Podcasts about archdaily

Summary Rob Meyerson and William McKee lead the architectural practice, Common Office, in Sydney, Australia. Their work has been featured in Archdaily, Vogue, and the Sydney Morning Herald. Common Office was founded on an interest in interiors, buildings, urbanism and territory. Emerging out of a body of work that ranges between the domestic and large scale urban design proposals, the office is committed to making buildings, design research and speculative work. The conversation delves into the opportunities for architectural design in development in Australia and Europe, while also addressing the challenges facing the implementation project. As Rob puts it, the office is highly interesting in “making city”, and the discussion highlights ways in which young architectural practices can contribute to collective urbanism. Keywords architecture, development, design, project management, challenges, Australia, Europe, building process, consultants, cities, urbanism, Sydney Chapters 00:00 Intro 00:45 The Landscape of Architecture in Australia 08:39 Challenges and Opportunities in Residential Architecture 14:21 Community Engagement and Planning Processes 20:30 Navigating Design Limitations 22:30 The Challenges of Project Management 30:38 Balancing Practice and Business 36:25 The Intersection of Design and Business 43:42 Speculative Work and Its Value 47:29 The Importance of Housing in Urban Development 49:37 Contextual Architecture: A Case Study 50:50 The Importance of Communication in Architecture 53:12 Reviving the Art of Physical Model Making 56:14 Future Directions for Common Office 01:00:12 Affordable Housing: Challenges and Opportunities 01:06:09 The Architect's Role in Housing Affordability 01:10:34 Ethics and Aesthetics in Modern Architecture 01:15:36 The Genesis of Common Office Links for Common Office https://common-office.com/ https://www.instagram.com/common_office_design/ https://www.linkedin.com/company/common-office/

Envie-nos uma mensagem!Prepare-se para uma verdadeira aula de arquitetura visionária! No episódio de hoje do Feito Para Construir, recebo ninguém menos que André Camelo, fundador do premiado ateliê CREA no Porto. Se achas que já conheces tudo sobre reabilitação urbana e sustentabilidade, este episódio vai desafiar todas as tuas noções!André partilha a sua fascinante trajetória, desde os primeiros dias a estudar na **Universidade do Porto** e no **Politécnico de Milão**, até ao reconhecimento com o **Prémio Nacional de Reabilitação Urbana**. A sua obra-prima, a **Casa Heróis de África**, foi escolhida pelo **ArchDaily** como uma das 100 melhores casas de 2018!✨ Mas espera, tem mais! ✨André fala-nos sobre como a sua infância, passada entre o Porto e Boçó, influenciou o seu olhar sobre a **natureza** e a **reabilitação urbana**, e como isso moldou o seu compromisso com a sustentabilidade. O uso de materiais inovadores como **microcimento** foi um verdadeiro desafio, mas ele não recuou e, claro, tornou-se numa referência em soluções construtivas eficientes!Se és curioso sobre o futuro da arquitetura, a relação entre **inovação** e **tradição**, e como repensar a nossa ligação com o meio ambiente pode mudar o mundo, este episódio é obrigatório. E, para os criativos, vais adorar ouvir como a **música** e a produção cultural contemporânea inspiram André no seu dia a dia.Este episódio vai fazer-te querer transformar o mundo à tua volta. Estás pronto?Segue Sérgio Vasconcelos, fundador da Microcrete nas redes Sociais: FB | Linkedin | TikTok | Site

Jon chats with Brian McCartney, CEO of ArchMark Branding and Marketing for Architects. Bryon, who has founded five successful creative service firms, shares strategies for transforming architectural practices into creative powerhouses. They discuss the importance of strategic planning, the misconception about sales in architecture, and the benefits of community involvement for solo architects. Bryon also shares his personal and professional experiences, including his passion for photography and his journey in the business world.Today's Guest...Bryon McCartney is CEO at Archmark (* pronounced Ark-Mark) Branding and Marketing for Architects and a certified coach through Donald Miller's Business Made Simple program. Bryon has helped 3,000+ architects increase their firm's visibility and influence so they can win better projects. Bryon has travelled around the world and calls himself an ”Archi-Geek.” He has been featured on ArchDaily, ArchiBiz, Business of Architecture, Entrearchitect, Zweig Group, and many others.Episode Highlights...00:00 Introduction01:50 Brian McCartney's Journey into Photography04:35 Founding and Managing Creative Firms10:05 Approaching New Ideas and Opportunities17:25 Sales Strategies for Architects22:50 The Importance of Strategic Planning26:51 Client Success Stories27:24 The Importance of Strategic Planning28:01 Writing Effective Business Plans29:21 Building Trust with Clients29:51 Common Mistakes in Proposal Processes32:14 Revamping the Sales Process36:46 The Value of Community for Architects39:55 Final Thoughts and Takeaways43:08 Favorite Travel Destinations45:27 Connecting on Social Media46:56 Closing RemarksKey Takeaways...Importance of Trust in Client Relationships: Instead of sending proposals and hoping for a response, it's more effective to engage in a process that involves multiple interactions to build a rapport and understanding.Sales as Solutions: Architects should shift their perspective on sales. Instead of viewing it as a sleazy necessity, they should see it as an opportunity to provide solutions to clients' problems. Effective sales strategies focus on the clients' needs and how the service can meet those needs, rather than just the design aspect.Strategic Planning: Running a business without a plan leads to reactive management. Strategic planning helps set clear goals and benchmarks, giving a business purpose and direction. This process should be simple, systematic, and regularly revisited for continued success.Methodical Approach to Opportunities: Adopt a careful approach when considering new ideas or trends. Use the framework of Decide, Act, Learn, and Repeat to ensure that opportunities are thoroughly evaluated, implemented correctly, and adjusted based on outcomes.Community and Support: Being part of a community provides invaluable support. It offers a wealth of shared knowledge and resources that can help solve problems and foster a sense of belonging, particularly important for solo architects or small firms.Clarity and Communication: Ensure that all client-facing materials – from websites to proposals – clearly communicate how your work solves clients' problems. This clarity builds trust and facilitates better client relationships.Lifecycle of Client Interaction: From project inquiries to retention, understanding and optimizing each stage of the client's journey is essential for sustained business success. This includes ensuring client satisfaction to encourage repeat business and referrals.Learning from Other Fields: Gaining insights from fields outside of architecture can offer new...

Thursday, September 20, 2022, 12 noon WPKN 89.5 FM www.wpkn.org Host: Duo Dickinson What is “Good Architecture?” Morally? Ethically? Aesthetic? Every person has a sense of “Good” – in life and its outcomes – and architecture synthesizes humanity's values – both universal and fully idiosyncratic. ArchDaily is the preeminent architectural website, with 3 million visits a week, often 1 million in a day: They ask me to write once a month for them on their monthly Site Topic: This week's topic is What Makes Architectural Beauty?” Here is my piece out THIS MORNING: https://www.archdaily.com/989288/is-good-architecture-synonymous-with-beauty For fifty years architect and scientist Christopher Alexander spent his life defining what is “Good Architecture.” He wrote that “Good Architecture” has an essential truth: “The quality is objective and precise but cannot be named.” His (and many others) pursuit of “Wholeness” in architecture was fully “objective and precise” but in the end came to have the result of “Beauty” without any other definition. When lifetimes are spent in architecture to an end that “cannot be named”, the acceptance of the fact that we cannot define, let alone control “Beauty” is daunting. Leonardo da Vinci offered a prescription that defies any control by the creator: “Life is pretty simple. You do some stuff. Most Fails. Some works. You do more of what works.” Beyond building, what works to make architecture, is “Beauty.” Humanity wants to define and control and reproduce success – but if success in making “Good Architecture” is facilitating the uncontrollable responses that are manifest in our genetics, then “Beauty” is out of our control. The exquisitely subjective reality of our humanity has a universality of truth in architecture. I think finding what is already there within each of us and listening to that essential reality, “without a name”, is the hardest and most natural way to define “Good Architecture. The measure of “Good Architecture” is found in every human, much to the frustration of those who seek to validate their worth in judgments born of rationalization. As the writer Henry James said, “I don't care anything about reasons, but I know what I like.” A group of people join HOME PAGE – architects, real estate brokers, editors – to give their life-long realizations on what they find to be “Good” in architecture. Architects Turner Brooks,Steve Mouzon, Clay Chapman, Realtor Leigh Whiteman, Editor Martin Pedersen, Architecture Dean Jim Fuller, Builder Keith Knickerbocker give us their thoughts! JOIN US!

Waarin Berry en Jeroen dachten een korte tussenuitzending te gaan maken, er voorlopig wel weer genoeg reclame is gemaakt voor de Lighting Design Academy, een handvol nieuwe lichtmerken passeren, bureaus starten en bureaus sluiten, Duitse dankbaarheid wordt aanvaard en daglicht definitief Jeroen's nieuwe liefde is geworden. +++ Aflevering 25 LIVE vanuit de Starsound Studio in Utrecht op woensdag 26 juni. Registreer je voor gratis toegang, vermaak en consumpties via Eventbrite: https://www.eventbrite.nl/e/845807762787 +++ shownotes: De deelnemers van DesignDistrict op een rijtje: https://designdistrict.nl/deelnemer/ Spatwaterdicht Chinees maandmenu van Mifi River Company. Oordeel zelf: https://youtu.be/4frHtiMiYC0?si=adg7pjulxmZJmFNO  “Light as a statement” in ArchDaily: https://www.archdaily.com/975929/light-as-a-design-statement-inspiring-ways-to-manage-natural-lighting 

Martin Gaufryau is a young French architect at the start of his career. In his presentation of himself in this issue of Com d'Archi, he seems to leave nothing to chance in his apprehension of his own future, but also on a wider scale in his role as an architect able to care for the present and futur world. In the image of the Hidden fault project he designed with Quentin Barthe and Tom Patenotte: we must never stop creating links to ward off faults and build the future.The hidden fault project ,« Faille Cachée » in French, selected by Archdaily, is the result of a competition organised by the French town of Bourg-Saint-Maurice, asking to design an architectural feature which would symbolise the entrance of the park, and would try to bridge two distinct landscapes...Image teaser : Hidden Fault, entrance to Parc des Marais project © Clément Molinier___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Met vakantiebijdragen uit Indonesië, Australië en Blokzijl gieren Berry en Jeroen door de afgelopen weken. Een drukke stoelendans, en megasupersaai kantoorproject in Zwitserland, een gouden award voor een houten lampie en een designmerk dat een innovatief retail concept introduceert (not). links & rechts: Supermegasaai kantoor: https://youtu.be/alCu1mMe34E?si=y5_T0gqkgXQwj4hF Artikel op Archdaily: https://www.archdaily.com/962518/let-there-be-light-13-projects-that-show-the-impact-lighting-can-make-to-an-interior-space Roestige spijker (oordeel zelf): https://www.davidegroppi.com/en/products/hazard-p6912

In French in this CDA S3#66 (monday online), “Architecture, support for a change of life”, an interview of Nicolas Laisné architect. In English in CDA S3#67 (wednesday online), “Co-living in Huningue, France” by Nicolas Laisné architect. En français dans le CDA S3#66 (lundi en ligne), " L'architecture, support d'un changement de vie ", une interview de Nicolas Laisné architecte. En anglais dans CDA S3#67 (mercredi en ligne), “Co-living à Huningue, France ” par Nicolas Laisné, architecte.___Nicolas Laisné s'est formé au contact de plusieurs cultures et des plus grands : l'Inde avec Raj Rewal, les Etats-Unis chez Steven Holl, et l'Europe auprès de Jean Nouvel. Il fonde son agence Nicolas Laisné Architectes en 2005. Depuis, avec son équipe basée à Paris, il développe des projets d'urbanisme, d'architecture et de design d'intérieur, de la conception à l'exécution et au suivi de chantier. Il travaille aussi bien pour les collectivités publiques que les acteurs privés et les particuliers, en France comme à l'international. Sa vision décloisonnée de l'architecture le conduit à collaborer avec des philosophes, agronomes, botanistes, artistes ou encore des data scientists. Il constitue une nouvelle équipe transdisciplinaire pour chaque projet. Ses dernières réalisations témoignent de sa volonté d'ouvrir l'architecture, pour qu'elle donne plus d'espace à tous, y compris à la nature, dans des villes toujours plus denses. Dans ce numéro de Com d'Archi, Nicolas Laisné revient sur son parcours, parle de ses projets comme celui de l'Arbre Blanc (Nicolas Laisné Architectes, Sou Fujimoto Architects, OXO Architectes, DREAM), l'une de ses réalisations les plus emblématiques (2019) qualifiée de plus bel immeuble au monde en 2020 par ArchDaily, où il s'est imprégné des cultures japonaise et méditerranéenne. Ici pour sujet, un architecte français de renom et ses projets connus à travers le monde entier, pour une interview 100% inédite ! Portrait DR Nicolas Laisné Architectes _ © Ola RindalIngénierie son : Julien Rebours____ Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Our guest today is David Coleman, of David Coleman Architects. David was named one of the 100 foremost residential architects in the world by Architectural Digest Magazine. He is a member of the American Institute of Architects distinguished College of Fellows, his work is highly published, and he has received numerous design awards. He describes the way he and his team work this way; “We believe that a well-designed home sets the scene for a better life. We design our client's homes in a way that instills warmth, joy, connection to the outdoors, and a sense of belonging. Our holistic approach merges architecture, interiors and landscapes. David will walk us through a few of the homes he's designed, describing how we crafted them. Although great design must take the lead in the creation of a custom home, David helps us to see that energy systems like geo-thermal, radiant flooring, solar panels and heat recovery ventilation can be almost invisibly built into a custom home making your dream home, not just a custom home, but a high-performance custom home. You can learn more about his work at his website; DavidColeman.com. His phone number is 206.443.5626 or you can reach him via email at dc@davidcoleman.com. Guest: David Coleman, FAIA Bio: David has over 40 years of experience in the field of architecture and has completed buildings and projects in eight states. Early in his career, David worked in the office of AIA Gold Medalist Michael Graves. He is a registered architect and NCARB certified for reciprocity in all fifty states. David's work has received numerous design awards and is widely published in books, magazines and on-line, including Architectural Digest, Architectural Record, The New York Times, ArchDaily, Design-Milk and Curbed. In the 1990's he won a prominent commission in the highly acclaimed town of Seaside, Florida. Shortly after he was named one of the 100 foremost residential architects in the world by Architectural Digest. In 2006 he won the Design Achievement Award for Architecture, and in 2011 he was elevated to the American Institute of Architects prestigious College of Fellows for, “significant contributions to architecture and society on a national level”. Most recently he won the Gray Award for Residential Architecture. David has served on an advisory board for the “House as Architecture” program at the University of Washington, where he has lectured, served as guest critic and taught graduate design studio. He has served on a number of advisory boards and committees, including the Solar Association of Vermont, and Allied Arts of Seattle, where he was co-chair of the Urban Environments Committee. While in Vermont he spoke at the Governor's Conference on Design & the Built Environment. An active member of the American Institute of Architects, David has spoken at AIA events, is past co-chair of the AIA Honor Awards for Washington Architecture, and was a founding member of SPARC. Website: davidcolemanarchitects.com Contact: 206.443.5626: dc@davidcoleman.com

Episode 37/2 of A is for Architecture is a conversation with Alan Dickson,  co-founder and director of Rural Design, an acclaimed and innovative architecture practice based on the Isle of Skye, Scotland. Rural Design's work is characterised by a reappropriation of vernacular forms and construction traditions, which is both contemporary and contextually embedded. Have a listen and a look around. Rural Design's website is a good one, and they are on Twitter and Instagram. You can see their work on Dezeen, ArchDaily, in the AJ, and a lot of other places too.  The Rural House scheme we spoke about can be found here. I first met Alan in 2012 when he came to the Glasgow School of Art to give a lecture, which you can watch on Vimeo here. Available on Spotify, iTunes, Google Podcasts and Amazon Music.   Thanks for listening. + + + + + + + + + + + + + + + Music credits: Bruno Gillick + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com Amazon: music.amazon.co.uk

Quantos sanitários acessíveis um prédio precisa ter? Qual o tamanho de um sanitário acessível? Ele precisa ter equipamentos de características especiais? Dê o play para ficar por dentro das principais diretrizes para projetos de sanitários acessíveis. Todo o conteúdo deste episódio é embasado na principal referência sobre acessibilidade, que é a norma NBR 9050. Imagem da capa: Eduardo Souza via Archdaily | https://www.archdaily.cl/cl/923479/como-disenar-banos-seguros-para-adultos-mayores?utm_medium=website&utm_source=archdaily.com.br

BC and Anton discuss the AI-inspired movie, The Creator, Michelle Obama's new beverage company, PLEZI, and the historic, visionary exhibition from architect Lesley Lokko. **Comments from Lesley Lokko were produced by ArchDaily. You can follow ArchDaily on Twitter @ArchDaily, and learn more at www.archdaily.com.

Ray Calabro's work emphasizes the relationship of a building to its surrounding landscape; he believes that architecture is a thoughtful response to the culture and spirit of each place. His buildings embody the common principles of site-responsive architecture, robust forms and innovative use of material. Yet each responds differently to the special nature of client, program and place, qualities that elevate buildings to the realm of sensitive and lastingarchitecture.Educated at Virginia Tech (B. Arch 1994), Ray began his career there as a Lecturer in the College of Architecture and Urban Studies. Since joining Bohlin Cywinski Jackson in 1995, Ray's project experience spans academic, cultural commercial and residential projects in the continental US and Canada. In 2009, he was named a Principal/Owner in the firm.As Principal of Bohlin Cywinski Jackson's Seattle studio, Ray leads a collaborative design process on a diverse range of projects. Some of the projects discussed in this podcast include the award-winning Grand Teton Discovery and Visitor Center in Jackson, Wyoming, the Nu Skin Innovation Center and corporate headquarters in Provo, Utah, Everlane's Abbot Kinney retail store in Venice, California and extraordinary private residences in Jackson, Wyoming; Canmore, Alberta; West Kootenay, British Columbia, and the San Juan Islands in Washington state. His work has been recognized with numerous national and international awards for design, and has been published in Dwell, Architectural Record, ArchDaily, The PLAN and Architectural Digest. He is a curatorial leader within BCJ and has been instrumental in the creation of its celebrated monographs, including its most recent publication Gathering.In 2014, he was elevated to the American Institute of Architects College of Fellows. Hosted on Acast. See acast.com/privacy for more information.

Net terug uit Milaan verhaalt Berry over de Euroluce, probeert Jeroen een unplugged versie van "back in black" te pluggen, tippen we een expositie in Bergen (Nood Holland), liggen Annemieke en Micha gezellig aan het zwembad, blijkt NEON opeens trending, sjanst Rob met onze koningin en leggen we nog één keer uit hoe wij wensen te worden behandeld in het licht van onze sterrenstatus. .. en de beloofde links: Back in Black unplugged - https://www.instagram.com/reel/CnIgO3gBvx3 expositie in museum Kranenburgh - https://www.kranenburgh.nl/tentoonstelling/123/a-touch-of-light Archdaily, 7 trends in interior lighting - https://www.archdaily.com/998415/7-lighting-trends-and-how-they-are-illuminating-todays-interior-spaces Archdaily, 10 typologies of daylighting - https://www.archdaily.com/787734/10-typologies-of-daylighting-from-expressive-dynamic-patterns-to-diffuse-light Archilumo's project in Duitsland - https://darcawards.com/portfolio/bildungscampus-library-germany/

In dieser Episode unseres Podcasts tauchen wir in die Welt der Architektur ein. Wir beginnen mit einem Gespräch über 2FA mit Ravio, bevor wir uns der teuersten Wohnung der Welt widmen. Anschließend diskutieren wir Tiny Houses und die Obdachlosigkeit im reichsten Land der Welt. Danach werfen wir einen Blick auf das beeindruckende Werk des renommierten Architekten Norman Foster, darunter das "Gherkin" in London, der HSBC-Hauptsitz in Hongkong, das Viadukt von Millau in Frankreich, der Reichstag in Berlin und der Apple Park in den USA. Zum Abschluss sprechen wir über Fosters Privatleben und Jugend sowie über seine beeindruckende Autosammlung. Für weitere Informationen über Norman Foster und seine Arbeit: www.fosterandpartners.com. Ein weiterer interessanter Artikel über Foster und seine Architekturphilosophie findet sich auf der Seite von ArchDaily: www.archdaily.com/office/foster-partners. Kapitel: 0:00:08 - 2FA mit Ravio 0:13:41 - Teuerste Wohnung der Welt Die teuerste Wohnung der Welt Bitcoin Rich List 0:18:48 - Tiny Houses Video: Flying Space in Deutschland Video: Luxus Tiny Home im Wald Video: Single Mom mit Tochter im Grünen Video: Tokio in einer 8qm Wohnung 0:32:12 - Obdachlos im reichsten Land der Welt Video: Obdachlos im reichsten Land der Welt 0:40:17 - Vorbild: Norman Foster 0:43:25 - "Gherkin" - London 0:49:28 - HSBC Hautpsitz - Hong Kong 0:53:55 - Viadukt von Millau - Frankreich 0:56:38 - Jugend 1:00:34 - Reichtsag - Berlin 1:03:17 - Willis Faber & Dumas Hauptsitz - England 1:05:34 - Apple Parc - USA 1:14:26 - Privatleben, Jugend 1:18:39 - The Cars of Norman Foster Ende der Show: neue Kommentarmöglichkeit auf imprinzipvorbilder.de/kontakt Kommentare via https://www.imprinzipvorbilder.de/kontakt

    Patrick Chopson, is the co-founder od the carbon-focused Atlanta-based startup, cove.tool. As the Chief Product Officer, he leads product development for cove.tool, a web-based software for analyzing, drawing, engineering, and connecting data for building design and construction.    A graduate of Georgia Tech with a Masters in High Performance Buildings, he is also a licensed architect with over 18 years of experience. Prior to cove.tool, he ran Pattern r+d, a successful building performance consulting and architecture firm. Multiple publications include Architect Magazine, TechCrunch, Site Selection, ArchDaily, and more.    Show Highlights   Understand the value of data-driven design. Cove.Tool Real-time understanding using BIN, Building Information Network. Connecting technology and the human experience. Trusted tools and simulations to optimize performance, product selection, design and more.  Consolidate different problems of data translation losses to promote timely decision making without issues. Databases that link everyone involved on a project to build common understanding and immediate updates. Why the carbon problem is a data problem. Factors that create uncertainty to drive cost increases.  Why you need to follow the industries #hashtags. Tips for entrepreneurs and companies to create a  detailed career path that champions the work and skills of their employees.   2 things that are going to transform how architects, engineers, contractors, and anybody involved in sustainability find information to make effective choices.  AI is going to unlock and transform the industry beyond focusing  operational carbon vs embodied. How to leverage new technology to provide a higher level of service.   “Meet a lot of different teams, meet a lot of really interesting people. That started to shape my understanding of this problem isn't just like we need one or two people that know simulation. We need to change how everyone designs. How everyone thinks about the problem. Realizing that it was gonna take more data analytics and probably software to be able to pull that off.” -Patrick Chopson   “We want to link everyone together, everyone have a common understanding of a project and then be able to see when one person makes a decision, that immediately updates using APIs or some type of connection across the internet to make sure that everyone's on the same page…And that's what will allow for low cost but high performance, low carbon buildings.” -Patrick Chopson Get the episode transcript here!!   Show Resource and Information LinkedIn Superusers Connect with Charlie Cichetti and GBES Charlie on LinkedIn Green Building Educational Services GBES on Twitter Connect on LinkedIn Like on Facebook Google+ GBES Pinterest Pins GBES on Instagram   GBES is excited our membership community is growing. Consider joining our membership community as members are given access to some of the guests on the podcasts that you can ask project questions. If you are preparing for an exam, there will be more assurance that you will pass your next exam, you will be given cliff notes if you are a member, and so much more. Go to www.gbes.com/join to learn more about the 4 different levels of access to this one-of-a-kind career-advancing green building community!   If you truly enjoyed the show, don't forget to leave a positive rating and review on iTunes.  We have prepared more episodes for the upcoming weeks, so come by again next week! Thank you for tuning in to the Green Building Matters Podcast!   Copyright © 2023 GBES

Manifestantes bloquean la México-Cuernavaca Juicios masivos y desalojos quedaron atrás: Infonavit Casa de Música en Nacajuca gana primer lugar en Archdaily a la Obra del Año 2023Ucrania evacuara a 126 menores por guerra con Rusia

Today I will be speaking with Todd Walker,  founding partner of Archimania, a firm that is nationally ranked 8th in design, 24th in sustainability, and in the top 50 for interior architects.   Todd has chaired and/or juried numerous design award programs, including the American Institute of Architects Washington, D.C., AIA Indiana, AIA Louisiana, AIA Mississippi, AIA New Orleans, AIA's National Construction, National Development Awards, Builder Magazine's Annual Builder's Choice Design and Planning Awards, Masonry Institute Design Awards, The Francis Mah Travel Grant, and AIA Memphis' Design Awards Program Chairman.    Todd was elected to the College of Fellows of the American Institute of Architects for his notable contributions to the design field in 2009, which places him in the top 1 percent of architects nationwide.  During that same year, Todd was one of only nine university alumni named Mississippi State University's Alumni Fellow of the Year.  In April of 2014, Todd was the recipient of the Francis Gassner Award for his contributions to design.    He works in the community, and beyond, as a passionate promoter of design excellence.  He has continually transformed modest projects into more than 150 award-winning works of national significance; as a result, his work has been consistently recognized by national, regional, state, and local award programs, featured in a dozen books and published in Architectural Record, Architecture, Builder, Custom Home, Metropolitan Home, Residential Architect, The New York Times, AIArchitect, and ArchDaily. Of his 150-plus awards, more than 100 are AIA awards.   In today's episode, we will be discussing: How do you advance and contribute to a city and a business? How to create a sense of belonging and inclusivity in a business The mindset of a partner and how it's not for everyone and nor should it be and nor is it the pinnacle of a career   To learn more about Todd visit his: Website: https://www.archimania.com/ Facebook: https://www.facebook.com/archimaniacs/ Instagram: https://www.instagram.com/archimania/ Twitter: https://twitter.com/archimania LinkedIn: https://www.linkedin.com/company/archimaniaarchitects/   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com   Come to my next live, in-person event: https://www.businessofarchitecture.com/live   Carpe Diem!

Localizada na comunidade Aglomerado da Serra, uma das maiores favelas de Belo Horizonte, a casa do multiartista Kdu dos Anjos foi a grande campeã do prêmio do Archdaily 2023 - Projeto do Ano, um dos mais importantes da arquitetura mundial.

In un mondo pieno di informazioni io con gli anni ho selezionato alcuni siti internet o riviste più interessanti ho i più conosciuti. Alcuni ad esempio sono Archdaily, archiportale, divisare, dezeen, edilportale.

Replay: Immigrant ArchitectsLeaders of the profession share diverse perspectives on equity and architecture.Expanding our diversity series, this week we learn about the lived experiences of individuals who immigrated to the United States.Guests:Originally from Colombia, Graciela Carrillo, AIA, LEED AP, immigrated to the United States in 2003. She recently joined Nassau BOCES Facilities Services as a Senior Manager where she is managing school operational and capital projects. Graciela has committed a decade of volunteer leadership service to the AIA. Currently she is serving as the President 2020-2021 as well as the Chapter's Women In Architecture Co-Founder and Co-Chair. Graciela was the past 2017-2018 NY Regional Director (YARD) for the Young Architects Forum (YAF). She is also the Co-Founder of the Immigrant Architects Coalition, a group committed to helping and providing resources for immigrant architects to achieve a prosperous career in the US. In 2019, Graciela was the recipient of the AIA NYS Young Architect Award. Gloria Kloter, AIA, NCARB, CODIA, is founder and CEO of Glow Architects. A practicing architect both in her home country of the Dominican Republic and in the US, she has dedicated her career to helping other young architects grow. She is the founder of the Foreign Architects, a private community in Facebook where she mentors young and aspiring immigrant architects on how to obtain their architect license in the United States. Gloria also serves as the Architect Licensing Advisor of the State of Florida through AIA Florida. She is a part of the Board of Directors of the AIA Tampa Bay where she is the chairperson of the Women in Architecture committee. She was also honored for the 2019 Sho-Ping Ching Women's Leadership Summit Scholarship, a recognition to mid-career women architects who are advancing toward leadership roles and are making a positive impact within their communities. Shahad Sadeq, Assoc. AIA is an Iraqi immigrant architectural designer at Smithgroup. She is an active member of the AIA in her local chapter in Dallas, Texas. Shahad is passionate about amplifying diverse voices in the profession and developing sustainable workplace culture. She currently is co-leading the immigrant architect coalition and sits on the J.E.D.I. committee board of Smithgroup. She previously helped found an Equity in Architecture effort through the AIA Kansas City Chapter.Yu-Ngok Lo, FAIA, CDT, LEED AP is the founding principal of YNL Architects, Inc. His work received numerous design awards such as the NAHB Best of American Living Awards, Gold Nugget Awards, Aurora Awards, American Residential Design Awards, and various AIA Design Awards. The projects of his firm have been published in ArchDaily, Hinge Magazine, CONDE, CommArch Magazine, and Hospitality-Interiors Magazine. Yu-Ngok is a past recipient of the AIBD Designer of the Year, AIA Presidential Citation, AIA National Young Architects Award, BD+C 40 Under 40, 2015 ENR 20 Under 40, and the AIACC Young Architect Award. He was elevated to the AIA College of Fellows in 2020.Show Links:

In this episode, I spoke with designer and educator Kevin Sherrod. In our conversation, we talk about serving the community and society at large, what it means to be a citizen architect, different perspectives on being black in architecture, and a lot more.Kevin's work centers on building community resilience and advancing design justice, primarily within communities of color. As a Practice Area Leader of Arts & Culture at Gensler Los Angeles, Kevin has worked on projects such as Tides Loads of Hope, Compton College student housing, and the award-winning Debbie Allen Dance Academy, among several others.Most recently, Kevin served as the lead designer for Gallery 90220, a first-of-its-kind art gallery for Black and Brown creatives in South Los Angeles. Through these efforts, Kevin has been recognized as a Culture Champion on the inaugural For(bes) The Culture 50 Champions List. In 2022, Gallery 90220, as part of the 2022 AIA Los Angeles Design Awards, was awarded an Architectural Installation Citation Award. Kevin was a core member of the research leadership team with the Now Institute and Morphosis, working directly under the guidance of Thom Mayne on the 100 Buildings book.Currently a faculty member at USC School of Architecture, Kevin is committed to supporting the next generation of designers through mentorship and teaching. He previously worked as an urban strategies lecturer for UCLA's M.Arch II Program. Sherrod's work has been featured in the New York Times, Los Angeles Times, Archinect, ArchDaily, LA Business Journal, and Forbes.Be sure to learn more about Kevin at his website at www.kevinsherrod.com. And follow him on Instagram @sh3rrod.

Daugeliui architektų pagrindinis žinių šaltinis apie naujus viso pasaulio pastatus yra portalas „Archdaily“, kurio įkūrėjas ir redaktorius David Basulto vieši Lietuvoje. Pakvietėme jį į LRT studiją papasakoti, kaip mato architektūros ateitį, kokie globalūs procesai jam atrodo svarbūs, kaip architektūrą veikia technologijos bei kaip savitos pasaulio regionų mados gali atsilaikyti prieš globalizuojančių medijų poveikį?Laidą veda Justinas Dūdėnas

Shubhi is a multidisciplinary designer who believes that everything we call waste, can be put to use. Her current practice, Material Library of India, focuses on investigating value chains and making waste materials come to life again.  To read the show notes click here.For people who are visually inclined watch the episode on Youtube.♻️ Time Stamps 00:00:00 - Intro 00:06:28 - Background Story 00:10:09 - Disconnect as a conscious designer 00:12:59 - Masters in material futures 00:17:25 - Material Library of India 00:21:15 - Good and bad materials 00:24:58 - Material Literacy 00:32:15 - Processes 00:35:20 - Multi-disciplinary approach 00:38:37 - Inspirations in life 00:41:24 - Material innovations 00:46:00 - Message to everyone Connect with Tiny Farm Friends

Nikos has risen to the top of his industry as a creative director and educator. His editorials have appeared in ArchDaily, Dezeen and 3D World Magazine. In addition, Nikos has been the main archviz instructor for some of the world's top architects, designers and visualisation studios, including Foster + Partners, Make Architects, Perkins & Will, Kilograph, Pureblink and more. His unique cinematic approach to lighting is shared in the CG community globally through masterclasses, workshops and live events. We talk about the launching of 3D MEETUP ATHENS. ABOUT 3D ATHENS. Following the success of 3D London and 3D New York, the Design Ambassador team and Creative Lighting are joining forces to bring the same networking philosophy to Athens.These monthly meetups aim to bring together professionals from various creative industries, like architects, interior designers and visualizers, to discuss ideas, projects and new developments in a friendly and relaxed environment. In addition, the most inspiring artists and industry leaders internationally will share their experiences and knowledge while analyzing their work to help you improve your skills and unlock your creativity. Also, through the Archisearch jobs portal, you will have an opportunity to find your dream job and your ideal candidate. Join the first-ever 3D Athens meetup on November 2nd at Metaphor Athens at 19:00. A community event curated by the Design Ambassador Creative Lighting Presenter-Moderator - Nikos Nikolopoulos Founder Creative Lighting Speakers: 19:30-20:00 Nikos Nikolopoulos Founder Creative Lighting (Host & Keynote Speaker) 20:00-20:30 Christina Papalexandri Architect - Principal of PILA Studio (Keynote Speaker & In Conversation with Nikos Nikolopoulos) 20:30-21:00 Katia Kolovea Lighting Designer ( www.katiakolovea.com ) 21:00-23:30 NETWORKING & DRINKS (Free Access for the event - You pay for your own drinks at the bar. Minimum consumption 1 drink from the bar) REGISTER FOR ACCESS: https://www.eventora.com/el/Events/3d-meetup-athens These monthly meetups are organized by ARCHISEARCH.gr the leading greek online magazine for architecture & design and produced and curated by the Design Ambassador. (Free access / You get and pay for your own drinks from the bar) #Archisearch #DesignAmbassador #3DMEETUPS #CreativeLighting #greekarchitects #ArchisearchJobs

Alexis Dornier wurde 1981 in Deutschland geboren, wo er unter dem ständigen Einfluss der Luftfahrtindustrie aufwuchs. Er entstammt einer Industriellen- und Ingenieurs-Familie. Alexis studierte Architektur an der Universität der Künste in Berlin und zog anschließend nach New York City, wo er zwischen 2004 und 2007 als Architekturdesigner für Asymptote Architecture, OMA-NY und Rex arbeitete. Das Jahr 2013 markierte eine radikale Veränderung in seinem Leben und seiner Karriere, als er beschloss, sein westliches Leben hinter sich zu lassen und nach Ubud auf Bali umzuziehen, wo er begann, als Berater für lokal entworfene und gebaute Architekturprojekte zu arbeiten. Was als architektonische Beratung begann, entwickelte sich schnell zu ganzheitlichen, unabhängigen eigenen Projektentwürfen mit einer schnell wachsenden Anzahl von Arbeiten in der balinesischen Landschaft. Dornier ist jetzt in Ubud ansässig und arbeitet sowohl lokal als auch international an einer Mischung aus Wohn- und Gewerbeprojekten. Die Philosophie hinter der Architektur von Alexis Dornier besteht darin, für jede architektonische Gestaltungsaufgabe Gestaltungsmethoden zu kombinieren und neu zu formulieren. Eine architektonische Aufgabe ist ein eigener Fall, eine eigene Sache, ein eigenes Problem und eine eigene Angelegenheit. Eine Reihe von Regeln bilden eine logische und umfassende Entwurfserzählung, die zu Effizienz und einem starken Ausdruck unserer gebauten Umwelt führt. Seine architektonischen Projekte versuchen, eine Designästhetik zu formulieren, die zwischen Elementen des tropischen Modernismus und der Industriearchitektur vermittelt, mit einem zugrunde liegenden Streben nach formaler und tektonischer Innovation. Diese Entwurfsästhetik wird durch einen iterativen Entwurfsprozess und eine sorgfältige Auswahl lokal verfügbarer natürlicher Materialien realisiert, die räumlich so komponiert sind, dass sie auf den Standort und die natürliche Umgebung, in der sie stehen, reagieren. Tektonik ist im Wesentlichen die Tätigkeit, die das Bauen zu einer Form der Kunst erhebt. In dieser Hinsicht werden die Projekte von Alexis Dornier durch strukturelle und formale Erkundungen angetrieben, durch den Wunsch des Studios, die Grenzen seiner eigenen tropisch-tektonischen Sprache zu erweitern. Dies geht Hand in Hand mit dem Bestreben, die Erfahrung der Landschaft durch architektonisches Design zu verstärken. Die Projekte des Studios werden in den tropischen, bewaldeten Hügeln von Ubud, dem kulturellen Epizentrum Balis, entworfen. Architektur in den Tropen und insbesondere an einem Ort wie Bali zu praktizieren, inspiriert uns täglich und erinnert uns daran, langsamer zu werden und die Bedeutung von Gleichgewicht und Wohlbefinden zu schätzen. Mit einem Team von talentierten, engagierten Architekten und Designern ist das Studio bestrebt, neue Typologien, Formen und Strukturen zu erforschen und dabei von dem reichen Erbe und dem in der lokalen Tradition verankerten Know-how zu lernen.

The famous website for architecture, Archdaily, publishes pictures of some Vietnamese cafes because of their beautiful design and unique ideas. Den Da is located at 1A Le Thi Rieng, Pham Ngu Lao Ward, District 1, Ho Chi Minh City, highlighting a street corner with blue tones and red bricks. The coffee shop design concept focuses on recreating […]. View detail https://vietnamese.quest/vietnamese-coffee-shops-on-us-websites/

Coronel Creatives nació de la idea de ser un NUEVO referente de publicidad en México y el mundo. Nuestro driver fue que todo mundo habla de que se necesita innovación en agencias, nos mueve es trabajar con marcas con las que nos identificamos, que nos apasionan y que nosotros consumimos. Tenemos clientes nacionales e internacionales. Las marcas con las que hemos trabajado son Aribnb, Bumble, Teremana, Carolina Herrera, Altos Tequila, Jameson, Loewe, PepsiCo, ArchDaily, Free (Fernando Romero, arquitectura) Scotch and Soda, CUCIELO Vermoth, Grupo Habita, Ojo de Tigre entre otros.

Guest of this appointment is Horacio Cherniavsky co-founder in 2017 with his work and life partner, Viviana Pozzoli, of Equipo de Arquitectura, a young studio based in Asunción, Paraguay. They are both practicing and teaching architects and, despite the young age, have already developed a number of brilliant works, receiving significant recognitions: selected by the Latin American Architecture Biennial 2019 to exhibit their work in Pamplona, Spain, they won with UHP Synagogue one category of the XXI Pan-American Biennial of Architecture of Quito, Equador, finalist with another work Caja de Tierra, winner of the Frame Awards 2019 as Small Office of the Year, finalists of Architectural Review Emerging Architects Awards 2020, they have been chosen by ArchDaily as one of the Best New Practices of 2021. Their projects, mainly result of winning local and international competitions, have been extensively published by architectural magazines and digital platforms. Criteria for responsibly building and deep respect for the context in its pre-existence inform their conceptual approach and realisations, celebrating an affordable architecture socially accessible and suitable to the harsh conditions of their subtropical climate.Our conversation starts, trying to understand the complex and difficult historical vicissitudes of Paraguay, a country of magical beauty, remained for long time ‘the periphery of the periphery', experiencing poverty and cultural isolation, and we continue deepening the aspirations of a generation of Paraguayan architects, to which Equipo de Arquitectura belongs, driven by desire to preserve, feed and evolve a tradition, aspiring to a social and cultural transformation. A movement based on affordability, self-sufficiency and the creative exploration of a limited palette of materials. Horacio traces back his first experiences, leading him to the specific choices that characterise his practice, explaining what it means to be coherent with the principles embraced in a country undergoing rapid expansion.A quote of Louis Kahn, “The sun did not know how great it was until it hit the side of a building”, and a basic equation, “Dreams + Necessity + Available resources” introduce with originality and poetry Earth Box, their 45sqm workspace, an extremely beautiful presence, a dream materialised around two trees, incorporated, as always, with reverential respect into the development, where light is the element that intensifies and shapes space. The naked walls of the monolithic structure in the colour of red clay are built of rammed earth, a traditional technique, perfectly responding the climate conditions and offering several other advantages above the superb integration with the natural context and the unique atmosphere and textural experience that reserves.Its physicality seems to perfectly satisfy a wish that Juhani Pallasmaa expresses in ‘The Eyes of the Skin', ‘re-sensitize architecture through a sense of materiality, hapticity, texture'. This ‘primordial architecture', as Horacio defines it, allowing to appreciate colours, smells, to stimulate experiences related to our senses, has inspired the creation of the suburban block of the Child Care Center, a place rich of patios and vegetation, as the architect informs, conceived to mould a sensitivity since early childhood, ‘where kids learn by playing and play to learn'. Openness and porosity are characteristics that imbue all the firm's architecture and a constant dialogue between natural and artificial, emphasised by minimising architectural interventions, is a fundamental axiom nurturing daily life in all their residences, as the ‘Patios House' and the 'Intermediate House' well demonstrate. Art, music, philosophy, literature and film are often used by Horacio as references to support and illustrate his interventions, and focusing on KingFish, a small project that is an authentic showcase of different use of material and construction possibilities about recycling, results particularly interesting the reference to the ‘Shadow Sculptures' of the two artists Tim Noble and Sue Webster, assemblages of rubbish, scrap metal that, backlit, project amazing silhouettes and profiles, an extremely original and important message about the beauty that ‘waste' can reserve, if used with creativity and competence.Our conversation concludes reflecting on an inspiring, brilliant work, the Synagogue at the Hebraic Union of Paraguay, realised following an international competition's winning proposal, an impressive transformation of an old existing construction, reached through few precise gestures and few materials expressed in their true nature and most authentic strength.

In Episode 27 of A is for Architecture, I got to speak with architect Stefanie Rhodes, founder and director of the London-based practice, Gatti Routh Rhodes. Stephanie's practice collaborates with civic and theatre clients, exhibition design, as well as domestic work. In short, her work is a good model for the everyday life of a young architecture practice, and the story Stefanie tells is interesting, insightful and rather inspiring as a consequence. You can find out more about Gatti Routh Rhodes at their website here. Stefanie's LinkedIn page is here. The Bethnal Green Mission Church was reviewed on ArchDaily here, on architecture.com here. There's a fantastic review of the church, of GRR and of Stefanie in the Architectural Review here, from February 2020. Enjoy! + + + + + + + + + + + + + + + Music credits: Bruno Gillick. + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com

You can't have an international footy tournament without footy stadiums, now can you? Although, those stadiums apparently don't need to actually exist for you to be named the host of such a tournament - who knew?! Yes, the stadiums of the Qatar World Cup 2022 have been much talked about, for a lot of negative reasons. As the tournament draws near though, and the Footy Travelers prepare for their fourth consecutive World Cup experience, they can't help but wonder, "What should we all expect?" Join Mike and Colin as they explore each of the 8 stadiums hosting matches later this year. Foot(y)notes: Curious what these stadiums actually LOOK like? Check out this visual preview. Khalifa International's air conditioning system explained. Here's the ArchDaily write-up that had Colin raising his brow (and chuckling in despair). The gahfiya explained in more depth.

In French in this CDA S3#66 (monday online), “Architecture, support for a change of life”, an interview of Nicolas Laisné architect. In English in CDA S3#67 (wednesday online), “Co-living in Huningue, France” by Nicolas Laisné architect. En français dans le CDA S3#66 (lundi en ligne), " L'architecture, support d'un changement de vie ", une interview de Nicolas Laisné architecte. En anglais dans CDA S3#67 (mercredi en ligne), “Co-living à Huningue, France ” par Nicolas Laisné, architecte.___Nicolas Laisné s'est formé au contact de plusieurs cultures et des plus grands : l'Inde avec Raj Rewal, les Etats-Unis chez Steven Holl, et l'Europe auprès de Jean Nouvel. Il fonde son agence Nicolas Laisné Architectes en 2005. Depuis, avec son équipe basée à Paris, il développe des projets d'urbanisme, d'architecture et de design d'intérieur, de la conception à l'exécution et au suivi de chantier. Il travaille aussi bien pour les collectivités publiques que les acteurs privés et les particuliers, en France comme à l'international. Sa vision décloisonnée de l'architecture le conduit à collaborer avec des philosophes, agronomes, botanistes, artistes ou encore des data scientists. Il constitue une nouvelle équipe transdisciplinaire pour chaque projet. Ses dernières réalisations témoignent de sa volonté d'ouvrir l'architecture, pour qu'elle donne plus d'espace à tous, y compris à la nature, dans des villes toujours plus denses. Dans ce numéro de Com d'Archi, Nicolas Laisné revient sur son parcours, parle de ses projets comme celui de l'Arbre Blanc (Nicolas Laisné Architectes, Sou Fujimoto Architects, OXO Architectes, DREAM), l'une de ses réalisations les plus emblématiques (2019) qualifiée de plus bel immeuble au monde en 2020 par ArchDaily, où il s'est imprégné des cultures japonaise et méditerranéenne. Ici pour sujet, un architecte français de renom et ses projets connus à travers le monde entier, pour une interview 100% inédite ! Portrait DR © Nicolas Laisné Architectes _ Ola HiresIngénierie son : Julien Rebours____ Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

PODCAST GUEST BIO: Co-led by Cofounder and CEO Sandeep Ahuja, cove.tool is an end-to-end automated green building performance software suite. It produces beautiful analysis graphics for energy, daylight, carbon, HVAC design, and more. Using machine learning, it considers thousands of options in order to select the lowest cost and highest performance material components for new construction and renovations. cove.tool has raised over $36M of venture capital funding, including investors such as FootPrint Coalition (Robert Downey, Jr.'s fund), Third Sphere, URBAN-X, and Mucker Capital. Sandeep is also the founder of a successful sustainability consulting firm Pattern r+d. She has presented at the UN environment assembly, with 1,500 global delegates, on the impact of building on climate change, showcased at the Tedx Atlanta, SXSW, won the Forbes 30 under 30, and Atlanta Startup Battle. Multiple publications have written about Sandeep's impact in the AEC industry including Architect magazine, Tech Crunch, Site Selection, and ArchDaily. With her desire to bring automation into the AEC world, she is pioneering the integration of building performance into the design and construction process by developing and using intelligent technology and software. Sandeep has presented at multiple architectural and engineering conferences including AIA, ACUI, ASHRAE, Facades+, Tech+, Build Tech, DBL. ------- QUESTIONS THAT WE COVERED: Business What does your company do? What makes you unique versus the competition? How are you funding your growth — e.g., revenue, VC, CVC, government grants, M&A? What are 1-2 lessons you've learned along the way? Outside of your current business, what other 1-2 climate or sustainability sectors seem like promising areas in which to start a business? What might those solutions look like? Personal If you had to start over, what are 1-2 tips you'd give yourself in order to be faster, more effective, and higher impact? What are some habits and routines that keep you focused, healthy, and sane — e.g., meditations, exercise, productivity hacks? What recommendations do you have for our audience — books, podcasts, quotes, tools? What's the nicest thing anyone has ever done for you — outside of your own family? ------- PODCAST HOST: Entrepreneurs for Impact is the only private mastermind community for growth-stage CEOs and investors fighting climate change. We're on a mission to help climate leaders supercharge their impacts, share best practices, expand their networks, and reach their full potential. Our invite-only cohorts of 12 executives catalyze personal development and business growth via monthly meetings, annual retreats, a member-only Climate Investor Database, and 1:1 coaching and strategy calls. Today's highly curated Mastermind members represent over $5B in market cap or assets under management, and are influencing corporate priorities and infrastructure much bigger than that. Peer groups are led by Dr. Chris Wedding who brings $1B+ of investment experience, 60,000+ professional students taught, 25 years of meditation, an obsession with constant improvement, and far too many mistakes to keep to himself. Website: www.entrepreneursforimpact.com Membership benefits: https://bit.ly/3l12Gyg Sample Mastermind members: https://bit.ly/3ipSehS Request more information on membership: https://bit.ly/3mj48eM --- Send in a voice message: https://anchor.fm/entrepreneurs-for-impact/message

Design media has always been influential in shaping our understanding of what constitutes good design. On this episode, SPACE10's insights director Helen Job sits with Fernanda Sela of Elle and Elle Decor Mexico, Mónica Arellano of ArchDaily, Abigail Quesnel of coolhuntermx, and Louis Harnett O'Meara of Monocle to explore how design storytelling is evolving, and how we can better share narratives of sustainable, equitable design.

Guest of this appointment is Todd Saunders, considered one of the best interpreters of pristine Northern arctic landscape. Founder and principal of Saunders Architecture, Bergen-based studio in Norway, he has been ranked one of the ‘5 Greatest Architects Under 50' by Huffington Post and 89 on the top-100 list of the best architects in the world. His architecture, mostly residential and cultural works, national park landmarks, minimal contemporaneous sculptural statements, touches respectfully the ground, dialoguing with magnificent natural settings, developing powerful intense interaction between site and people. Widely internationally published, with two dedicated monographs, his realisations have been recognized by prestigious awards, as the Nomination for the Mies van der Rohe prize for best contemporary European Architecture, Architectural Review Award for Emerging Architects, Winner of Building of the Year for Archdaily.We start our conversation from a kind of nomadic life that has characterised his undergrad and postgrad university's years and the curious coincidence that brought him, animated by a restless desire for travelling and doing experiences in new places, to live and work in a city in Northern Norway with a lot of affinities with his hometown, in Canada. An aspect of particular interest is represented by his early obstinate and resolute ambition to realize an architecture he believed in that led him to several unexpected, exciting opportunities: the spectacular, impressive long wooden Aurland Lookout, hovering 650m, above the scenic Norwegian fjords, named one of the new 7 architectural wonders of the world and his involvement in the important charitable art program envisioned in support of Fogo, a small Island off the Northeast coast of Newfoundland, Canada. We focus on the noble mission intending to help the declining economy of the poor local fishermen community, offering economic and cultural resilience and on his several interventions scattered along the island, artists' studios, cabins, lookout points, based upon the inherent cultural and physical assets of the place. We deepen in particularFogo Inn, rated best hotel in Canada for four years, and the third best in the world, that well embodies his concept of authenticity in architecture. Always remaining within a meaningful, philanthropic-based architecture's framework, Saunders anticipates the fantastic project in progress in Fedje, Norway, an island the same size as Central Park: a wide plan that promises a series of interventions, including a hotel to preserve another small community of 540 people in danger of disappearance. As conclusion we touch the challenging relation between architecture and natural landscape, analysing the topic through the respectful language of a series of retreat homes built in another remarkable, superb environment at the foothills of Canada's Rocky Mountain.

How can architects, and other professionals, project a positive, effective image that gets them hired? This is the question that Ian Chodikoff attempted to answer in this interview. Ian is an architect, editor, curator and design strategist experienced in research, programming, marketing, business development and strategy. He has led communications teams and projects that include learning platforms, exhibitions, publishing, workshops and events. He has consulted with municipalities, real estate developers, and cultural organizations. He has also led a national architectural association in which he remains a Fellow, directed a monthly architecture publication, led conference programming and currently plays a leadership role for a dynamic interdisciplinary architecture and urban planning firm.   About the podcast: Single Serves is a podcast where we interview experts on single issues of interest to architects and designers. The thought-provoking ideas shared here are intended to inspire our listeners to become well-rounded entrepreneurs who are the leaders of their field. Credits: ©2022 Produced by Révélateur Studio & edited by Chris Rodd   Interview transcript (edited for brevity and clarity): RVLTR: So can you start by telling us who you are and what you do in your own words in three sentences or less? Ian Chodikoff (IC): Sure. I'll give it my best shot. I like to think of myself as a synthesizer of ideas within the design profession. I like to think of myself as someone who can speak the different languages spoken by, let's say an engineer versus an architect versus interior designer. And, what I do is develop and consolidate strategy for communication, business development and marketing for firms RVLTR: That's pretty clear and succint. So the conversation for today, we're going to talk about the image in architecture, when you use the word image in the context of architecture, what do you mean? IC: That's a very, very good question. And I think it's it's one of those questions that are not always easily answered by firms that seek to project their image. What is it, what is their image to the world? Kevin Lynch came up with this term. He was an urban planner in the sixties that talked about the "imageability" of cities. It's not, you know, technically a word, but it really, if you're to close your eyes or walk away when someone says, you know, firm X, what do you think of them? What is their reputation? What is their level of cultural acumen? How good a designer they are, how good are they with engaging community? And so when I talk about the image in the context of architecture, you know, what is it whether it's a building or really a design practice, what is the image that the public sees when they hear or see their work? RVLTR: So if we go back to the idea "imageability" from Kevin Lynch, is that what he meant by that? Is that just a neologism used to describe what you just talked about? IC: Well, I mean it's been a little while, I don't know the exact words, but, for him the city has an identity. You know, cities are in competition with each other Los Angeles versus San Francisco, you know, Paris versus Lyon or Frankfurt versus London. It's pretty clear about the "imageability" of that city. What is that? What does, when someone thinks of Copenhagen, they think of bike lanes, there's an image, that's the imageability of the city. That's the identity of, that kind of ecosystem. He was referencing it in much broader terms. Then when I talk about the image, it's really: is that firm a corporate firm, or is it a boutique firm? Is that firm, really amazing at very tactile design solutions or is that firm really about allowing its users to co-opt its design over time, like a public building would be an example the building that could be co-opted by the users over time. And, and so that's the imageability of that building could be messier gritty, or it could be, you know, sultry and smooth as some new boutique shop in Yorkville. RVLTR: And so why is the image so critical for architecture firms? IC: I think it's critical from a competition analysis or marketability of that firm, to know, okay, like "Arnaud's Firm" tackles these kinds of design problems and we see the results that he achieves. And so I think that's useful. So if one was to say "I have a really tough design problem that I need Arnaud to resolve". I know how he would go about doing it. And I think it's not quite the same as saying what style a firm has, because that's a whole other discussion. Especially on interiors or certain types of bespoke housing, we know the kind of hand that goes into designing a particular kind of house, but I think that the image is a more of a broader idea that encompasses the tactics and strategies of how a design firm solves the design problem. RVLTR: So, it sounds like it almost has more to do with, while being a bit different from, but still being very much linked to the firm's positioning and how they portray themselves to the world as to what their expertise and specialty is. IC: I think so, I mean for all intents and purposes, whether you choose your firm or my firm, both of our design team will make sure the roof doesn't leak RVLTR: Generally speaking. Yeah. IC: Generally speaking, but yeah, we're both gonna be competent. We'll both get the job done. So what's gonna make the difference between the client perceived value about your firm versus our firm who obviously you might charge more than me or vice versa. Maybe that might have a factor, but I think when it comes down to it, it's really : can you do something understated? Can you do something that changes over time? Can you do something that's much more environmentally motivated for a post-carbon future? Can you design a building that engages the entire stakeholder community, if it's a sensitive community center in Toronto, so certain firms have that knack to resolve these types of problems and certain firms are better doing a gorgeous home up in Muskoka. And that's an image of that firm. RVLTR: Yeah. And I think it touches on what I've been yelling about on rooftops for years that most firms really don't have a clear, differentiated image if we use your term in the public's eye. And that's why most firms have to compete on price because they're not differentiated enough. They don't have enough of an image that distinguishes them from the competition to be able to charge what they want or need to charge. Does that, does that ring a bell to you? IC: Absolutely. You know, and as you're saying that, you know, I could hear a lot of principals and firms going well. We've been trying to get that public library for many years. If we got, if we got that public library, people would really understand how we're gonna design for a for a community in Malvern or a community in Scarborough or something. IC: But you know, there are many other things firms can do to add value to their image. And that is maybe get involved with certain boards, do certain charity work. Have some exposure to helping a community set up a garden or a farmer's market. These may not be specifically project-related, but it sets out a precedent for the kind of philosophy that the firm engenders, when you start to look on websites and something, we do all the time. It's like, how are the people conveyed? Are the staff pictures even there? Or do they have a very artificial photo of a staff member holding up a mountain bike? Another one holds up a golden doodle and it's supposed to be like a very work life balance kind of joint. Is that really value for recruitment? Do, do young hires believe in that? Do clients appreciate that? Maybe, maybe not, but you know, some firms you can see that posit themselves as urban minded firms, seeing them out there helping communities is really a golden ticket. And it's a way to project your image without necessarily having that public library under your belt that you're striving to build, a lot of young firms try and get out of that. It's hard to get out of that realm just because of procurement and RFPs and interview process, and maybe the bench strength of your firm. It might be small. And so the client's not gonna take a chance on you and maybe the market currently is very busy, but it's still risk adverse. So what can you do to enhance your image without necessarily waiting for you that moment when you get that gorgeous community library? RVLTR: Yeah. Or do speculative projects or or there's so many ways that are more, more inspired by, by Guerilla marketing that firms can put themselves on the map. I think the speculative project still works because a client of mine have done has done a few of those in the last couple of years. And every time it's gotten them in the globe mail and a bunch of other outlets, so it may not get them that, that that big project they're looking at, but it certainly puts them on the map. And I know for a fact, I'm pretty sure that they've gotten work as a result of that exposure, even if it's not the work they were presenting to the world. Yeah. So there are ways to kind of bypass the traditional, oh, I gotta fill out RFPs till the cow comes home and hoping I get this job to, to kind of get ahead of the competition. I think it's the firms that are smarter about that and the ones that are kind of do it intuitively they don't have to be told. So I, yeah, you, you're absolutely right. There's a very kind of community almost intuitive way of putting yourself on the map and then there's following everybody else's lead. And I think, following everybody, else's lead is the wrong way to do it because then you're competing with a whole bunch of firms that are trying to do exactly what you're doing. IC: And this is a very good point. Our firm we do we obviously do a lot of real work. It keeps people very busy and, but some of the work we do takes time to bake takes time to finish. And we feel that we take that thought leadership and trying to distill it down to those speculative projects, because they help engender a discourse. And you're right. We find that when it gets out there and people appreciate it, it helps with the discussion about architecture and design in the city that more than just a transactional basis. And it also certainly is able for people like our team to flex their thought leadership muscle on issues of affordability of equity in the city of technical innovation. So there's a lot of facets to speculative work that will help you leverage the knowledge that you've been gaining, even if there's not a project that will necessarily distill and manifest it, certainly the speculative work can achieve that. RVLTR: So in your mind, is there a way to kind of classify or define the different kinds of images that a firm projects, or even images of projects themselves? Do you have like kind of a way to sort that out in your mind? IC: Yeah, I do. You know, I think one of the interesting things about our firm, very smart about developing these research committees or research engines. RVLTR: So what are the, those? IC: Those would be, I mean, for us there's issues of housing, the thinking about the post-carbon future, environmental sustainability, there's also, we have a strong committee that helps permeate through the work that we do internally and externally, the sort of the justice equity, diversity and inclusion committee and we have biodiversity, but I think how I would break that down is you go, okay, what are the big issues that clients want to resolve these days? And what can we do to help our clients achieve that? And it's not really rocket science, and there's obviously building regenerative design, so sustainability, there's issues of community. So those are the social issues that, that surround your work. And then there's issues of if your firm touches on landscape or on a larger scale, there's the whole, how do you build better ecosystems, or how does the built environment interact with natural environment? So, it's people, environment, material and innovation is a big thing especially for smaller firms. It's wonderful if you're doing a lot of material investigation and you're doing smaller projects that are really trying out new technologies. So I think those are areas that you can kind of hone in on and, and within those headings, you can nurture some bite size thought leadership pieces that will only contribute to your, how your perspective client sees you. RVLTR: Because you guys put out a lot of thought leadership from what I can tell and I think more so than most, if not all of the firms that you're competing with. How does that impact the firm first in terms of image and then in terms of how much work it gets? IC: That's a very good question because I was out last night with a friend of mine, who's a principal, at a very large firm here in Toronto and they have offices across north America. You can very easily burn a lot of money in your research. Research is not always the panacea for achieving work. We all recognize that, our firm recognizes it. His recognizes it. You have to be careful when you plow that investment into research, because it could be more expensive than going after bad RFPs. You also don't want to subsidize, you don't want to give stuff away for free. You don't want to say "You know, Madam developer, look at this fabulous thought leadership we have, we can save you some money" and they take it, thank you very much and go to a firm that's cheaper and doesn't do research. So you have to watch that input and how it comes back to the firm. I think for us one thing it does right away is improves morale and gets people motivated and excited about the work that we do. That's certainly a huge direct benefit. Another benefit is it helps with gaining trust. So I think in some ways it's almost not what the work does, but how is the work received? When a client looks: "We may not see a direct value in that research you did Mr. Chodikoff, but we love the firm. You guys are obviously full of a lot of gearheads and visionaries. We want to hire you." RVLTR: So you've been in the industry for some time now, how have things changed or evolved over the past 20 years and specifically in terms the image and how people market themselves? IC: That's a good question. Sometimes, I wonder how I managed to be in this industry for so long. I think it's changed in the sense that nothing is to be taken for granted. When I started in the industry, we were in a recession, it was hard for folks like my age to even get work. It was it was a struggle. And then the economy picked up and turned around, but as I was coming out of school, a lot of firms really took a devastating hit in the late nineties with the economy or especially firms that put all their money in one market, maybe that has changed for a variety of reasons, but it used to be, you know, a firm would only be doing social housing, a firm would only be doing condos or retail. So I think firms are much more capable of diversifying even at all scales. The larger firms obviously in the last 20 years, there's been a huge amount of consolidation. In order to harvest the market or harvest sectors within the market, firms like dialogue and Cannon and Perkins + Will and others have to buy up other firms so that ythey can say they did a library in the last six months, a hospital in the last year at a certain scale or size. And that competition for those kinds of projects are has certainly increased. And so firms needed to buy up one another and merge. That's something that's interesting because in doing so they're hedging their bets, both in markets and in sectors. Another thing I think that is the smaller firms are much more capable of finding more interesting collaborative work because the the nature of networking has been facilitated. You can collaborate with someone in Europe, much more easily than you could 20 years ago. The internet allows you to find like-minded people more quickly. Always technology. I believe it's not the technology, it's the people that technology brings together. And I think that has enabled new things to happen. And I think the gap between manufacturing and design is narrowed and has allowed smaller design firms to do furniture, lamps, or other specialty equipment in a building that may not have been so tenable 20 years ago, but with different methods of manufacturing and collaboration that's now more readily achievable. RVLTR: So how would your variety of experiences from architect and urban planner to event organizer and magazine editor shaped your opinion on architecture marketing? IC: Well, at times it may have made me more cynical, but I shouldn't be saying that. In all seriousness it's allowed me to really meet the diversity of practitioners that are out there. It's really quite extraordinary, the energy and the imagination that happens at all generations of designer, all backgrounds of designers. Certainly my career showed me that all bets are off, you know? I don't know why Virgil Abloh comes into mind where he was trained as an architect and then became a fashion designer. And I don't know if he would be the iconic image of how the profession has changed, but the culture of architecture and design is blurred. Architects have always taken influence from so many other creative pursuits, whether it's the visual arts film or music, but it seems that that kind of academic influence has now become realistic influence in the way people practice. So through my exposure to this range and I've been blessed by meeting architects from all over the world and all backgrounds or most of the backgrounds, and you can't say all backgrounds, but certainly under, you know minorities underrepresented architects, architects of colour, indigenous architects, women... Seeing the leadership capacities change about what is leadership in the profession too has given me a lot of food for thought and a lot of excitement because when I started it really, it was much more of a narrow focus about what it means to be the star architect, the master builder, the generalist, that kind of verbiage doesn't seem to apply anymore. It seems to be much more entrepreneurial and socially motivated. And that is very exciting to me. RVLTR: I can see that because when I started school by 20 years ago, architecture school, that is you know, the big names were still the the Frank Gehrys and Rem Koolhaases and Tom Maynes of the world. That was the kind of aspiration. I think - I have no actual evidence of that - but based on what I see around the industry, it seems like this has waned a little bit and there's more of a diversity, it's almost like the internet has democratized design in a way where you don't have to be superstar architect to gain traction. If you have a decent project or cool idea, the internet might give you a break and push you to the forefront. It requires an incredible amount of luck too, because good work is not the only parameter that needs to be fulfilled. But I think there's more of a democratization of access to the public as an architect than there ever was. IC: You're bringing up some interesting points and I don't profess to have all the answers, but you know, it used to be, if you were published in a particular magazine print, if you had a monograph print, maybe you had an exhibition in real life, maybe you made it to the serpentine gallery as a designer, the Venice Biennale, there were certain points that would be on your bucket list to become your superstar architect. And some of those are still very important and still remain in effect, I guess they all do to some degree, but you can do a lot to circumvent that if you don't make it, if you don't think you'll make it. Of course, the challenge is, you can get a lot of "B+" architects out there, meaning the ones that just reside under the so-called "A-level", you can get a lot of B+ maybe even the "B-" ones that aren't even building anything, but they can put on a hell of a show on their landing page, but what have they done for the society lately. They have some ideas, but it's not realized, there's no real clients, they haven't really been tested by builders. So, you know, it's like so many other things in the last 20 years with social media on the internet, what is real and what is fake? What is your, is your "imageability" - back to that issue - Is it a big bubble of nothingness or do you have a lot to back it up? And then there are also a lot of people that do amazing work and have very little presence on the web. Sometimes we all look at images now and is that real? Is that a rendering or did that get built? And if it did get built, is it [photographed] on a perfect day when there's no people or no cars or the first day it was opened, but not five years later? Where is the grittiness? RVLTR: I remember when I was in school, towards the end of my studies, a dozen or so years ago, I spent a lot of time on blogs, like ArchDaily at the time. And then I started realizing that they put a lot of unbuilt projects on there, basically renderings. And after seeing a couple of those first before being built, so as a rendering online and then the project being built later on and being highly disappointed in the finished project, not living up to the expectations of the renderings, I really became skeptical of looking at renderings online, because they're always very sexy obviously. But the reason I'm saying this is because to your point of like maybe B+ or even B- architects can make a splash online, but I think for anyone who knows the industry and has been around long enough it's very easy to see through that, even with beautiful pictures of a finished project. I certainly, and maybe I'm a bit biased because I look at projects day in and day out and I photograph them too, but I can look at pictures of a project, even if I haven't seen it in person and almost instantly gauge the quality of the building itself, like how well detailed it is, how well built it is. So I think if you look at that long enough, you can't really fool anyone. You might fool the general public who doesn't know about architecture and there could be a danger in there because they're the ones who are going to hire you. But I think there's still something to be said about long-term reputation. And if you do too much work that doesn't live up to the expectations for whatever reason, that's gonna catch up to you at some point. You only get so many free passes before your reputation is destroyed. I think that leads us to an interesting point over the reality of social media and its influence on the architecture industry. Can you explain - in your mind - the the myth and realities of social media for the for design firm? IC: Well, I think this is a tough question again, you know, I don't want tp sound like The Economist. It says: "Well, it depends" but I think these are the discussions we have a lot, both internally and with my colleagues is that the key to a successful design platform is that it has to be consistent. You have to deliver consistent content over your platforms day in and day out, it's a bit of a churn. And with that pressure to be consistent, sometimes you're just throwing a past project, a current project and stuff out, and you're just putting stuff to fill the air. So you shouldn't necessarily be doing that. LinkedIn is different from Instagram, which is different from Twitter and, and all of them have their own characteristics. And I think they all have their own value, Instagram still trends younger, but Instagram is much more effective, I think for firms whose work - I don't wanna say their work is commodified because I don't want to sound patronizing - but if you're doing, sexy interior, sexy retail, you can just take a cool photo of a light. You can take a photo of a handrail. You know, those things work well on Instagram because people kind of get the gist with very small tangible items, the larger ineffable things of public buildings, for example, universities, hospitals you know, community centers, that's harder to convey in an exciting way on Instagram or even on social media, generally. What it does do, Instagram's really good for conveying the culture of a firm. I think that's one aspect too. Obviously again, the small jewel-like projects go very well on social because they're quick and digestible. But cultural things work well, some firms, put a lot of photos of their team on site or maybe their team has these sort of parties or event and those things can work well. And then other platforms are much more effective at conveying policy elements, housing, affordability, sustainability. Those are, those are prime examples of that. So many of my colleagues, they do a presentation, they do a conference, they do a talk. During COVID, you can be doing five conferences in five different cities, one day it's very easy, because you can just do it all virtually and you can project that out onto LinkedIn and your website to kind of prove your chops in terms of a particular facet of the work that you're doing. I think you can achieve some success with that. It is a communication board. It is a mouthpiece. But I guess it's always important to be authentic because sometimes these you're sending out messages and it can be kind of normative. "Well, so what if you're doing geothermal isn't everyone? Well, so what if you achieveLEED Gold?" People used to joke about achieving LEED gold. RVLTR: I think you can tell me if I'm wrong, but I have a hunch that this is generally true. I think most people and firms alike get on social media without really thinking about what that will do for them, or what's the purpose of getting on social media because let's, let's be frank, we've all been at that point where everybody gets on Instagram and then you feel left out. So you're gonna get on Instagram - and I remember my Instagram started by just posting pictures of food and my new bike and whatever stupid stuff that no one cares about - 12 years ago, like way, way back when it started. But I think when people get more serious about social media and they start spending a lot more time and resources to strategize and curate the content that's gonna be on there, one of the questions that they rarely ask themselves is: "Why should we be on this platform to begin with what is it gonna do for us?" And I think there's a bit of a rat-race happening on social media, especially with Instagram, like the more visual ones because everybody's on there, there's a huge network effect of people thinking: "Oh, if everyone is on there, I need to be on there too." Without really questioning the reason why. And I think that's an issue with a lot of firms' endeavour on social media because, some firms clearly benefit from it and have become masters at it, so there's no question it can be useful, but I think too many firms just do that and they kind of half-ass to do what their friends do, but not really make sure that it serves them. I know this is just an example of one, but I haven't been on social media except for LinkedIn for over two years now and it hasn't affected my bottom line. As a matter of fact, I made more money since I stopped being on social media than I had before. So it's not necessarily really an argument to say: "Well, I have to do it for my marketing." What kind of results do you get out of it is the real question. And if that doesn't serve you, why are you on there? What are your thoughts on that? IC: I think that's key. I think the website is your basis. RVLTR: The website is the brochure everyone needs to have. That's kind of a given IC: When your client goes Googling they're gonna be looking for you - hopefully - on the website and Instagram or any social media platform they all have. I think you have to be clear about what kind of audience are you going after? If you're, if you're a larger firm and you need to recruit people, you need to be on the new young hires' radar, social media is good. RVLTR: Yeah. I have a friend who's a medium-size, firm design firm principal, and the only reason they have an Instagram account is for recruitment purposes. So they know that. Some people are very clear on that. IC: You might be involved with the cultural industry and you're involved with museums, there might be an aspect of your work that will tie into other discussions online. And I think that's a fair assessment. Retail would be a good example. It's often very specialized lighting applications and specialized hardware. And linking that to a broader discussion is useful. For ourselves, when we're dealing with transit or with housing, we wanna be part of that larger conversation because we're players in that market and we need to assert ourselves in that online discourse. Whether it's comments online, Twitter and LinkedIn are very helpful, because we're engaging with city planners or municipal bureaucrats who tend not maybe be so visual, they may be more policy oriented. So we wanna be part of that discussion. So whether your discussion is through text or visuals, just understand "What kind of conversation do you wanna be part of?" I think is maybe a good question. Good place to start. RVLTR: So if you were to do a media campaign to promote a project, if you did it well, you were gonna really think about the kind of publications you want to target and you're gonna write your media kit specifically to target those publications. So I think when it comes to marketing, it has to be the same thing. If you're thinking about getting on social media, if you're not already on there, or even if you're already on there, the real question is: "Is the audience you're targeting on those platforms?" If you're, if you're a high-end or even a mid-range residential designer and all you do is like houses between $2 and $5 million of property value, then you know that your target's probably on Pinterest maybe on things like Houzz, maybe a little bit on Instagram, but so the platforms you're gonna target are different from, if you are a company that does large institutional projects where you probably more likely to target the proper audience on LinkedIn, in trade magazines, places where the property managers or the building managers hang out, things like that. Does that make sense? IC: Yeah, absolutely. Sometimes we've all been there where your campaign might be to target [only] five people that you might be able to identify by name and you almost wanna know: "Where do they hang out?" You could get very granular and drill down to that level. RVLTR: And I would say be creative too, because if you know that person X goes to that restaurant every day, maybe the best approach is to go hang out at that restaurant and approach them in person. IC: Maybe yeah. Or if you want to do cultural buildings go hang out at the art fairs. That's a whole other aspect of marketing. I remember few years ago I was doing some consulting work with a healthcare firm and, you know, I showed up at a healthcare conference. I was the only architect in the room. RVLTR: How many leads did you get out of this? IC: I got a couple leads. It was remarkable. I certainly was do not profess to be a healthcare expert, but as an architect, we can translate issues into a visual solution, more readily than someone who's not an architect, that's sort of what we do. And just being there was appreciated because you're in the healthcare profession and you, and you're planning facilities you don't know who to turn to. You don't know what's out there, you don't know where to start. RVLTR: I think that's a telling example, because an acquaintance of mine is both a licensed architect and an MD and she's been fighting for years to connect the two worlds because her whole thesis is that they're too disconnected and that's why a lot of medical buildings don't work very well. She's probably the only one in the world and maybe one of a handful that has that kind of education. So it speaks a lot to having the ability to zig when everybody else zags and see opportunities where no one else sees them. I think that's a very valuable lesson. Because you've been in this industry and especially looking at marketing for so long, are there some particularly egregious mistakes that you see firms making over and over when they market themselves that you can pinpoint? IC: Yeah. It's often the case of "on time, on budget." We're hiring you to be on time and on budget you say you're gonna be on time and on budget. It's like to market that you - when someone says "Can we have a three o'clock appointment?" and you're gonna market yourself: "I always show up at my three o'clock appointments", it's not great. And you can do better than that. There's a lot of the stating of the obvious. And I think people pick up on a lot of the jargon and so you're afraid not to use it. Again, you don't wanna be the outlier and a lot of firms have that attitude. The idea of a multidisciplinary, transdisciplinary, pluri-disciplinary firm yeah, that's useful. But by nature if we don't have that expertise in house, then we work with them through our consultant base. So I find that a little bit of a weak statement. RVLTR: I've written a few of those very generic paragraphs that basically summarize 90% of what the architecture firms say on their website: We're a full service, multidisciplinary, diverse group of architects who designs buildings. I mean, this is a gross exaggeration, but those kinds of things don't stand out because everybody else is saying them. So I think it's very important to remember. IC: That's a hard thing. I don't blame partners or leadership for being afraid to drop it. RVLTR: Why not? IC: Well, because I'm not, I'm being kind, but you're competing at brinkmanship. You feel like: "Oh, if I take my hand off the button and say: 'I'm not multidisciplinary', people are gonna think I'm not multidisciplinary, and they're gonna go to the next guy." RVLTR: Clients probably don't even know what that means. Do they? IC: Some do and some awesome clients are pretty sophisticated, hey can always hire a couple other people, you know, they don't need to [hire us] but for smaller projects, it's useful to have certain in-house services depending on what it is. SvN is very unique in that we're a pretty intensive planning operation and we are an architecture firm. There are not too many firms that can say that so we can stick handle difficult projects through the approvals process and get them built with a higher degree of confidence than our competition, because they don't have that multidisciplinary component. And I think it's an achievement. So I think it's a bona fide statement to say that we are a multidisciplinary firm. That being said, I just think that the term or that direction can sometimes lead to a client [that] may not be able to distinguish our multidisciplinary firm next to the other multidisciplinary firm. So we have to take [the] next steps to really clarify that for our client. And we do do that through other means that try and leverage our tactical muscle. RVLTR: I think it's important to say that being multidisciplinary is not a bad thing at all, if anything, it's an asset, but when everybody else is trying to claim that as their superpower, then it's not a superpower anymore. You'll have to present yourself in a different way that may still touch on the fact that you're multidisciplinary or transdisciplinary, but also presents you portrays you as different from the competition. I think that's the key. It's just not the first thing necessarily you should put on your website because - and I've done that exercise where you go look at a few dozen websites, if not hundreds, and I know people who've done that with thousands of architecture websites, I don't know how they've had the patience to do that - But if you did that and look the keywords, you quickly start seeing the ones that repeats themselves all the time, multidisciplinary, diverse, whatever. I think it's just not the first thing clients should see, because if you're gonna look at 10 architects who do what you do, and they see the same thing on all the landing pages, then say in their mind: "I can't tell them apart". And so the best way to tell them apart is on price. So the cheaper one will always get the job. It always comes down to that. So it's not necessarily that you don't want to be those things it's that you just want to present yourself in a different way that makes you stand out as unique. And I've talked a lot to advertising people, especially on this podcast, because I think there's a lot of really good lessons about marketing to be learned from advertising. And most advertising is total shit. 90% of it. And there's a number of reasons for that. But occasionally you'll see a very creative ad come out and usually they're funny or quirky or some variation thereof or some of them can be like really emotional., hat works too, like tear-jerkers almost. But the ones that are effective at keeping brand X on top of your mind are the ones that stand out one way or another. And they're usually also very effective commercially. One of the best examples is the Snickers campaign. They ran a few years ago: "You're not you when you're hungry". And I think the first one of that series were people playing rugby. And then all of a sudden, one of them gets knocked to the ground and turns into a famous old actress that just died this last year. She was already old at the time. And then she eats the Snickers and then turns back into this young, healthy, energetic man. IC: Betty White? RVLTR: Betty White that's right. IC: Bless her. RVLTR: And, and those were great. I hate Snickers. I would never buy one of those, but the fact that I remember it and the reality is that it also increased their bottom line. They sold more Snickers after those campaigns than they ever had before. So I think there's a true value commercially in standing out. It's just that too many people are afraid of it. IC: It's hard. because it's you want to build trust with the client. The work we do is [challenging], we have to embed ourselves with the clients [who are] taking a chance on us. If they're building their own home, it's probably the most expensive thing they've ever done in their lives. If it's an institution it could have huge effects on fundraising. So that's a lot on the line. I think it's very easy to kind of drop some of the humour and be very serious and trust -ased. But to your point, to stand out you have to present your differentiator. I mean, candy bars are sort of hard to present your differentiator. In architecture, we're a multidisciplinary firm which SvN is. How do you project that don't sound like it's cliche or platitude? How do you build trust without conveying arrogance? That's another thing. I know anecdotally, I've been on a lot selection committees and juries over a number of years. Sometimes when the architect comes in and sits at the edge of the table after he has given his talk in front of the board, casually sitting there going: "You know, Arnaud, we'll build your student residence. We'll build it on time and on budget, We've got a multidisciplinary office, we'll do a great job". The client might get scared because it's almost arrogant because it's kind of like: "were you not even listening to us?" Versus: "I've heard that [for] that particular project, it went to another firm and I know the client said: 'We chose this other firm because they came to us.' We actually don't know what we're gonna do. Because we haven't talked to anybody. We haven't talked to the community, we haven't talked to the students. We haven't fully fleshed [it] out with you. We don't know, but we're set up to listen. We're set up to go through the process. And we're pretty confident that when we go through that process, we'll come up with, with a solution that will benefit everyone." It turns the conversation around. Not trying to toot our own horn too much, I know SvN kind of touts itself as "listen first". It's a big thing for the firm, big tenet. It could sound kind of cheesy, but it's important. Because if you are arrogant, that's a trust-breaker. That's not good, no one likes an arrogant person on the first date, no one likes to hire an architect who's arrogant. Architects are arrogant enough as they are. That trust is important. If you eat that Snickers bar, you'll remember who you are all along. So if you're an architect that listens first maybe your client will feel like, you know that you will see them for who they are. RVLTR: That's a very good point. It's not actually not that hard once you learn how to do it properly to ask questions and just listen, because all you gotta do is ask, you can learn everything about a potential client by asking four or five, maybe six questions. That's all you need to do. And then the conversation will go from there, but that's all you need to start with. And that reveals so much more about your clients, which gives you the knowledge as a service provider. You need to be able to offer a solution that suits them. Obviously there's a lot more that goes into designing buildings for clients, but as a starter conversation, that's really all you need. And I think in the industry it would be beneficial if people said things about themselves less and demonstrated it [their expertise] more in their actions. Instead of saying you're multidisciplinary, maybe it's time to think about how you can show that to your clients, through your actions. So instead of sending the principal architect to a meeting with the clients, maybe you send a team of people and that could include the architect, but to [also] show that actually it's important for that portion of the team to be there because they need to know about the client too, or they can't design a building otherwise. And that's just a silly example. Maybe that's not the right way to do it, but just to think about how to do things differently, that will make you appear as if you're not just trying to get a job, but you genuinely care about doing good work for that client. And that will come with fees and profit and whatever. Obviously everybody needs that. But more listening. I certainly think that would be a great asset to a great many firms. IC: I think that that's a really important part. Makes me think of some of these firms where on their website, it's really just the two partners and everyone else. RVLTR: Yeah. IC: And you go: "Is that partner gonna be answering my call or email at 10 o'clock at night when I'm worried about something, and I trust that partner that's looking all glam to answer my calls or do I wanna know that there's a whole team that's gonna back me up?" Trying to build off what you're saying, you wanna project a sense that there's not just one person, there could be dozens that can back you up and having that teamwork, having that relationship. That's a strong selling feature. I think a lot of firms miss that opportunity to project that dialogue that you engage with when you hire an architect, RVLTR: There's never just one person. And sometimes the person who claims to be behind the masterpiece is not even doing any work, they're just basically lending their name to it. So yeah, it's a very good point. IC: I always remember once: it was a very, very large public building and I was on the selection committee. I was consulting. They paid along the way and we had a series of interviews and one architect firm, very high profile didn't get the job because the principal was saying: "You know, I'm working on this big project, I'm working on that project, I'm handling this, I'm flying out there." And the client was like: "Well who are we gonna call? Are you gonna handle our project? And what other projects are you working on?" And he's like: 'Oh, I'm handling them all. They're all under my charge. Don't worry." And we're scratching our heads going: "Well, that's just not possible. There's not enough hours in the day" Versus the teams that did better would bring in the principal and the more junior staff, they're all in the room, they're all going for the interview. And it's like, woo, we've got a team here. That's a strong selling feature. We've got a team. We just hired this new landscape architect. We're not even an architecture firm, but we've got a landscape architect. When you walk in and go: "You hire us, we just picked up this amazing woman. She just came out of this program. She's doing all this award-winning stuff, we're so glad to have her on the team. She's got a couple years experience. Boy, she's a good designer, but worry not, I've got you and I can handle it. So you have the range and the client would sit there and go: "My god". RVLTR: What if something happens to the principal even if they just get the flu for two weeks? Is the project stopping? It's important to think about. I think we've covered most of the questions I had for you. The last one I have is if you had one piece of advice for any architecture firm regarding how they market themselves, what would it be? IC: First, be authentic, really sell how you solve a problem. When a client is gonna hire you, whether you're going for your first job or whether you're going for a major airport, when it comes down to the wire, if both your firm and my firm, Arnaud, we both did these great airports. You know, yours might have been in Paris. Mine might have been in Berlin, but when it comes down to it, what's our team and what's our people? So I think really selling the people behind every design. I think that's, that's the greatest asset you can go with. RVLTR: That's a great piece of advice. And I would add to that, think of every touch point with your potential client as an opportunity to sell. Even if you're not saying anything, but just by the way you act. Things as simple as showing up a few minutes early, whatever the case maybe, there's so many things you can do. That's a thing that a lot of people tend to forget and I have forgotten it in the past too, but I think ultimately people judge you by all those micro touch points that happen throughout the interaction. And when you work on a project that lasts for years you don't necessarily have to maintain the perfect standard because nobody's perfect. But it has to be at a certain level throughout. There's also the fact that as projects get longer and longer, you have to work harder to maintain the same level of trust. Because trust tends to wane a bit over time. So if you don't work extra hard to maintain that trust that's that could bite you in the ass. IC: That's a good point. And it's consistency. New Speaker: RVLTR: That's a perfect way to summarize it. Consistency. This was a great conversation. We went in many different directions, but all kind of somewhat relevant to the topic of the image. So I want to thank you very much for giving some of your time to this podcast. And I look forward to the next conversation. IC: Arnaud, I appreciate it. I appreciate your authenticity. I appreciate your consistency and your, your reliability. RVLTR: You're very welcome.    

Mónica Arellano desde 2018 es editora del sitio en México de Archdaily, su forma de hacer arquitectura va desde la escritura y encontró su camino después de una crisis existencial. Para Mónica, la arquitectura no lo es todo y nos invita a abrir nuestra mente y cuerpo a nuevas experiencias que nos hará más que mejores arquitectos, mejores personas.

Rodrigo Guendelman conversó con el arquitecto y editor de ArchDaily, Nicolás Valencia, sobre el ganador del Premio Pritzker 2022, Francis Kéré. Mientras que el segundo bloque, estuvo con el Director Regional de Indap, Onofre Sotomayor con quien analizó la escasez hídrica en la Región Metropolitana.

Welcome to our 2nd episode of the Business of Architecture Series brought to you by ARCHISEARCH.gr This series is hosted by Vassilios Bartzokas, Founder of ARCHISEARCH.gr and the Design Ambassador an Communication & PR Agency for the Built Environment. Today we have with us Sara Kolata. Sara helps architects raise their well being. She is a producer and organizer of World's 1st Business of Architecture Symposium in partnership with ARCHDAILY, talking place the 1st to 5th of May online and you can register and see the program at WWW.DISRUPTSYMPOSIUM.COM Speakers include Founders, Partners and Directors of some of the leading Architecture, Media & Advisory Brands such as ZAHA HADID ARCHITECTS, SOM, BIG, PERKINS WILL, ARUP, UN STUDIO OMA SNOHETTA, GENSLER and others to name a few. Some of the thematics of the conference are: THE METAVERSE AS A NEW OPPORTUNITY FOR ARCHITECTS-STRATEGIC GROWTH AND BUSINESS DEVELOPMENT - VALUE-ADDING ACTIVITIES THROUGH DESIGN AND SERVICES.-LEAD WITH YOUR EXPERTISE: RESEARCH IMPACT STRATEGY FOR PRACTICE.-COMPACT BIGNESS: HOW WE REALIZE MEGA-PROJECTS WITHOUT A MEGA-OFFICE - THE IDENTITY OF THE ARCHITECT: CULTURE AND COMMUNICATION - FROM ATOM TO BITS: DIGITALISATION AND OPPORTUNITIES FOR ARCHITECTS - STAFF MANAGEMENT AND DEVELOPMENT etc A Charismatic person self made with amazing Energy, Sara hellps architects transform their lives and become profitable. In June we plan to organize our 1st Business of Architecture Conference in Athens together.

ABOUT Caspar Schols:Caspar's LinkedIn profile: linkedin.com/in/caspar-schols-12687470Email: cs@casparschols.comWebsites: https://www.cabin-anna.comInstagram: https://www.instagram.com/casparschols/Articles: Dezeen: https://www.dezeen.com/2020/10/27/anna-stay-meet-caspar-schols/Archdaily: https://www.archdaily.com/952580/cabin-anna-caspar-scholsA Home Is Not A House: https://socks-studio.com/2011/10/31/francois-dallegret-and-reyner-banham-a-home-is-not-a-house-1965/Bio: Cabin ANNA is created by Dutch designer Caspar Schols, who design and built the first cabin for his mother. Without any architectural education, but with a fascination for architecture and design, he was looking for a concept to bring people closer to nature.Cabin ANNA won various awards, among which the prestigious Architizer A+ Project of the Year Award 2021, one of the world's largest awards program for architecture and building-products. Cabin ANNA's mission now is to structurally connect every human being with nature once again.  SHOW INTRODUCTION:Are Physics and nature different things?I suppose they aren't given that all things in nature, the universe, are bound by the laws of physics.So maybe it's not so surprising that a young physicist, who loved architecture - also bound by the laws of physics - should find himself in the position of a major career path change when asked by his mother to build a small cabin in her back yard so that she could be in nature. Not a place to necessarily do something in nature but ‘be' in nature, to experience it, connect with it, and get back to it, in a profoundly embodied way. There is a Dutch term for what she wanted to do - Niksen “nik-suhn” – it's a noun that means:“…the practice of doing nothing as a means of relieving stress; idle activity, as staring into the trees or listening to music, with no purpose other than relaxation.”She could spend all day in the backyard, relaxing but noticing all of the details – birds, sounds of wind and birds, shapes of leaves on tress, passing of the clouds, changes in the quality of light…As a young boy he too felt deeply connected to nature. With his family, he had slept out under the stars, exposed the elements, but connected with the universe and protected by his family who slept beside him.With a budget of 20,000 Euros, Caspar Schols set off to design and build Cabin ANNA. Which by the way takes its name from his mother. Cabin Anna does more than just physically transform engaging the inhabitants to live different experiences in varying degrees of connectedness with nature. It expands as if taking a deep breath, opening up to the elements allowing the interior to become at one with the exterior. You can literally sleep under the stars as Caspar once did as a young boy.It is both simple and impeccably detailed, everything counts.It is beautiful and balanced so that nothing can be added or taken away but for the worse. And with a gentle but deliberate push its envelope slides open along beautifully engineered tracks like shedding your clothes to bathe in nature.For Caspar, Cabin ANNA it is not really about increasing space, but about changing space, changing atmosphere, changing utility and always about bringing us back to nature and the laws of the universe and where we stand among the stars.Cabin ANAA is Fallingwater, Phillip Johnson's or Meis Van Der Rohe's glass houses, Henry David Thoreau's cabin in the woods and a Transformer all in one. For many of us Caspar suggests, “… this requires a different attitude, you have to be willing to change your customs, how you live…” Being in, and with, nature is a way of living from which modern society has immerged. Cabin ANNA is an invitation to remember where we have come from.ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites: https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. 

Tá nos ares a Retrospectiva 2021 do podcast Maconhômetro Boletim de Notícias! Como bons maconheiros, nós tardamos mas não falhamos e neste episódio especial em áudio e vídeo, @eusouoton traz pra gente um intérão de notícias do ano de 2021. Tem muita política, ciência, saúde e os avanços pela legalização no Brasil e no Mundo! Confira e comece 2022 com o panorama sobre 2021 fresquinho na mente! Esse episódio utilizou conteúdos dos veículos ADWA Cannabis, Sechat, Smoke Buddies, Cannabis & Saúde, Revista Istoé, Portal G1, Revista Veja, Maryjuana, Hypeness, Folha de São Paulo, Kaya Mind, Leafly, Abracannabis, DW, Green Science Times, Abrace Esperança, Apepi, Revista Menu, Revista Exame, Food Forum, UOL, Cultive, Consultor Jurídico, BBC News, Flor da Vida, ArchDaily, O Globo, Amme Medicinal, Agência Brasil, El país e Greenco. Assista ao vídeo do episódio no YouTube do Cannabis Monitor e aproveita pra se inscrever no nosso canal! Feliz 2022 pra geral! Seguimos na luta!

Rodrigo Guendelman conversó con Nicolás Valencia, editorial & data manager de ArchDaily, quien comentó lo mejor de los proyectos arquitectónicos que abrieron sus puertas al público en 2021, donde destacó el Palacio Pereira, la estación Plaza de Armas en Línea 3, el centro comunitario Matta Sur, el Centro de Innovación INES en Concepción y el Palacio Vergara en Viña del Mar, entre otros.

Kalpak Shah | Principal Architect at Studio Course. After earning a bachelor degree in architecture from MMCA, Pune, India in 2010, Shah studied Masters in Advanced Architecture Design from Staedelschule Architecture class, Frankfurt, Germany in 2013. He also practised as an architect with gurus like Christopher Benninger, of CCBA, Pune and Bijoy Jain, of Studio Mumbai, India, between 2010-2015. After gathering such experience, he established the practice “Studio Course” in 2015. Since the conception, the firm has been involved in several projects, working design to more levels of innovation and perfection. Their projects have been published in several international magazines such as “ArchDaily”, “Domus”, “Dezeen”, “Elle Decor”, “Design Boom”, etc. They have also won national awards at “FOAID” 2017, “Hafele Trends” 2018, “Elle Decor India Design” 2019 and international award at “A Design”, Milan, Italy 2018, “German Design Council”, Frankfurt, Germany 2019.

Welcome to the Elevator World News Podcast. Today's podcast news podcast is sponsored by elevatorbooks.com: www.elevatorbooks.com BROOKLYN NYC SUPERTALL WITH TKE VT TOPS OUT SHoP Architects and JDS Development Group's The Brooklyn Tower at 9 DeKalb Avenue has reached its final height, ArchDaily reports. The monumental tower stands at 1,066 ft, becoming the first supertall skyscraper in NYC's outer boroughs. The Brooklyn Tower represents a large-scale adaptive reuse project, revitalizing NYC's historic Dime Savings Bank of Brooklyn. The tower's striking design and geometry draw inspiration from the hexagonal composition of the existing bank, which was designed by architects Halsey, McCormack & Helmer in 1932, and labeled as a "New York City Landmark" in 1994. The 115-year-old structure is now being carefully restored and seamlessly integrated with the new structure, allowing residents to enter the main lobby through the ionic colonnade. With a vertical transportation-system (VT) by TK Elevator (TKE), the 73-story project features 550 residences, almost 100,000 ft2 of retail at its lower floors, and over 100,000 ft2 of health and fitness amenities, which include a pool, lounge and barbecue on the roof deck. The tower is expected to launch residence sales in early 2022, and open for occupancy late 2022. Image credit: by Michael Young for New York YIMBY To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes │ Google Play | SoundCloud │ Stitcher │ TuneIn

What can automation do for you and your company? So far, do you think it's helped or hindered what you do? Join hosts Christopher Riddell and Jackson Sensat and guest Patrick Chopson as they discuss the differences that automation has and will have on the AEC industry, making informed decisions on the job site, how to optimize data collection, and harnessing AI to achieve both climate and social change.  Patrick Chopson leads cove.tool, a web-based design software for buildings using machine learning and automation to drive decision making. He oversees product development and customer acquisition as a Co-Founder. A graduate of Georgia Tech with a Master's in High Performance Buildings, he is a licensed architect with over 17 years of experience in architecture, research, and mechanical engineering firms. Prior to cove.tool he co-founded a successful building performance consulting firm Pattern r+d. Multiple publications include Architect Magazine, Tech Crunch, Site Selection, ArchDaily, and more.

嘉宾 | 大卫（媒体人），晴爷爷（媒体人）主播 | nada 剪辑 | SJ书店是个老话题，希望能提供一点儿新知。[下集] 我们谈到了出版业的动荡，独立书店、社区书店的生存之道。以及，为什么书店不赚钱，这几年却越开越多；政府想要开更多社区书店，结果会怎样？# 名词解释· Archdaily一个关于建筑和室内设计的网站· 贝聿铭I.M. Pei，美籍华裔建筑师，普利茨克奖得主。高产，甲方挚爱，“在潮流与传统之间寻求一种谨慎的平衡”。 2002 年设计了苏州博物馆，贝聿铭称其“中而新，苏而新”。推荐阅读 I.M. Pei,Master Architect Whose Buildings Daled the World,Dies at 102（https://www..com/2019/05/16/obituaries/im-pei-dead.html）· The Cundill History Prize麦吉尔大学坎迪尔历史奖，2019 年获奖作品为 Julia Lovell 的 Maoism: A Global History· 《死屋：沙皇统治时期的西伯利亚流放制度》2017 年获坎迪尔历史奖，后浪于 2019 年 6 月出版，属“汗青堂”丛书，该丛书专门引进海外受专业认可的历史著作。· shortlist指入围名单。· Strand Bookstore纽约百年老书店，位于 828 Broadway，如今也是网红打卡店。· “海外中国研究丛书”江苏人民出版社 1988 年起出版发行至今。丛书作者包括海外中国研究学者费正清、魏斐德、史华兹、宇文所安、杜维明、斯波义信、沟口雄三、伊沛霞等。· “外交系列”口误，实则为“东方编译所译丛”。东方编译所成立于 1988 年，同时成立学术委员会，推荐、出版国外“具有前瞻性的、开阔国人眼界”的著作。· 森记书店“想看几本有关南方小岛的书，本来准备从北角走到铜锣湾去诚品买，途径商场地库的一间小书店叫森记图书，顺便一看，不得了，深黄气质，群猫环绕，书脊上贴着“好书”“作者还有XX一书”等细致标签，想看的几本中文书都买齐了。店主是一位上了年纪但留着可爱齐刘海的女士，我问有没有服装设计师刘培基的《举头望明月》，她说有啊！真的好好看，我一晚上看完了一本，特别是讲身世的上册，让人感动。书只剩了两套，黑色封面轻微磨损，店主说，设计师只知道要好看，不知道我们铺面要把书插进去。结账的时候抹了零。小店魅力。后来看到 BBC 中文的报道，她 20 岁开始在书店打工，一晃四十年。”（by 晴爷爷）· 《举头望明月：刘培基自传》刘培基（Eddie Lau），香港著名的时装设计师及形象设计师，人们将梅艳芳的百变造型归功于他。· 关于独立书店“复兴”的几篇报道：巴诺要越来越像本地小书店，https://fortune.com/2019/06/23/barnes-noble-local-bookstore/独立店通过办活动、增加非书商品而蓬勃，https://www..com/2019/06/23/business/independent-bookstores.htmlInstagram 救了独立书店 ，https://www.vox.com/the-goods/2018/12/19/18146500/independent-bookstores-instagram-social-media-growth· 阎云翔人类学学者，主要研究中国的社会发展和社会变迁、家庭与亲属制度、个体化等。著有《礼物的流动——一个中国村庄的互惠则与社会网络》《私人生活的变革：一个中国村庄里的爱情、家庭与亲密关系（1949—1999）》。· 上图指上海图书馆。· 茑屋书店1983 年增田宗昭开设茑屋，售卖书和影音。2010 年在代官山开的新门店，通过营造零售空间被奉为新的书店模板。此后，日本一些地方图书馆开始交由茑屋书店负责改造，但也引发了争议。· 半层书店位于上海哈尔滨路半岛湾内，空间设计特别，以建筑类、艺术设计类书籍和台版书、外文书为特色，常举办建筑相关的讲座。· 佳作书局位于北京花家地中央美术学院旁的一家专业书店。新店位于 798 艺术园区。设备：ZoomH6 + 外接话筒场地提供：ONES Ventures「上层建筑」是一档关于城市的播客节目。从设计出发，谈论城市有关的一切，既谈经济基础，也谈上层建筑。欢迎给我们写信 senttozoo@gmail.com

Archdaily es el sitioweb para arquitectos más visitado del mundo. Conocemos a David Assael, uno de sus creadores.

Ryan Scavnicky is the founder of Extra Office. His work is published in ArchDaily, Architect's Newspaper, SCI-Arc Offramp, UCLA POOL, Archinect, and Hyperallergic. In addition, he has over 6 years of experience in international offices in Beijing, San Francisco, and Vienna. He received his Masters in Design Theory and Pedagogy with distinction from SCI-Arc in Los Angeles. He studied at DAAP in Cincinnati for his Masters of Architecture. Ryan currently serves as the Visiting Teaching Fellow at the School of Architecture at Taliesin, an experimental graduate school located in the Arizona desert. He has previously held appointments at the University of Cincinnati, Kent State University, and SCI-Arc. In this episode, we talk about teaching and how he unexpectedly got his first teaching job after graduation. We talk about his time at Cincinnati University and at SCI-Arc, where he got a Masters in Design Theory and Pedagogy and how that degree helped him understand how to be a better design professor. We have a conversation about PhDs vs Masters, and how the role of the professor has been changing with time. He talks about his interests that are not architecture-per se, but more related to culture and how people get information and take a position through the Internet. That position being how to communicate architecture in a better way through social media. Instead of putting out pretty pictures, we should be teaching and bringing value to the community. He believes that social media is a public forum, where people can communicate about ideas. He believes it is time to broaden the discourse on social platforms. Finally, he gives great advice to students, saying that they should bring something from outside of architecture into the career, to make it more interesting. 1. To start off the conversation, tell me a little about yourself. Was architecture something you always wanted to do? 2. How was your experience in architecture school? What were some of your interests back then 3a. What did you do in the interim after getting your Masters from Univ. Of Cincinnati? 3b. I saw you have a Masters of Pedagogy from SCI-Arc, tell me about that. I've seen it on their website for some time and have found it extremely interesting. What has this second Masters allowed you to do? 4. Were you always into teaching? 5. What are three things that you love the most about teaching, and the three things you dislike the most. 6. How did the idea of journalism/content creation sound to you during your studies? Were you always interested on this or was this something that came unexpectedly? 7. How did you become known as a “meme curator/maker?” 8. Where do you see the profession of architecture going? (What do you believe the future of the career will be like?) 9. Do you believe architecture is a very open profession? In the sense that it does not only entail design, but other forms of communication? (Such as journalism, writing, etc...) 10. How has the internet changed architecture? Or better yet, the world in general? 11. Tell me a little about Extra Office, what is its purpose and how has it given you the ability to do what you love 12. Where will we see you in 5 years? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

人物 婉莹，大黄，小爱 简介 aka 「平成最后的博物志」。（实际上传时间已经令和了 (:3」∠) 三人就巴黎圣母院大火事件闲聊了一番，祝大家节日愉快。 如果您喜欢《博物志》，请考虑成为《博物志》的会员支持我们。 微店：博物志 淘宝店：小黄鱼水产 Youtube 频道：博物志museelogue Bilibili 频道：博物志 婉莹瞎唱的电报频道 《哈利波特与未命名播客计划》 《哈利波特与未命名播客计划》公众号 相关链接 巴黎圣母院大火情况 安特卫普圣母主教座堂 科隆大教堂 米兰主教座堂 巴黎圣母院前结构工程师在新闻中的发言（法语） ArchDaily 对阿克萨清真寺起火的报道 AP News - 66 minutes: The frantic race to save Notre Dame 《巴黎烧了吗？》 Support 博物志

本期我们向长期以来看不顺眼的博物馆假人发起了总攻。录音的时候婉莹和大黄都嗓子不舒服，听起来或许有些怪怪的，大黄的音轨有部份噪音无法通过后期彻底消除，非常抱歉。 00:00:00 开场，三周年活动进展汇报 00:03:47 听众反馈 00:10:36 大黄对听众反馈的反馈： - 央美建筑的风格 - 普通人如何理解建筑 - 建筑师的手稿有什么作用 - 建筑展览的原作 - 怎样才算好的建筑 00:33:37 安藤忠雄的头大佛 00:46:42 博物馆里的假人 - 假人是怎么做出来的 - 为什么要做场景还原 - 高度还原的场景是否来自对观众的低估 - 恐怖谷理论：展览空间中的假人会令参观者不适 - 关键的「一比一」 - 「卡通化」也有适应场景 今年八月我们就三周年了！ 所有届时会籍在两年半以上的会员都将收到答谢特别版徽章。 在八月份成为年付会员或者提前续费年付会籍的听众会收到生日纪念徽章。 另有彩虹小黄鱼徽章一枚在八月份推出，扣除成本和运费之后的所有收入将捐给国内一家（具体哪家待定）致力平权的公益组织。 「极度狭隘」和博物志新版 logo T恤即将上架。 如果您喜欢《博物志》，请考虑成为《博物志》的会员支持我们。 相关链接 ArchDaily 关于头大佛的介绍文章 真駒内滝野霊園 恐怖谷理论 凤凰艺术对《清明上河图3.0》的报道 杉本博司的《Diorama》系列作品 罗恩·穆克 Support 博物志