there doing this now, like Big or OMA. They have a process that is very based in analysis and research and looking at program, looking at context and letting all those things come together to form the architecture. There’s this idea that it designs itself. That’s where we evolve constantly because every project- at least in its best state- is a new opportunity to develop a form, space and language that is unique. Every project is a new opportunity.

On recent projects that represent his unique approach
We have an apartment building in Oakland where we are taking an old warehouse and repurposing it into both parking for the building and loft space. We’re taking a piece of that building down and building up a new structure that’s interacting with the existing one. We’re taking an existing condition and using it to inform the new design, we’re finding a way to connect those things. It speaks to a lot of what we do, we adapt.

We also do a large number of mini-lot subdivisions in and around West Oakland. This often results in an increase in density, which is one of the more sustainable urban strategies you can implement. Oakland allows you to subdivide and make smaller than typical lots as long as your overall project conforms to code. While increasing density, we also maintain livability. We take the initial mass, and clean them and cut them, pushing and pulling the as a response to immediate contextual conditions. We deal with issues of privacy and light and air — it’s functionality of space. Each move is a response to all those aspects of the given project. That deals with the adaptability idea.

The office was founded on these little conceptual robotic projects that were basically not only about that response to the site, but they were about how the site changes over time. The architecture responds to those changes. In one case, I developed a machine that clips itself to the side of the highway and moves along, unfolding itself into various sites. Program would grow out of what was available in that existing space. In one case study, what emerged was a truck stop, because the mapping process showed there were a lot of trucks and truck traffic and we wanted to make incremental improvements with respect to emissions. We thought we’d put a biofuel station and a center where they could learn how to run their trucks more efficiently. Other programs emerged out of it as well — a library, a grocery a skatepark, all emerged from the site.

On his design toolkit
We are interested in building on various levels, and I am excited by theidea that design, documentation and construction be more tightly bound. We have used BIM from our inception. BIM is a great tool because you can use it as you design to understand the things 3-dimensionally and how it will be built and how it will be documented. There’s no gap between design work and your model. There are criticisms of that and there are some issues that often times it’s working with very conventional considerations of how to draw a window. In many ways that’s the stuff we have to work with in the field, so it gives us an opportunity to take those conventions and see if we can’t turn them on their head in some way. It forces us to do that.

We rely a lot on the software because it gives you the opportunity to visualize these things as you’re doing them- with interior spaces that you can get inside of, which is challenging to do with physical models. And you can move through them. We’re starting to use VR technologies now, so we’ve managed to transfer some of our computer knowledge into VR models, so they can download it to a headset and you can use that to basically be standing in the space. However, even with advances in technology, we still sketch by hand and work with physical models. There is no substitute for that.

On the future of the firm in the next 5–10 years
Our impact is increasing; we’re having a greater influence on the neighborhoods that we’re in now. And we are expanding to other places. We certainly have larger project in terms of footage and dollar amounts, but I would say that our interest is in valuing projects on multiple levels, not just in terms of size or dollars, but in terms of our own values. We want to analyze new solutions that are unique to each problem — doing even more analysis, looking at deeper structures. A lot of what people refer to and look for the context say, ‘we don’t want this thing in our neighborhood because it doesn’t look like the building next to it.’ They’re thinking on a very superficial level about what context means. Context is many things that you cannot see and a character that maybe you can see it takes a longer and more extensive look. You have to walk further down the block. You have to go to the library or go look at old maps and understand the history of that place. You have to look to infrastructural or organizational issues that exist. Where do transit lines run through? What’s the history of that transit line? We have tools that can measure pollution levels, light levels and noise levels — all these things that are essentially invisible. My hope would be that we have more and more opportunity to expand our research and do extended analysis that will let the architecture develop out of a comprehensive understanding of a place.

On the future of architecture in the next 5–10 years
In the last few decades architecture lost a lot of ground in the area of construction. You saw lawsuits happening in the 70s which caused architects to give up some of the ownership of the construction process because they wanted less liability. Construction management companies took scope from architects. We’re taking on more of the builder role and also taking on the responsibility but the control of that. That affects the design. More recently, you’ve seen architects regain some of that control through CNC manufacturing and design-build processes. We’re very engaged in that. We are actively involved in construction, even all the way to taking on the developer role.

On the other side, change is coming from technologies that are evolving — even your little app like Instagram or YouTube or an iPhone. It allows people to generate their own artistic content. There’s a certain degree of danger in that, there are assumptions that get made, preconceptions that are perpetuated. Also in that process, everybody has a voice. The trouble is that when one person thinks that they’ve got all the answers and that they’re basically trying to wipe out everything else. We work in so many neighborhoods and with many neighborhood groups. My feeling is that you should allow for diversity of ideas, varied thoughts on what that city should be or what architecture should be. We have a lot of people who are looking for homogeneity and what I hope we continue to see is diversity in cities. There isn’t one over-arching voice that says ‘the city has to be this way’ and tries to level it. We’ll continue to see a range of ideas about what that city should be like- a diversity of ideas.

On advice he would give his younger self
Invest in Microsoft. (laughs) Hang in there- the profession is very slow moving. It’s hard to recognize that when you’re younger and you’re always in a hurry. You have to have some patience both for yourself-to let yourself evolve- and for the profession- to let the profession evolve. Sit back and look for the opportunities. I would say you just have to sit back and wait for the opportunity and steer your course. Your time is so valuable. It’s the most valuable resource you have. When you see an opportunity that really fits with what you’re hoping to do, take it. When you see one that looks like an opportunity where you’re making too much sacrifice to your goals, then let it go. I still have trouble following this advice even now because your risk aversion instincts kick in or whatever it might be. In any case, you make a choice about where to go and eventually you’ll be there. Choose wisely.

Design Manifestos: Jason Steiner of Mithun

Blending artistic vision with analytic expertise, Jason Steiner leads Mithun’svisual design team at the Seattle, Washington office and integrates digital modeling, performance analysis and visualization into the design process. With advanced degrees in environmental design and architecture, Jason assists clients in visually understanding and articulating their goals through the medium of graphic communication and employing technology such as Building Information Modeling (BIM). Modelo recently connected with Jason and learned about his digital design process and his inspirations for past, present and future designs.

On becoming an architect
I do not recall the exact moment in time when I realized I wanted to be an architect. I don’t recall having an abundance of Legos as a child, so that’s likely not the reason. My parents were not architects. I did not know any architects. My earliest career aspirations, at least those that I remember, included being a truck driver, carpenter or lawyer. In that order.

However, for as long as long as I can remember, I have had a sustained interest in building construction, solving complex problems, making things and drawing. These combined interests ultimately led me towards architecture as my choice of profession.

On discovering his voice as a designer
During my second year of college I was part of the first cohort required to take a computer graphics course. This was an initial pilot program intended to eventually fully integrate design technology into the academic curriculum. I was hooked and perhaps even obsessed. I was absolutely energized by my new ability to model and realistically visualize any space or form I could imagine. I could explore design ideas without limitation. This free exploration provided me with the ultimate facility; the mouse became my pencil and the screen my canvas. I am a minimalist and in practice employ an elemental, modern approach to design. I believe that great design emerges from simple meaningful concepts. Every design element has purpose, is intentional and essential. I truly believe that the digital tools I was exposed to early in my academic career were the single most influential part of discovering my voice as a designer.

On the evolution of his role at Mithun
I joined Mithun initially for a six month internship while I was completing my last year of undergraduate studies. I became aware of Mithun after I had seen Bert Gregory, then Mithun’s CEO and the current Chairman, give a presentation on the recently (at the time) completed REI Seattle Flagship Store project. The firm’s deep commitment to sustainability, integrated design and beautiful architecture resonated with me. After my internship, I went back for graduate school, then upon completing school, took a week off and returned to Mithun. That was nearly 15 years and hundreds of projects ago!

My approach to architecture has certainly evolved since joining Mithun. I listen more (and talk less). I fully appreciate the responsibility of design with a purpose, for positive change. I have a more inclusive approach towards design and completely embrace the complex collaborative process.

On principles Mithun strives to adhere to
At Mithun, the overarching principle we strive to adhere to is, “Design for Positive Change.” We are a design firm, and our design has purpose — to create positive change in people’s lives. I find the simplicity and ambition of this principle to have a profound impact on our work and approach.

On his role at Mithun
At Mithun, as a Partner and the Director of Digital Design I lead the firm-wide integration of design technology into the design process, help guide Mithun R+D and also work as a designer mainly on conceptual design for a variety of projects and project types. I am also responsible for much of our recruiting efforts of recent graduates and summer interns. I am fortunate, as I am allowed to focus on two things I am passionate about; design and technology.

I work to provide designers across all disciplines with the best technology available to produce meaningful and beautiful work. I am particularly interested in crafting the design process to take full advantage of the opportunities created by emerging and existing technologies. I believe that design technology should be integrated in a manner that enables an intelligent process and fluid design EXPLORATION as opposed to design EXPLANATION. Providing designers and project teams with tools enabling rapid design exploration enables our teams to work efficiently, make better decisions and communicate with clients and stakeholders in a visually understandable way. Our project teams and clients also have fun incorporating new tools and methods of working!

On recent projects that represent Mithun’s unique approach
I do feel that Mithun has a unique approach to design. Every process begins with listening. We design experiences, not objects and we believe each design is different, because each client and each site is different. We are inspired by urban and natural systems and beauty grows from richly integrated solutions.

Our work is inspired and formed by; 1. an alert sense for the needs and experience of the user, 2. a culture of constant curiosity and discovery, 3. a spirit of optimism and promise, 4. an abiding responsibility to our clients, community and environment, and 5. the patterns of nature, the vision of an organization and the soul of a city.

We focus our efforts where we can make the greatest impact on people’s lives; where they live, work and learn.

A few recent projects that stand out as representatives to this approach are The Sustainability Treehouse and Weyerhaeuser Headquarters at 200 Occidental. For The Sustainability Treehouse, the building form emerges entirely from the experience. Dynamic educational spaces designed for exploration of the site and ecosystem at the ground, tree canopy and sky are elevated within the towering corten steel frame. The experience captures the wonder of childhood exploration, placing environmental education at the forefront of meaningful experiences for thousands of annual visitors to take home, positively changed. With Weyerhaeuser Headquarters at 200 Occidental, our design approach intentionally honors the neighborhood’s existing architecture while enhancing the contextual character with a modern, deep green interpretation. This design response would only be appropriate for this project, on this site, for this client. The Novelty Hill Januik Winery is another example of beauty growing from richly integrated solutions as landscape and interior space work in harmony to elevate the human experience.

On his design toolkit
3D modeling plays an important role in our process. We made an intentional, and at the time challenging, decision about eight years ago to transition all projects and disciplines to a BIM workflow, specifically Revit. We had done a few projects using Revit and understood the enormous potential for a more intelligent process. At the time, we were typically building 3D models for all projects in Sketchup, AutoCAD and / or 3ds Max concurrently with the production of 2D construction documents in AutoCAD. The parallel processes were highly inefficient and not aligned with a real-time decision making process. The use of BIM allowed for all designers to collaboratively share in the creation and exploration of a 3D model, and concurrently produce the construction documents. Today, we categorize and focus our 3D modeling software / processes into three primary categories; BIM, analysis and visualization.

For the development of the BIM, nearly all of our staff is highly proficient in the use of Revit as both a design and documentation tool. Architects, landscape architects and interior designers all work within Revit, collaborating on the BIM in real-time, beginning in the conceptual phase of design. Regarding initial form generation and massing we use a variety of tools, most notably Revit, Dynamo, Sketchup and 3ds Max. For example, The Sustainability Treehouse Revit model was started on day one of design, as we were participating in a two-week design charrette with the entire project team (client, consultants, contractor) in West Virginia. This allowed us to immediately visualize and begin to communicate and study a complex structure and site. As much as possible, everything we do is linked together in a dynamic way, regardless of the program it was constructed with. We also still use pens, trace and cardboard!

For analysis, we have implemented Sefaira into the conceptual and schematic design process to help us understand the relative effectiveness of our decisions and use as a comparative analysis tool. We use the data from Sefaira to help us understand the relative performance of our design options and make more informed decisions as we move towards a design solution. One primary benefit of Sefaira is the ability to dynamically link the Sefaira “model” to our Revit design model and see the updated analysis in real-time.

For visualization, we primarily use 3ds Max / VRay and Lumion. We began using Lumion upon the initial release and have since integrated it fully into our digital design process and trained almost all designers at Mithun. The WYSIWYG (what you see is what you get) approach is an important part of our process as it allows the design team to focus their efforts almost exclusively on the development of design. This allows for a more efficient allocation of our resources towards the design effort, and ultimately we can do better work. We believe in the benefit of a real-time collaborative design process with our clients and project teams, and Lumion enables this in a significant way. We aim to present “live” in real-time whenever possible. For Weyerhaeuser Headquarters at 200 Occidental, real-time use of the Lumion model was used extensively and at times exclusively throughout the City review process. We also employ Virtual Reality (VR), currently using the Samsung GearVR combined with both 3ds Max / VRay and Lumion. Experiencing design from the human perspective is an invaluable tool in making more informed decisions. We are in the process of implementing full VR into our process.

On the state of design software today
I am optimistic about the state of design software today, as it is generally developing rapidly. We currently use a lot of different software, each with a specific purpose within our design process. The current challenge is interoperability and the relative inefficiency of distinct workflows and processes, especially when they lack connectedness. I am most encouraged by the rapid advancement of virtual and augmented reality platforms, positioned to radically disrupt the design process in the near future. The “holy grail”, of course, would be to dissolve our three categories into one where we would be able to simultaneously connect the BIM, analysis and visualization, in real-time.

On the future of architecture in the next 5–10 years
Projects will continue to increase in complexity and necessitate even greater levels of collaboration and intentional inter-connectedness across disciplines and expertise. We will continue to build upon our understanding and research into the connections between the built environment and human health. From a design technology perspective, augmented and virtual reality will transform not only how we share our work, but HOW we work. BIM will continue to evolve towards a fully integrated and coordinated design + construction + FM model. Also, BIM will be as much of a documentation platform as it is a social platform. Project teams will collaborate in a real-time virtual world. For the next generation of designers, the ability to write code and participate in a virtual process for extended periods of time may likely be equally as important as the ability to draw.

On the future of Mithun in the next 5–10 years
We are committed to design’s ability to anticipate and address the challenges of the future.

Mithun will continue to embrace the integration of technology into the design process, helping us effectively address these challenges. We will actively recruit a next generation of designers, eager to participate in a design process much different than what we would recognize today. We will need to remain nimble and continually willing to redefine our process, expectations and roles.

On advice he would give his younger self
Looking back, I have invested an enormous amount of my life and career into design technology and architecture. Working on projects like the Sustainability Treehouse, where I have seen the real positive change in people’s everyday lives, is extremely satisfying and humbling. The effectiveness of our real-time model during the conceptual design phase generated much of the momentum and excitement that was instrumental in the project being realized. Our ability to do that real-time work as a part of the design process was built upon years of development, passion and commitment to doing meaningful work. I would simply tell myself two things. It’s worth it. Because, it matters.

Design Manifestos: Richard Riveire of Rottet Studio

Richard Riveire is a design professional with more than 30 years of experience shaping modern hospitality and corporate interior environments. With long-time partner Lauren Rottet, he has built one of the most respected interior architecture firms in the world. As Principal, Richard leads the West Coast and Asia practices of Rottet Studio. He approaches projects with a deep understanding of the process of creating workplace and hospitality environments that visually reflect the culture and brand of the client. He has been responsible for a number of high profile projects including the headquarters for United Talent Agency and two new Presidential Bungalows at the iconic Beverly Hills Hotel. Modelo spent some time talking with Richard and learning about his role at Rottet Studio and about his predictions for the future of the industry.

On becoming an architect and design professional
My father was in construction so I was exposed to building at a very young age. Seeing the contractor’s profession up close as a child I was always intrigued by the creation of new spaces. As I got older that fascination got deeper as I also began to see how design allowed for the expression of creativity through your work. Amusement parks were one of my early obsessions; immersing myself in an entire world, created entirely through design, was endlessly interesting.

On discovering his voice as an architectural designer
I think a lot of finding my own voice early on came from studying some of my favorites from early 20th century architectural history: certainly the complete approach to design that came out of the Beaux Arts: Pierre Chareau and his integration of art and craft with the new industrial capabilities all the way through to Andrée Putman who refined that concept to it’s ultimate expression. Travel and exposure to the world has been a huge personal influence on my work. Looking at how architecture is made and spaces evolve in widely separated parts of the world is fascinating, so much is the same while expressions are infinitely varied. Especially interesting is the treatment of materials, I love the honest approach to woodworking in Southeast Asia as an example and the use of stone throughout India.

On joining Rottet Studio
Lauren and I have worked together since college. I owe a lot of where my career has developed to Lauren and her clean and beautiful vision of the world. She is an aspirational mentor, setting ideals and philosophy without restrictions of style; that is an amazing achievement. Into my third decade of work, I like to think that I have matured in execution, but kept my late modernist roots.

On specific principles he strives to adhere to
We tend to want to understand the very heart of the problem and start the design from there. This is extraordinarily difficult, often clients can’t express who they are architecturally they don’t have the language. Or, they don’t see architecture’s ability to affect their business goals. You have to listen carefully to what they are NOT saying and find the real problem. From a stylistic point of view, I am a firm believer in clean and clear simple solutions to the problem. Nothing dooms a design more than arbitrary, unrelated elements. This starts with planning, almost always, highly reductive, simple and organized planning is going to ultimately lead to the strongest design. Ditto for wall treatments, furnishings, etc. But at the end of the day, I always leave room for the surprise element, the unexpected. I like humor in architecture, we tend to take ourselves very seriously.

On his role at Rottet Studio
I focus on leading the design and marketing efforts for the Los Angeles office of Rottet Studio. What that really means is guiding and mentoring a large staff. We are fortunate to have a staff that has been with us for a long time and it is very gratifying to see them grow and mature in their individual talents. I hope that I am able to help them see where they can go.

On recent projects that represent the firm’s unique approach 
Some of the recent projects that stand out for me are the offices for United Talent Agency in Beverly Hills, the renovation of the Team Disney Building at The Walt Disney Studios lot in Burbank and the design of the interiors for the new ocean cruise ships for Viking Cruises. These are three very different projects yet reflect things that we have been thinking about: all rely on seemingly simple solutions and “modern” design, but for wildly different audiences.

UTA is one of the largest talent agencies in world and the Team Disney building is the headquarters for The Walt Disney Company. UTA is a new build project in an older building in Beverly Hills, while the Team Disney building is a (substantial) renovation of the Michael Graves designed building on the lot in Burbank. UTA required a space that reflected all of the power and prestige of a firm that negotiates as a fundamental part of their work, while the Disney space was designed specifically as offices for their live action film group and worldwide marketing teams. In short, true corporate space versus creative office space. Communication and openness is the key to both. UTA needed to build a common culture in a rapidly expanding firm. Agents needed to see and talk to each other and to understand and be a part of the common ethos of the firm. The planning of the firm emphasized clear “salons” (to bring down the large scale of the space), but every space connected to common galleries and a large interconnecting stair. The Disney space was classic, neo-classical/post-modern Michael Graves space: a sequence of rooms and vestibules throughout, and a lot of closed offices with workstations crammed in the interior. Our solution there was to open the space up completely to a modern interior, but to retain “fragments” of Graves detailing a la a modern loft apartment in a pre-war building in Manhattan. The openness and clarity in both cases made the spaces seem larger as everyone has access to natural light, and the detailing and choices of materials created the image appropriate to each.

Image was incredibly important to UTA in particular. Talent Agencies in the “new” Hollywood not only represent actors, directors, writers, etc., but also play a large role in pulling together the right scripts, casts and directors into a project that can get financing. Very corporate, very high end and all about projecting power. On the other hand, it is also an entertainment business where creativity is prized. We took cues from our hospitality practice to also make it “talent friendly” — furnishings and rugs are almost residential in character while the architecture is fairly pure and minimal. Layered over everything was their spectacular art collection, providing an ambience that is comfortable to a wide variety of audiences.

Viking Cruises is the client that many architects dream about: A new and rapidly expanding organization looking for an appropriate image. We have worked on several projects, starting with their “Longships,” river cruise ships that sail waterways throughout Europe. These ships allowed us time to start thinking about Viking’s fundamental visual character. The ocean ships project is a full realization of that work. A clean slate to begin with, no new ocean cruise lines have been developed in the last 25 years and the existing firms all have established identities, For Viking to be successful, they needed to provide not only a product that appeals in terms itineraries, service, food, etc. but a new “look” as well. Something that distinguished them from the “old way of cruising.”

From a design standpoint, this is not a typical hotel project; these ships will travel throughout the world, there is no “place” to take visual cues. The views out your window may be Venice, Italy one day and the hill towns of Montenegro the next. The interior design had to have its own character both strong enough to represent Viking as a new player and yet respectful of some of the most iconic places on Earth. We took cues from the Norwegian ownership of the line and looked to modern Scandinavia, the original homelands of the Vikings for culture and attitude. While strictly speaking not “Scandinavian Modern,” the design and image reflect the modernist sensibilities of Scandinavia coupled with the warmth and craft of early Norway. As with the previous projects, the fundamental approach of simple design, clear planning and careful execution of a tailored image are key.

It has proven to be a wildly successful concept. The press has been enthusiastic with major awards and bookings are relatively sold out for the first several years of operation. The line has launched three new cruise ships, under construction with a fourth and has committed to as many as four more.

On his design toolkit
I really like to use SketchUp. It is a quick and easy way to design in 3D. Fundamentally, we have an architectural approach to design, thinking carefully about the sequencing and proportions of spaces, not just decorating walls, and a modeling program is a great too for that. I also still like to draw by hand, I think that tracing through the design on a sheet of paper, drawing over and over a plan or elevation gives you time to think through what you are doing and why you are doing it.

On the state of design software today
I’m excited that more and more applications are coming available on the iPad. Working on mobile devices is something I’m sure we’ll all be doing a lot more of in the years to come. The ability to sketch and communicate that image immediately from a plane or the fjords of Norway is exciting. What I would like to see is a greater ability to collaborate over a design. How can we make it convenient and practical for several people to digitally model a space all at the same time?

On the future of architecture in the next 5–10 years
There has been a growing trend towards true Modernism and away from sentimentality and historicism which is really exciting for me.

Firms will have to become more multi-disciplinary and multi-project oriented. Design is design and specializing in one particular area over another seems to be going by the wayside. We have deliberately focused on corporate work, hospitality work and residential work; three areas of practice that have traditionally come from firms dedicated to a single area. As well, we have ventured into marine work and gaming, both also fairly singular in their markets. This gives us a stronger position as a business, but strengthens your design skills as well. We are never bored!

On the future of the firm in 5–10 years
I feel that Rottet Studio has been embracing these changes looking for connections between previously disconnected practices and finding new and inspiring intersections to explore.

On advice he would give himself
Look at more stuff faster. Travel more. See the world and look at things that are not your core interest, you can learn a lot about architecture looking at the old spice markets in Bangkok.