Podcast appearances and mentions of Louis Sullivan

David Mayernik is an architect, artist, writer, educator and most of all, he is a life-long student. David grew up in Allentown Pennsylvania. As he tells us during this episode, even at a young age of two he already loved to draw. He says he always had a pencil and paper with him and he used them constantly. His mother kept many of his drawings and he still has many of them to this day.   After graduating from University of Notre Dame David held several positions with various architectural firms. He always believed that he learned more by teaching himself, however, and eventually he decided to leave the professional world of architecture and took teaching positions at Notre Dame. He recently retired and is now Professor Emeritus at Notre Dame.   Our conversation is far ranging including discussions of life, the importance of learning and growing by listening to your inner self. David offers us many wonderful and insightful lessons and thoughts we all can use. We even talk some about about how technology such as Computer Aided Design systems, (CAD), are affecting the world of Architecture. I know you will enjoy what David has to say. Please let me know your thoughts through email at michaelhi@accessibe.com.     About the Guest:   David Mayernik is an architect, artist, writer, and educator. He was born in 1960 in Allentown, Pennsylvania; his parents were children of immigrants from Slovakia and Italy. He is a Fellow of the American Academy in Rome and the British Royal Society for the Encouragement of Arts, Manufactures, and Commerce, and has won numerous grants, awards and competitions, including the Gabriel Prize for research in France, the Steedman Competition, and the Minnesota State Capitol Grounds competition (with then partner Thomas N. Rajkovich). In 1995 he was named to the decennial list of the top forty architects in the United States under forty. In the fall of 2022, he was a resident at the Bogliasco Foundation in Liguria and the Cini foundation in Venice.   His design work for the TASIS campus in Switzerland over twenty-eight years has been recognized with a Palladio Award from Traditional Building magazine, an honorable mention in the INTBAU Excellence Awards, and a jury prize from the Prix Européen d'Architecture Philippe Rotthier. TASIS Switzerland was named one of the nine most beautiful boarding schools in the world by AD Magazine in March 2024. For ten years he also designed a series of new buildings for TASIS England in Surrey.   David Mayernik studied fresco painting with the renowned restorer Leonetto Tintori, and he has painted frescoes for the American Academy in Rome, churches in the Mugello and Ticino, and various buildings on the TASIS campus in Switzerland. He designed stage sets for the Haymarket Opera company of Chicago for four seasons between 2012 and 2014. He won the competition to paint the Palio for his adopted home of Lucca in 2013. His paintings and drawings have been exhibited in New York, Chicago, London, Innsbruck, Rome, and Padova and featured in various magazines, including American Artist and Fine Art Connoisseur.   David Mayernik is Professor Emeritus with the University of Notre Dame, where for twenty years he taught in the School of Architecture. He is the author of two books, The Challenge of Emulation in Art and Architecture (Routledge, UK) and Timeless Cities: An Architect's Reflections on Renaissance Italy, (Basic Books), and numerous essays and book chapters, including “The Baroque City” for the Oxford Handbook of the Baroque. In 2016 he created the online course The Meaning of Rome for Notre Dame, hosted on the edX platform, which had an audience of six thousand followers. Ways to connect with David:   Website: www.davidmayernik.com Instagram: davidmayernik LinkedIn: davidmayernik EdX: The Meaning of Rome https://www.edx.org/learn/humanities/university-of-notre-dame-the-meaning-of-rome-the-renaissance-and-baroque-city     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Well, hi and welcome once again. Wherever you happen to be, to another episode of unstoppable mindset. Today, we get to chat with David Mayernik, unless you're in Europe, and then it's David Mayernik, but either way, we're glad to have him. He is an architect. He is an award winning architect. He's an author. He's done a number of things in his life, and we're going to talk about all of those, and it's kind of more fun to let him be the one to talk more about it, and then I can just pick up and ask questions as we go, and that's what we'll do. But we're really glad that he's here. So David, welcome to unstoppable mindset.   David Mayernik ** 01:57 Oh, thanks so much. Michael, thanks for the invitation. I'm looking forward to it.   Michael Hingson ** 02:02 Well, I know we've been working on getting this set up, and David actually happens to be in Italy today, as opposed to being in the US. He was a professor at Notre Dame for 20 years, but he has spent a lot of time in Europe and elsewhere, and I'm sure he's going to talk about that. But why don't we start, as I mentioned earlier, as I love to do, tell us kind of about the early David growing up.   David Mayernik ** 02:25 Well, so my both of my parents passed away several years ago, and when I was at my mom's funeral, one of our next door neighbors was telling my wife what I was like when I was a kid, and she said he was very quiet and very intense. And I suppose that's how I was perceived. I'm not sure I perceived myself that way I did. The thing about me is I've always drawn my mom. I mean, lots of kids draw, but I drew like credibly, well, when I was, you know, two and three years old. And of course, my mother saved everything. But the best thing about it was that I always had paper and pencil available. You know, we were terribly well off. We weren't poor, but we weren't, you know, well to do, but I never lacked for paper and pencils, and that just allowed me to just draw as much as I possibly could.   Michael Hingson ** 03:16 And so I guess the other question is, of course, do you still have all those old drawings since your mom kept   David Mayernik ** 03:23 them? Well, you know? Yeah, actually, after she passed, I did get her, Well, her collection of them. I don't know that all of them. My father had a penchant for throwing things away, unfortunately. So some of the archive is no longer with us, but no but enough of it. Just odds and bits from different areas of my life. And the thing is, you know, I was encouraged enough. I mean, all kids get encouraged. I think when they're young, everything they do is fabulous, but I had enough encouragement from people who seem to take it seriously that I thought maybe I had something and and it was the kind of thing that allowed me to have enough confidence in myself that I actually enjoyed doing it and and mostly, my parents were just impressed. You know, it just was impressive to them. And so I just happily went along my own way. The thing about it was that I really wanted to find my own path as somebody who drew and had a chance in high school for a scholarship to a local art school. I won a competition for a local art school scholarship, and I went for a couple of lessons, and I thought, you know, they're just teaching me to draw like them. I want to draw like me. So for better or worse, I'm one of those autodidacts who tries to find my own way, and, you know, it has its ups and downs. I mean, the downside of it is it's a slower learning process. Is a lot more trial and error. But the upside of it is, is that it's your own. I mean, essentially, I had enough of an ego that, you know, I really wanted to do. Things my way.   Michael Hingson ** 05:02 Well, you illustrate something that I've believed and articulate now I didn't used to, but I do now a lot more, which is I'm my own best teacher. And the reality is that you you learn by doing, and people can can give you information. And, yeah, you're right. Probably they wanted you to mostly just draw like them. But the bottom line is, you already knew from years of drawing as a child, you wanted to perhaps go a slightly different way, and you worked at it, and it may have taken longer, but look at what you learned.   David Mayernik ** 05:37 Yeah, I think it's, I mean, for me, it's, it's important that whatever you do, you do because you feel like you're being true to yourself somehow. I mean, I think that at least that's always been important to me, is that I don't, I don't like doing things for the sake of doing them. I like doing them because I think they matter. And I like, you know, I think essentially pursuing my own way of doing it meant that it always was, I mean, beyond just personal, it was something I was really committed to. And you know, the thing about it, eventually, for my parents was they thought it was fabulous, you know, loved great that you draw, but surely you don't intend to be an artist, because, you know, you want to have a job and make a living. And so I eventually realized that in high school, that while they, well, they probably would have supported anything I did that, you know, I was being nudged towards something a little bit more practical, which I think happens to a lot of kids who choose architecture like I did. It's a way, it's a practical way of being an artist and and that's we could talk about that. But I think that's not always true.   Michael Hingson ** 06:41 Bill, go ahead, talk about that. Well, I think that the   David Mayernik ** 06:44 thing about architecture is that it's become, well, one it became a profession in America, really, in the 20th century. I mean, it's in the sense that there was a licensing exam and all the requirements of what we think of as, you know, a professional service that, you know, like being a lawyer or a doctor, that architecture was sort of professionalized in the 20th century, at least in the United States. And, and it's a business, you know, ostensibly, I mean, you're, you know, you're doing what you do for a fee. And, and so architecture tries to balance the art part of it, or the creative side, the professional side of it, and the business side. And usually it's some rather imperfect version of all of those things. And the hard part, I think the hardest part to keep alive is the art part, because the business stuff and the professional stuff can really kind of take over. And that's been my trial. Challenge is to try to have it all three ways, essentially.   Michael Hingson ** 07:39 Do you think that Frank Lloyd Wright had a lot to do with bringing architecture more to the forefront of mindsets, mindsets, and also, of course, from an art standpoint, clearly, he had his own way of doing things.   David Mayernik ** 07:54 Yeah, absolutely he comes from, I mean, I wouldn't call it a rebellious tradition, but there was a streak of chafing at East Coast European classicism that happened in Chicago. Louis Sullivan, you know, is mostly responsible for that. And I but, but Right, had this, you know, kind of heroic sense of himself and and I think that his ability to draw, which was phenomenal. His sense that he wanted to do something different, and his sense that he wanted to do something American, made him a kind of a hero. Eventually, I think it coincided with America's growing sense of itself. And so for me, like lot of kids in America, my from my day, if you told somebody in high school you wanted to be an architect, they would give you a book on Frank Lloyd Wright. I mean, that's just, you know, part of the package.   Michael Hingson ** 08:47 Yeah, of course, there are others as well, but still, he brought a lot into it. And of course there, there are now more architects that we hear about and designers and so on the people what, I m Pei, who designed the world, original World Trade Center and other things like that. Clearly, there are a number of people who have made major impacts on the way we design and think of Building and Construction today,   David Mayernik ** 09:17 you know, I mean America's, you know, be kind of, it really was a leader in the development of architecture in the 20th century. I mean, in the 19th century was very much, you know, following what was happening in Europe. But essentially, by the 20th century, the America had a sense of itself that didn't always mean that it rejected the European tradition. Sometimes it tried to do it, just bigger and better, but, but it also felt like it had its, you know, almost a responsibility to find its own way, like me and, you know, come up with an American kind of architecture and and so it's always been in a kind of dialog with architecture from around the world. I mean, especially in Europe, at Frank Lloyd Wright was heavily influenced by Japanese architecture and. And so we've always seen ourselves, I think, in relationship to the world. And it's just the question of whether we were master or pupil to a certain extent,   Michael Hingson ** 10:07 and in reality, probably a little bit of both.   David Mayernik ** 10:12 Yeah, and we are, and I think, you know, acknowledging who we are, the fact that we didn't just, you know, spring from the earth in the United States, where we're all, I mean, essentially all immigrants, mostly, and essentially we, you know, essentially bring, we have baggage, essentially, as a culture, from lots of other places. And that's actually an advantage. I mean, I think it's actually what makes us a rich culture, is the diversity. I mean, even me, my father's family was Slovak, my mother's family Italian. And, you know from when I tell you know Europeans that they think that's just quintessentially American. That's what makes you an American, is that you're not a purebred of some kind.   Michael Hingson ** 10:49 Yeah, yeah. Pure purebred American is, is really sort of nebulous and and not necessarily overly accurate, because you are probably immigrants or part other kinds of races or nationalities as well. And that's, that's okay.   David Mayernik ** 11:08 It's, it's rich, you know, I think it's, it's a richer. It's the extent to which you want to engage with it. And the interesting thing about my parents was that they were both children of first generation immigrants. My mom's parents had been older Italian, and they were already married, and when they came to the States, my father's parents were younger and Slovak, and they met in the United States. And my father really wasn't that interested in his Slovak heritage. I mean, just, you know, he could speak some of the language, you know, really feel like it was something he wanted to hold on to or pass along, was my mom was, I mean, she loved her parents. She, you know, spoke with him in Italian, or actually not even Italian, the dialect from where her parents came from, which is north of Venice. And so she, I think she kind of, whether consciously or unconsciously, passed that on to me, that sense that I wanted to be. I was interested in where I came from, where the origins of my where my roots were, and it's something that had an appeal for me that wasn't just it wasn't front brain, it was really kind of built into who I was, which is why, you know, one of the reasons I chose to go to Notre Dame to study where I also wound up teaching like, welcome back Carter, is that I we had a Rome program, and so I've been teaching in the Rome program for our school, but we, I was there 44 years ago as a student.   Michael Hingson ** 12:28 Yeah. So quite a while, needless to say. And you know, I think, well, my grandmother on my mother's side was Polish, but I I never did get much in the way of information about the culture and so on from her and and my mom never really dealt with it much, because she was totally from The Bronx in New York, and was always just American, so I never really got a lot of that. But very frankly, in talking to so many people on this podcast over almost the last four years, talking to a number of people whose parents and grandparents all came to this country and how that affected them. It makes me really appreciate the kind of people who we all are, and we all are, are a conglomerate of so many different cultures, and that's okay, yeah? I mean,   David Mayernik ** 13:31 I think it's more than okay, and I think we need to just be honest about it, yeah. And, you know, kind of celebrate it, because the Italians brought with them, you know, tremendous skills. For example, a lot of my grandfather was a stone mason. You know, during the Depression, he worked, you know, the for the WPA essentially sponsored a whole series of public works projects in the parks in the town I grew up in Allentown, Pennsylvania. And Allentown has a fabulous park system. And my grandfather built a lot of stone walls in the parks in the 1930s and, you know, all these cultures that came to the states often brought, you know, specialized skills. You know, from where they they came from, and, and they enriched the American, you know, skill set, essentially, and, and that's, you know, again, that's we are, who we are because of that, you know, I celebrated I, you know, I'm especially connected to my Italian heritage. I feel like, in part because my grandfather, the stone mason, was a bit of jack of all trades. He could paint and draw. And my mom, you know, wrote poetry and painted. And even though she mostly, you know, in my life, was a was a housewife, but before she met my father, and they got married relatively late for their day, she had a professional life in World War Two, my mom actually went to Penn State for a couple of years in the start of at the start of the war, and then parents wanted her to come home, and so she did two years of engineering. Penn State. When she came back to Allentown, she actually got a job at the local airplane manufacturing plant that was making fighter planes for the United States called company called volte, and she did drafting for them. And then after World War Two, she got a job for the local power company drafting modern electrical kitchens and and so I've inherited all my mom's drafting equipment. And, you know, she's, she's very much a kind of a child of the culture that she came from, and in the sense that it was a, you know, artistic culture, a creative culture. And, you know, I definitely happy and proud of   Michael Hingson ** 15:37 that. You know, one of the things that impresses me, and I think about a lot in talking to so many people whose parents and grandparents immigrated to this country and so on, is not just the skill sets that they brought, but the work ethic that they had, that they imparted to people. And I think people who have had a number of generations here have not always kept that, and I think they've lost something very valuable, because that work ethic is what made those people who they were   David Mayernik ** 16:08 absolutely I mean, my Yeah, I mean my father. I mean absolutely true is, I mean tireless worker, capable of tremendous self sacrifice and and, you know, and that whole generation, I mean, he fought in World War Two. He actually joined, joined the Navy underage. He lied about his age to get in the Navy and that. But they were capable of self, tremendous self sacrifice and tremendous effort. And, you know, I think, you know, we're always, you know, these days, we always talk about work life balance. And I have to say, being an architect, most architects don't have a great work life balance. Mostly it's, it's a lot of work and a little bit of life. And that's, I don't, you know. I think not everybody survives that. Not every architects marriage survives that mine has. But I think it's, you know, that the idea that you're, you're sort of defined by what you do. I think there's a lot of talk these days about that's not a good thing. I I'm sort of okay with that. I'm sort of okay with being defined by what I do.   Michael Hingson ** 17:13 Yeah, and, and that that's, that's okay, especially if you're okay with it. That's good. Well, you So you went to Notre Dame, and obviously dealt with architecture. There some,   David Mayernik ** 17:28 yeah. I mean, the thing, the great thing about Notre Dame is to have the Rome program, and that was the idea of actually a Sicilian immigrant to the States in the early 20th century who became a professor at Notre Dame. And he had, he won the Paris prize. A guy named Frank Montana who won the Paris prize in the 1930s went to Harvard and was a professor at Notre Dame. And he had the good idea that, you know, maybe sending kids to five years of architecture education in Indiana, maybe wasn't the best, well rounded education possible, and maybe they should get out of South Bend for a year, and he, on his own initiative, without even support from the university, started a Rome program, and then said to the university, hey, we have a Rome program now. And so that was, that was his instinct to do that. And while I got, I think, a great education there, especially after Rome, the professor, one professor I had after Rome, was exceptional for me. But you know, Rome was just the opportunity to see great architecture. I mean, I had seen some. I mean, I, you know, my parents would go to Philadelphia, New York and, you know, we I saw some things. But, you know, I wasn't really bowled over by architecture until I went to Rome. And just the experience of that really changed my life, and it gave me a direction,   Michael Hingson ** 18:41 essentially. So the Rome program would send you to Rome for a year.   David Mayernik ** 18:46 Yeah, which is unusual too, because a lot of overseas programs do a semester. We were unusual in that the third year out of a five year undergraduate degree in architecture, the whole year is spent in Rome. And you know, when you're 20 ish, you know, 20 I turned 21 when I was over there. It's a real transition time in your life. I mean, it's, it was really transformative. And for all of us, small of my classmates, I mean, we're all kind of grew up. We all became a bit, you know, European. We stopped going to football games when we went back on campus, because it wasn't cool anymore, but, but we, we definitely were transformed by it personally, but, it really opened our eyes to what architecture was capable of, and that once you've, once you've kind of seen that, you know, once you've been to the top of the mountain, kind of thing, it can really get under your skin. And, you know, kind of sponsor whatever you do for the rest of your life. At least for me, it   Michael Hingson ** 19:35 did, yeah, yeah. So what did you do after you graduated?   David Mayernik ** 19:40 Well, I graduated, and I think also a lot of our students lately have had a pretty reasonably good economy over the last couple of decades, that where it's been pretty easy for our students to get a job. I graduated in a recession. I pounded the pavements a lot. I went, you know, staying with my parents and. Allentown, went back and forth to New York, knocking on doors. There was actually a woman who worked at the unemployment agency in New York who specialized in architects, and she would arrange interviews with firms. And, you know, I just got something for the summer, essentially, and then finally, got a job in the in the fall for somebody I wanted to work with in Philadelphia and and that guy left that firm after about three months because he won a competition. He didn't take me with him, and I was in a firm that really didn't want to be with. I wanted to be with him, not with the firm. And so I then I picked up stakes and moved to Chicago and worked for an architect who'd been a visiting professor at Notre Dame eventually became dean at Yale Tom Beebe, and it was a great learning experience, but it was also a lot of hours at low pay. You know, I don't think, I don't think my students, I can't even tell my students what I used to make an hour as a young architect. I don't think they would understand, yeah, I mean, I really don't, but it was, it was a it was the sense that you were, that your early years was a kind of, I mean an apprenticeship. I mean almost an unpaid apprenticeship at some level. I mean, I needed to make enough money to pay the rent and eat, but that was about it. And and so I did that, but I bounced around a lot, you know, and a lot of kids, I think a lot of our students, when they graduate, they think that getting a job is like a marriage, like they're going to be in it forever. And, you know, I, for better or worse, I moved around a lot. I mean, I moved every time I hit what I felt was like a point of diminishing returns. When I felt like I was putting more in and getting less out, I thought it was time to go and try something else. And I don't know that's always good advice. I mean, it can make you look flighty or unstable, but I kind of always followed my my instinct on that.   Michael Hingson ** 21:57 I don't remember how old I was. You're talking about wages. But I remember it was a Sunday, and my parents were reading the newspaper, and they got into a discussion just about the fact that the minimum wage had just been changed to be $1.50 an hour. I had no concept of all of that. But of course, now looking back on it, $1.50 an hour, and looking at it now, it's pretty amazing. And in a sense, $1.50 an hour, and now we're talking about $15 and $16 an hour, and I had to be, I'm sure, under 10. So it was sometime between 1958 and 1960 or so, or maybe 61 I don't remember exactly when, but in a sense, looking at it now, I'm not sure that the minimum wage has gone up all that much. Yes, 10 times what it was. But so many other things are a whole lot more than 10 times what they were back then,   David Mayernik ** 23:01 absolutely, yeah. I mean, I mean, in some ways also, my father was a, my father was a factory worker. I mean, he tried to have lots of other businesses of his own. He, you're, you're obviously a great salesman. And the one skill my father didn't have is he could, he could, like, for example, he had a home building business. He could build a great house. He just couldn't sell it. And so, you know, I think he was a factory worker, but he was able to send my sister and I to private college simultaneously on a factory worker salary, you know, with, with, I mean, I had some student loan debt, but not a lot. And that's, that's not possible today.   Michael Hingson ** 23:42 No, he saved and put money aside so that you could do that, yeah, and,   David Mayernik ** 23:47 and he made enough. I mean, essentially, the cost of college was not that much. And he was, you know, right, yeah. And he had a union job. It was, you know, reasonably well paid. I mean, we lived in a, you know, a nice middle class neighborhood, and, you know, we, we had a nice life growing up, and he was able to again, send us to college. And I that's just not possible for without tremendous amount of debt. It's not possible today. So the whole scale of our economy shifted tremendously. What I was making when I was a young architect. I mean, it was not a lot then, but I survived. Fact, actually saved money in Chicago for a two month summer in Europe after that. So, you know, essentially, the cost of living was, it didn't take a lot to cover your your expenses, right? The advantage of that for me was that it allowed me time when I had free time when I after that experience, and I traveled to Europe, I came back and I worked in Philadelphia for the same guy who had left the old firm in Philadelphia and went off on his own, started his own business. I worked for him for about nine months, but I had time in the evenings, because I didn't have to work 80 hours a week to do other things. I taught myself how to paint. And do things that I was interested in, and I could experiment and try things and and, you know, because surviving wasn't all that hard. I mean, it was easy to pay your bills and, and I think that's one of the things that's, I think, become more onerous, is that, I think for a lot of young people just kind of dealing with both college debt and then, you know, essentially the cost of living. They don't have a lot of time or energy to do anything else. And you know, for me, that was, I had the luxury of having time and energy to invest in my own growth, let's say as a more career, as a creative person. And you know, I also, I also tell students that, you know, there are a lot of hours in the day, you know, and whatever you're doing in an office. There are a lot of hours after that, you could be doing something else, and that I used every one of those hours as best I could.   Michael Hingson ** 25:50 Yeah. Well, you know, we're all born with challenges in life. What kind of challenges, real challenges did you have growing up as you look back on it?   David Mayernik ** 26:01 Yeah, my, I mean, my, I mean, there was some, there was some, a few rocky times when my father was trying to have his own business. And, you know, I'm not saying we grew up. We didn't struggle, but it wasn't, you know, always smooth sailing. But I think one of the things I learned about being an architect, which I didn't realize, and only kind of has been brought home to me later. Right now, I have somebody who's told me not that long ago, you know? You know, the problem is, architecture is a gentleman's profession. You know that IT architecture, historically was practiced by people from a social class, who knew, essentially, they grew up with the people who would become their clients, right? And so the way a lot of architects built their practice was essentially on, you know, family connections and personal connections, college connections. And I didn't have that advantage. So, you know, I've, I've essentially had to define myself or establish myself based on what I'm capable of doing. And you know, it's not always a level playing field. The great breakthrough for me, in a lot of ways, was that one of the one of my classmates and I entered a big international competition when we were essentially 25 years old. I think we entered. I turned 26 and it was an open competition. So, you know, no professional requirements. You know, virtually no entry fee to redesign the state capitol grounds of Minnesota, and it was international, and we, and we actually were selected as one of the top five teams that were allowed to proceed onto the second phase, and at which point we we weren't licensed architects. We didn't have a lot of professional sense or business sense, so we had to associate with a local firm in Minnesota and and we competed for the final phase. We did most of the work. The firm supported us, but they gave us basically professional credibility and and we won. We were the architects of the state capitol grounds in Minnesota, 26 years old, and that's because the that system of competition was basically a level playing field. It was, you know, ostensibly anonymous, at least the first phase, and it was just basically who had the best design. And you know, a lot of the way architecture gets architects get chosen. The way architecture gets distributed is connections, reputation, things like that, but, but you know, when you find those avenues where it's kind of a level playing field and you get to show your stuff. It doesn't matter where you grew up or who you are, it just matters how good you are, yeah,   Michael Hingson ** 28:47 well, and do you think it's still that way today?   David Mayernik ** 28:51 There are a lot fewer open professional competitions. They're just a lot fewer of them. It was the and, you know, maybe they learned a lesson. I mean, maybe people like me shouldn't have been winning competitions. I mean, at some level, we were out of our league. I wouldn't say, I wouldn't say, from a design point of view. I mean, we were very capable of doing what the project involved, but we were not ready for the hardball of collaborating with a big firm and and the and the politics of what we were doing and the business side of it, we got kind of crushed, and, and, and eventually they never had the money to build the project, so the project just kind of evaporated. And the guy I used to work with in Philadelphia told me, after I won the competition, he said, you know, because he won a competition. He said, You know, the second project is the hardest one to get, you know, because you might get lucky one time and you win a competition, the question is, how do you build practice out of that?   Michael Hingson ** 29:52 Yeah, and it's a good point, yeah, yeah.   David Mayernik ** 29:55 I mean, developing some kind of continuity is hard. I mean, I. Have a longer, more discontinuous practice after that, but it's that's the hard part.   Michael Hingson ** 30:07 Well, you know, I mentioned challenges before, and we all, we all face challenges and so on. How do we overcome the challenges, our inherited challenges, or the perceived challenges that we have? How do we overcome those and work to move forward, to be our best? Because that's clearly kind of what you're talking about here.   David Mayernik ** 30:26 Yeah, well, the true I mean, so the challenges that we're born with, and I think there are also some challenges that, you know, we impose on ourselves, right? I mean, in this, in the best sense, I mean the ways that we challenge ourselves. And for me, I'm a bit of an idealist, and you know, the world doesn't look kindly on idealist. If you know, from a business, professional point of view, idealism is often, I'm not saying it's frowned upon, but it's hardly encouraged and rewarded and but I think that for me, I've learned over time that it's you really just beating your head against the wall is not the best. A little bit of navigating your way around problems rather than trying to run through them or knock them over is a smarter strategy. And so you have to be a little nimble. You have to be a little creative about how you find work and essentially, how you keep yourself afloat and and if you're if you're open to possibilities, and if you take some risks, you can, you can actually navigate yourself through a series of obstacles and actually have a rich, interesting life, but it may not follow the path that you thought you were starting out on at the beginning. And that's the, I think that's the skill that not everybody has.   Michael Hingson ** 31:43 The other part about that, though, is that all too often, we don't really give thought to what we're going to do, or we we maybe even get nudges about what we ought to do, but we discount them because we think, Oh, that's just not the way to do it. Rather than stepping back and really analyzing what we're seeing, what we're hearing. And I, for 1am, a firm believer in the fact that our inner self, our inner voice, will guide us if we give it the opportunity to do that.   David Mayernik ** 32:15 You know, I absolutely agree. I think a lot of people, you know, I was, I for, I have, for better or worse, I've always had a good sense of what I wanted to do with my life, even if architecture was a you know, conscious way to do something that was not exactly maybe what I dreamed of doing, it was a, you know, as a more rational choice. But, but I've, but I've basically followed my heart, more or less, and I've done the things that I always believed in it was true too. And when I meet people, especially when I have students who don't really know what they love, or, you know, really can't tell you what they really are passionate about, but my sense of it is, this is just my I might be completely wrong, but my sense of it is, they either can't admit it to themselves, or they can't admit it to somebody else that they that, either, in the first case, they're not prepared to listen to themselves and actually really deep, dig deep and think about what really matters to them, or if they do know what that is, they're embarrassed to admit it, or they're embarrassed to tell somebody else. I think most of us have some drive, or some internal, you know, impetus towards something and, and you're right. I mean, learning to listen to that is, is a, I mean, it's rewarding. I mean, essentially, you become yourself. You become more, or the best possible self you can be, I guess.   Michael Hingson ** 33:42 Yeah, I agree. And I guess that that kind of answers the question I was was thinking of, and that is, basically, as you're doing things in life, should you follow your dreams?   David Mayernik ** 33:53 You know, there's a lot, a lot of people are writing these days, if you read, if you're just, you know, on the, on the internet, reading the, you know, advice that you get on, you know, the new services, from the BBC to, you know, any other form of information that's out there, there's a lot of back and forth by between the follow your dreams camp and the don't follow your dreams camp. And the argument of the don't follow your dreams camp seems to be that it's going to be hard and you'll be frustrated, and you know, and that's true, but it doesn't mean you're going to fail, and I don't think anybody should expect life to be easy. So I think if you understand going in, and maybe that's part of my Eastern European heritage that you basically expect life to be hard, not, not that it has to be unpleasant, but you know it's going to be a struggle, but, but if you are true to yourself or follow your dreams, you're probably not going to wake up in the middle of your life with a crisis. You know, because I think a lot of times when you suppress your dreams, they. Stay suppressed forever, and the frustrations come out later, and it's better to just take them on board and try to again, navigate your way through life with those aspirations that you have, that you know are really they're built in like you were saying. They're kind of hardwired to be that person, and it's best to listen to that person.   Michael Hingson ** 35:20 There's nothing wrong with having real convictions, and I think it's important to to step back and make sure that you're really hearing what your convictions are and feeling what your convictions are. But that is what people should do, because otherwise, you're just not going to be happy.   David Mayernik ** 35:36 You're not and you're you're at one level, allowing yourself to manipulate yourself. I mean, essentially, you're, you know, kind of essentially deterring yourself from being who you are. You're probably also susceptible to other people doing that to you, that if you don't have enough sense of yourself, a lot of other people can manipulate you, push you around. And, you know, the thing about having a good sense of yourself is you also know how to stand up for yourself, or at least you know that you're a self that's worth standing up for. And that's you know. That's that, that thing that you know the kids learn in the school yard when you confront the bully, you know you have to, you know, the parents always tell you, you know, stand up to the bully. And at some level, life is going to bully you unless you really are prepared to stand up for something.   Michael Hingson ** 36:25 Yeah, and there's so many examples of that I know as a as a blind person, I've been involved in taking on some pretty major tasks in life. For example, it used to be that anyone with a so called Disability couldn't buy life insurance, and eventually, we took on the insurance industry and won to get the laws passed in every state that now mandate that you can't discriminate against people with disabilities in providing life insurance unless you really have evidence To prove that it's appropriate to do that, and since the laws were passed, there hasn't been any evidence. And the reason is, of course, there never has been evidence, and insurance companies kept claiming they had it, but then when they were challenged to produce it, they couldn't. But the reality is that you can take on major tasks and major challenges and win as long as you really understand that that is what your life is steering you to do,   David Mayernik ** 37:27 yeah, like you said, and also too, having a sense of your your self worth beyond whatever that disability is, that you know what you're capable of, apart from that, you know that's all about what you can't do, but all the things that you can do are the things that should allow you to do anything. And, yeah, I think we're, I think it's a lot of times people will try to define you by what you can't do, you   Michael Hingson ** 37:51 know? And the reality is that those are traditionally misconceptions and inaccurate anyway, as I point out to people, disability does not mean a lack of ability. Although a lot of people say, Well, of course it, it is because it starts with dis. And my response is, what do you then? How do you deal with the words disciple, discern and discrete? For example, you know the fact of the matter is, we all have a disability. Most of you are light dependent. You don't do well with out light in your life, and that's okay. We love you anyway, even though you you have to have light but. But the reality is, in a sense, that's as much a disability is not being light dependent or being light independent. The difference is that light on demand has caused so much focus that it's real easy to get, but it doesn't change the fact that your disability is covered up, but it's still there.   David Mayernik ** 38:47 No, it's true. I mean, I think actually, yeah, knowing. I mean, you're, we're talking about knowing who you are, and, you know, listening to your inner voice and even listening to your aspirations. But also, I mean being pretty honest about where your liabilities are, like what the things are that you struggle with and just recognizing them, and not not to dwell on them, but to just recognize how they may be getting in the way and how you can work around them. You know, one of the things I tell students is that it's really important to be self critical, but, but it's, it's not good to be self deprecating, you know. And I think being self critical if you're going to be a self taught person like I am, in a lot of ways, you you have to be aware of where you're not getting it right. Because I think the problem is sometimes you can satisfy yourself too easily. You're too happy with your own progress. You know, the advantage of having somebody outside teaching you is they're going to tell you when you're doing it wrong, and most people are kind of loath do that for themselves, but, but the other end of that is the people who are so self deprecating, constantly putting themselves down, that they never are able to move beyond it, because they're only aware of what they can't do. And you know, I think balancing self criticism with a sense of your self worth is, you know, one of the great balancing acts of life. You.   Michael Hingson ** 40:00 Well, that's why I've adopted the concept of I'm my own best teacher, because rather than being critical and approaching anything in a negative way, if I realize that I'm going to be my own best teacher, and people will tell me things, I can look at them, and I should look at them, analyze them, step back, internalize them or not, but use that information to grow, then that's what I really should do, and I would much prefer the positive approach of I'm my own best teacher over anything else.   David Mayernik ** 40:31 Yeah, well, I mean, the last kind of teachers, and I, you know, a lot of my students have thought of me as a critical teacher. One of the things I think my students have misunderstood about that is, it's not that I have a low opinion of them. It's actually that I have such a high opinion that I always think they're capable of doing better. Yeah, I think one of the problems in our educational system now is that it's so it's so ratifying and validating. There's so we're so low to criticize and so and the students are so fragile with criticism that they they don't take the criticism well, yeah, we don't give it and, and you without some degree of what you're not quite getting right, you really don't know what you're capable of, right? And, and I think you know. But being but again, being critical is not that's not where you start. I think you start from the aspiration and the hope and the, you know, the actually, the joy of doing something. And then, you know, you take a step back and maybe take a little you know, artists historically had various techniques for judging their own work. Titian used to take one of his paintings and turn it away, turn it facing the wall so that he couldn't see it, and he would come back to it a month later. And, you know, because when he first painted, he thought it was the greatest thing ever painted, he would come back to it a month later and think, you know, I could have done some of those parts better, and you would work on it and fix it. And so, you know, the self criticism comes from this capacity to distance yourself from yourself, look at yourself almost as as hard as it is from the outside, yeah, try to see yourself as other people see you. Because I think in your own mind, you can kind of become completely self referential. And you know, that's that. These are all life skills. You know, I had to say this to somebody recently, but, you know, I think the thing you should get out of your education is learning how to learn and like you're talking about, essentially, how do you approach something new or challenging or different? Is has to do with essentially, how do you how do you know? Do you know how to grow and learn on your own?   Michael Hingson ** 42:44 Yeah, exactly, well, being an architect and so on. How did you end up going off and becoming a professor and and teaching? Yeah, a   David Mayernik ** 42:52 lot of architects do it. I have to say. I mean, there's always a lot of the people who are the kind of heroes when I was a student, were practicing architects who also taught and and they had a kind of, let's say, intellectual approach to what they did. They were conceptual. It wasn't just the mundane aspects of getting a building built, but they had some sense of where they fit, with respect to the culture, with respect to history and issues outside of architecture, the extent to which they were tied into other aspects of culture. And so I always had the idea that, you know, to be a full, you know, a fully, you know, engaged architect. You should have an academic, intellectual side to your life. And teaching would be an opportunity to do that. The only thing is, I didn't feel like I knew enough until I was older, in my 40s, to feel like I actually knew enough about what I was doing to be able to teach somebody else. A lot of architects get into teaching early, I think, before they're actually fully formed to have their own identities. And I think it's been good for me that I waited a while until I had a sense of myself before I felt like I could teach somebody else. And so there was, there was that, I mean, the other side of it, and it's not to say that it was just a day job, but one of the things I decided from the point of your practice is a lot of architects have to do a lot of work that they're not proud of to keep the lights on and keep the business operating. And I have decided for myself, I only really want to do work that I'm proud of, and in order to do that, because clients that you can work for and be you know feel proud of, are rather rare, and so I balanced teaching and practice, because teaching allowed me to ostensibly, theoretically be involved with the life of the mind and only work for people and projects that interested me and that I thought could offer me the chance to do something good and interesting and important. And so one I had the sense that I had something to convey I learned. Enough that I felt like I could teach somebody else. But it was also, for me, an opportunity to have a kind of a balanced life in which practice was compensated. You know that a lot of practice, even interesting practice, has a banal, you know, mundane side. And I like being intellectually stimulated, so I wanted that. Not everybody wants   Michael Hingson ** 45:24 that. Yeah, so you think that the teaching brings you that, or it put you in a position where you needed to deal with that?   David Mayernik ** 45:32 You know, having just retired, I wish there had been more of that. I really had this romantic idea that academics, being involved in academics, would be an opportunity to live in a world of ideas. You know? I mean, because when I was a student, I have to say we, after we came back from Rome, I got at least half of my education for my classmates, because we were deeply engaged. We debated stuff. We, you know, we we challenged each other. We were competitive in a healthy way and and I remember academics my the best part of my academic formation is being immensely intellectually rich. In fact, I really missed it. For about the first five years I was out of college, I really missed the intellectual side of architecture, and I thought going back as a teacher, I would reconnect with that, and I realized not necessarily, there's a lot about academics that's just as mundane and bureaucratic as practice can be so if you really want to have a satisfying intellectual life, unfortunately, you can't look to any institution or other people for it. You got to find it on your own.   46:51 Paperwork, paperwork,   David Mayernik ** 46:55 committee meetings, just stuff. Yeah, yeah,   Michael Hingson ** 47:00 yeah. Yeah, which never, which never. Well, I won't say they never help, but there's probably, there's probably some valuable stuff that you can get, even from writing and doing, doing paperwork, because it helps you learn to write. I suppose you can look at it that way.   David Mayernik ** 47:16 No, it's true. I mean, you're, you're definitely a glass half full guy. Michael, I appreciate that's good. No. I mean, I, obviously, I always try to make get the most out of whatever experience I have. But, I mean, in the sense that there wasn't as much intellectual discourse, yeah, you know, as my I would have liked, yeah, and I, you know, in the practice or in the more academic side of architecture. Several years ago, somebody said we were in a post critical phase like that. Ideas weren't really what was driving architecture. It was going to be driven by issues of sustainability, issues of social structure, you know, essentially how people live together, issues that have to do with things that weren't really about, let's call it design in the esthetic sense, and all that stuff is super important. And I'm super interested in, you know, the social impact of my architecture, the sustainable impact of it, but the the kind of intellectual society side of the design part of it, we're in a weird phase where it that's just not in my world, we just it's not talked about a lot. You know,   Michael Hingson ** 48:33 it's not what it what it used to be. Something tells me you may be retired, but you're not going to stop searching for intellectual and various kinds of stimulation to help keep your mind active.   David Mayernik ** 48:47 Oh, gosh, no, no. I mean, effectively. I mean, I just stopped one particular job. I describe it now as quitting with benefits. That's my idea of what I retired from. I retired from a particular position in a particular place, but, but I haven't stopped. I mean, I'm certainly going to keep working. I have a very interesting design project in Switzerland. I've been working on for almost 29 years, and it's got a number of years left in it. I paint, I write, I give lectures, I you know, and you obviously have a rich life. You know, not being at a job. Doesn't mean that the that your engagement with the world and with ideas goes away. I mean, unless you wanted to, my wife's my wife had three great uncles who were great jazz musicians. I mean, some quite well known jazz musicians. And one of them was asked, you know, was he ever going to retire? And he said, retire to what? Because, you know, he was a musician. I mean, you can't stop being a musician, you know, you know, if, some level, if you're really engaged with what you do, you You never stop, really,   Michael Hingson ** 49:51 if you enjoy it, why would you? No, I   David Mayernik ** 49:54 mean, the best thing is that your work is your fun. I mean, you know, talking about, we talked about it. I. You that You know you're kind of defined by your work, but if your work is really what you enjoy, I mean, actually it's fulfilling, rich, enriching, interesting, you don't want to stop doing that. I mean, essentially, you want to do it as long as you possibly can. Yeah,   Michael Hingson ** 50:13 and it's and it's really important to do that. And I think, in reality, when you retire from a job, you're not really retiring from a job. You're retiring, as you said, from one particular thing. But the job isn't a negative thing at all. It is what you like to do.   David Mayernik ** 50:31 Yeah. I mean, there's, yeah, there's the things that you do that. I mean, I guess the job is the, if you like, the thing that is the, you know, the institution or the entity that you know, pays your bills and that kind of stuff, but the career or the thing that you're invested in that had the way you define yourself is you never stop being that person, that person. And in some ways, you know, what I'm looking forward to is a richer opportunity to pursue my own avenue of inquiry, and, you know, do things on my own terms, without some of the obligations I had   Michael Hingson ** 51:03 as a teacher, and where's your wife and all that.   David Mayernik ** 51:06 So she's with me here in LUCA, and she's she's had a super interesting life, because she she she studied. We, when we were together in New York, she was getting a degree in art history, Medieval and Renaissance studies in art history at NYU, and then she decided she really wanted to be a chef, and she went to cooking school in New York and then worked in a variety of food businesses in New York, and then got into food writing and well, food styling for magazines, making food for photographs, and then eventually writing. And through a strange series of connections and experiences. She got an opportunity to cook at an Art Foundation in the south of France, and I was in New York, and I was freelancing. I was I'd quit a job I'd been at for five years, and I was freelancing around, doing some of my own stuff and working with other architects, and I had work I could take with me. And you know, it was there was there was, we didn't really have the internet so much, but we had FedEx. And I thought I could do drawings in the south of France. I could do them in Brooklyn. So, so I went to the south of France, and it just happens to be that my current client from Switzerland was there at that place at that time, scouting it out for some other purpose. And she said, I hear you're architect. I said, Yeah. And I said, Well, you know, she said, I like, you know, classical architecture, and I like, you know, traditional villages, and we have a campus, and we need a master plan architect. And I was doing a master plan back in Delaware at that time, and my wife's you know, career trajectory actually enabled me to meet a client who's basically given me an opportunity to build, you know, really interesting stuff, both in Switzerland and in England for the last, you know, again, almost 29 years. And so my wife's been a partner in this, and she's been, you know, because she's pursued her own parallel interest. But, but our interests overlap enough and we share enough that we our interests are kind of mutually reinforcing. It's, it's been like an ongoing conversation between us, which has been alive and rich and wonderful.   Michael Hingson ** 53:08 You know, with everything going on in architecture and in the world in general, we see more and more technology in various arenas and so on. How do you think that the whole concept of CAD has made a difference, or in any way affected architecture. And where do you think CAD systems really fit into all of that?   David Mayernik ** 53:33 Well, so I mean this, you know, CAD came along. I mean, it already was, even when I was early in my apprenticeship, yeah, I was in Chicago, and there was a big for som in Chicago, had one of the first, you know, big computers that was doing some drawing work for them. And one of my, a friend of mine, you know, went to spend some time and figure out what they were capable of. And, but, you know, never really came into my world until kind of the late night, mid, mid to late 90s and, and, and I kind of resisted it, because I, the reason I got into architecture is because I like to draw by hand, and CAD just seemed to be, you know, the last thing I'd want to do. But at the same time, you, some of you, can't avoid it. I mean, it has sort of taken over the profession that, essentially, you either have people doing it for you, or you have to do it yourself, and and so the interesting thing is, I guess that I, at some point with Switzerland, I had to, basically, I had people helping me and doing drawing for me, but I eventually taught myself. And I actually, I jumped over CAD and I went to a 3d software called ArchiCAD, which is a parametric design thing where you're essentially building a 3d model. Because I thought, Look, if I'm going to do drawing on the computer, I want the computer to do something more than just make lines, because I can make lines on my own. But so the computer now was able to help me build a 3d model understand buildings in space and construction. And so I've taught myself to be reasonably, you know, dangerous with ArchiCAD and but the. Same time, the creative side of it, I still, I still think, and a lot of people think, is still tied to the intuitive hand drawing aspect and and so a lot of schools that gave up on hand drawing have brought it back, at least in the early years of formation of architects only for the the conceptual side of architecture, the the part where you are doodling out your first ideas, because CAD drawing is essentially mechanical and methodical and sort of not really intuitive, whereas the intuitive marking of paper With a pencil is much more directly connected to the mind's capacity to kind of speculate and imagine and daydream a little bit, or wander a little bit your mind wanders, and it actually is time when some things can kind of emerge on the page that you didn't even intend. And so, you know, the other thing about the computer is now on my iPad, I can actually do hand drawing on my iPad, and that's allowed me to travel with it, show it to clients. And so I still obviously do a lot of drawing on paper. I paint by hand, obviously with real paints and real materials. But I also have found also I can do free hand drawing on my iPad. I think the real challenge now is artificial intelligence, which is not really about drawing, it's about somebody else or the machine doing the creative side of it. And that's the big existential crisis that I think the profession is facing right now.   Michael Hingson ** 56:36 Yeah, I think I agree with that. I've always understood that you could do free hand drawing with with CAD systems. And I know that when I couldn't find a job in the mid 1980s I formed a company, and we sold PC based CAD systems to architects and engineers. And you know, a number of them said, well, but when we do designs, we charge by the time that we put into drawing, and we can't do that with a CAD system, because it'll do it in a fraction of the time. And my response always was, you're looking at it all wrong. You don't change how much you charge a customer, but now you're not charging for your time, you're charging for your expertise, and you do the same thing. The architects who got that were pretty successful using CAD systems, and felt that it wasn't really stifling their creativity to use a CAD system to enhance and speed up what they did, because it also allowed them to find more jobs more quickly.   David Mayernik ** 57:35 Yeah, one of the things it did was actually allow smaller firms to compete with bigger firms, because you just didn't need as many bodies to produce a set of drawings to get a project built or to make a presentation. So I mean, it has at one level, and I think it still is a kind of a leveler of, in a way, the scale side of architecture, that a lot of small creative firms can actually compete for big projects and do them successfully. There's also, it's also facilitated collaboration, because of the ability to exchange files and have people in different offices, even around the world, working on the same drawing. So, you know, I'm working in Switzerland. You know, one of the reasons to be on CAD is that I'm, you know, sharing drawings with local architects there engineers, and that you know that that collaborative sharing process is definitely facilitated by the computer.   Michael Hingson ** 58:27 Yeah, information exchange is always valuable, especially if you have a number of people who are committed to the same thing. It really helps. Collaboration is always a good thing,   David Mayernik ** 58:39 yeah? I mean, I think a lot of, I mean, there's always the challenge between the ego side of architecture, you know, creative genius, genius, the Howard Roark Fountainhead, you know, romantic idea. And the reality is that it takes a lot of people to get a building built, and one person really can't do it by themselves. And So collaboration is kind of built into it at the same time, you know, for any kind of coherence, or some any kind of, let's say, anything, that brings a kind of an artistic integrity to a work of architecture, mostly, that's got to come from one person, or at least people with enough shared vision that that there's a kind of coherence to it, you know. And so there still is space for the individual creative person. It's just that it's inevitably a collaborative process to get, you know, it's the it's the 1% inspiration, 99% perspiration. Side architecture is very much that there's a lot of heavy lifting that goes into getting a set of drawings done to get

We have come to a tipping point in the business of design. The point of no return. There has been a debate about form following function since architect Louis Sullivan coined the term. A protege named Frank Lloyd Wright once said, “Form follows function, that has been misunderstood. Form and function should be one, joined in a spiritual union.” This will most likely not go over well with the most ardent FLW supporters and fans, but I believe Wright misunderstood this as well. Sullivan suggested that form following function meant the design should speak to the intended purpose of a structure and not simply be reflective of historical design, ornamentation or precedents. I won't speak for anyone but myself when I say that I have toured a number of Wright's works and I don't agree with his take on form following function. This will and should be debated, but not today. Today, we are going to focus on how form must follow function, or the project won't perform. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home!  - Where service meets excellence TimberTech - Real wood beauty without the upkeep Today, you are going to hear from Parini Mehta, AIA LEED AP, Tanner Clapham, AIA and Michael Stebbins, AIA from CO Architects. CO Architects, a firm dedicated to perpetual innovation and continual improvement through collaboration. This is a firm dedicated to creating lasting impact through design and the following conversation is evidence of that. This conversation is about the collaborative nature of an architecture firm that allows their architects to work on different types of projects and share their typology specialty while learning new ones in real time. We are discussing; education architecture, healthcare, medical facilities, laboratory architecture, research and exploring the idea of future-proofing structures from affects of both seen and unseen factors. I'm so appreciative for this opportunity to explore these ides with the incredible creatives. Since 2017, Convo By Design has been featuring peer-to-peer conversations from showrooms across the country. This one was recorded live from Design Hardware in Los Angeles.  There has always been a deep divide between residential and commercial architecture. While I won't rant about it today. Since the days of Julia Allison focused on the rise to celebrity through internet fame, we as a society have been discussing design and architecture through social value, not performative value. When you see your favorite design publication of website feature the latest celebrity home, you fill find that not much attention, if any has been focused on the performative value of the space. Much of what we see is about materiality, aesthetic, brands and it's usually focused on a celebrity. And that's fine. Design porn is not new, but it also doesn't do much for moving the conversation forward. What conversation? How do top tier architects and the firms that employ them focus on commercial design, and create form that follows function in an environment where the function not only matters, but is critical to the success of the project? That is the conversation we should be having. And we are. You are going to hear it, right after this. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home!  - Where service meets excellence TimberTech - Real wood beauty without the upkeep Thank you Parini, Michael and Tanner for taking the time to visit. Thank you to all of the professionals at CO Architects for your skill and willingness to share. Thank you to my incredible partner sponsors, TimberTech, Pacific Sales, and Design Hardware. Amazing companies and great friends to the trade so please give them an opportunity for your next project. Thank you for listening,

Dr. Louis Sullivan walked the halls of Congress and testified before committees when he was secretary of the U.S. Department of Health and Human Services. That experience, working in a bipartisan fashion in the President George H.W. Bush administration, is valuable now. During Black History Month, we revisit our interview with Dr. Sullivan for lessons about leadership and the challenges that still exist in our healthcare system. Dr. Sullivan advocates for more Blacks to train to become doctors and explains... Read More Read More The post Former Republican HHS Secretary Offers Bipartisan Wisdom appeared first on Healthy Communities Online.

Dr. Louis Sullivan walked the halls of Congress and testified before committees when he was secretary of the U.S. Department of Health and Human Services. That experience, working in a bipartisan fashion in the President George H.W. Bush administration, is valuable now. During Black History Month, we revisit our interview with Dr. Sullivan for lessons about leadership and the challenges that still exist in our healthcare system. Dr. Sullivan advocates for more Blacks to train to become doctors and explains the challenges that still exist for them joining the profession. Listen in as hosts Mark Masselli and Margaret Flinter ask him to share his insights.Originally broadcast January, 2023. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dr. Louis Sullivan walked the halls of Congress and testified before committees when he was secretary of the U.S. Department of Health and Human Services. That experience, working in a bipartisan fashion in the President George H.W. Bush administration, is valuable now. During Black History Month, we revisit our interview with Dr. Sullivan for lessons about leadership and the challenges that still exist in our healthcare system. Dr. Sullivan advocates for more Blacks to train to become doctors and explains the challenges that still exist for them joining the profession. Listen in as hosts Mark Masselli and Margaret Flinter ask him to share his insights. Originally broadcast January, 2023. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Movement Is Life's annual summit brings together stakeholders from diverse backgrounds to discuss healthy equity challenges and actionable solutions.  This year's theme is: "Health Equity: Solutions from Healthcare Leaders.” The summit will take place in Atlanta, Georgia, from November 14 to 15.  Movement Is Life is honored to have Joel Bervell as a plenary speaker at our upcoming 2024 annual summit. Bervell is a Ghanaian American medical student and science communicator known online as the “Medical Mythbuster.” Through viral social media content, Bervell addresses racial disparities, the hidden history of medicine, and biases in healthcare. Bervell says he appreciates Movement Is Life's emphasis on community-based programs, clinician education about health disparities, and health policy. He's excited to attend the summit and meet other like-minded people who are passionate about health equity. “By breaking that cycle of understanding that disparities exist and talking about it, we can start to reach equity,” Bervell says. Bervell speaks with Health Disparities podcast host Dr. Mary O'Connor about the 2024 Movement Is Life summit and the exciting slate of hands-on workshops and plenary speakers, including Dr. Arline Geronimus, Dr. Louis Sullivan, and Dr. Valerie Montgomery Rice. Registration is now open for Movement Is Life's annual summit – find all the details at our website, and get signed up today! Never miss an episode – be sure to subscribe to The Health Disparities podcast from Movement Is Life on Apple Podcasts, YouTube, or wherever you get your podcasts.

In this episode of A is for Architecture, Dell Upton, Professor Emeritus of Architecture, UC Berkeley and Professor and Chair of Art History at UCLA, speaks about his book, American Architecture: A Thematic History, published by Oxford University Press in 2019. To the question, What is American architecture? Dell suggests ‘That is a very long and vexed question, not only with American architecture, but in American culture. And it really starts from at the time of the American Revolution. How are we different from Europe? But how are we also connected to the best aspects of Europe, so can we be refined in a European sense, but also distinctively American? […] Louis Sullivan […] influenced by the poet Walt Whitman, begins to talk about [American] architecture in a kind of rhapsodic way, as somehow tied to the character of democracy, the character of the land, to the … well, he would say spiritual.'  But is it though? Listen to every word of Dell's to see. Dell has a Wikipedia page because he's proper. You can also find him linked above, along with the book. Thanks for listening. +  Music credits: ⁠Bruno Gillick

In this week's episode, the girls cover notable tombstones and monuments. Lori covers the mysterious "rope walker" monument, and Hannah covers the beautiful Getty tomb in Chicago and its architect, Louis Sullivan. Sheena covers Memphis' Bolton-Dickens feud and Wade Bolton's interesting monument.

Also talk today's Punxsutawney Phil early Spring prediction, Harold Ramis and the 1993 movie Groundhog Day, Don Pardo and Jimmy Pardo, Walter Koenig, architect Louis Sullivan, Chicago School architecture, cornices, Charlie St. Cloud, Andrew Bird, Squirrel Nut Zippers, fun last names, Robert Frost, Klezmer, ottomans, boudoirs, Erma Bombeck, The Federal Duck, The Tupperware Song, Jalen Smith, the comic strip Life in Hell and much more

In 1896, Louis Sullivan wrote about skyscrapers and architectural design in “The Tall Building Artistically Considered” This was the origin of the famous phrase, “form follows function.” What Sullivan actually said was “form must ever follow function” but regardless of phrasing, the meaning remains the same - architects should first consider how a building will be used then base the design on that.  One of his most famous designs was for the Carson Pirie Scott building downtown Chicago. Today the building is actually called the Sullivan Center in his honor, but Sullivan was such a difficult man to deal with, he was actually passed over for the third phase of it's construction. Essentially Louis Sullivan couldn't get the job of designing The Sullivan Center. Other episodes you may find interesting: Frank Lloyd Wright | Falling Water Barbara Kruger | Don't Be a Jerk Art Smart | Art Nouveau Arts Madness 2024 Links: Check out the brackets for this year's tournament Go to www.WhoARTedPodcast.com/Vote to fill out the prediction form for a chance to win one of the Amazon gift cards I'll be giving away in February and March. Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

As part of a series as a guest editor of the Cancer History Project to commemorate the 1964 Surgeon General's Report on Smoking and Health, Alan Blum speaks with Louis Sullivan, who was Secretary of the U.S. Department of Health and Human Services from 1989 to 1993. Alan Blum is professor and Gerald Leon Wallace M.D. Endowed Chair in Family Medicine at the University of Alabama, as well as the director of the Center for the Study of Tobacco and Society. Throughout his career, Sullivan made smoking prevention a high priority, condemning the tobacco industry for targeting African Americans and calling on sports organizations to reject tobacco sponsorship. In 1975, Sullivan was named founding dean and director of the Medical Education Program at Morehouse College. In 1981, the four-year Morehouse School of Medicine was established with Sullivan as dean and president. In this interview, Sullivan speaks about growing up in the segregated South, his early years in medicine while living in Boston, and the medical community's response to tobacco in the aftermath of the 1964 surgeon general's report. Read more and access the transcript on the Cancer History Project: https://cancerhistoryproject.com/article/former-hhs-secretary-louis-sullivan-recalls-sinking-rjrs-uptown-a-menthol-brand-for-black-smokers/

John Louis Sullivan, 98 years old, of Sandston, VA passed away on January 9, 2024. He was born on November 12, 1925, in Varina, VA. He was married to Lois Harris Sullivan for 66 years. He is predeceased by his wife, Lois Sullivan; his mother, Naomi Adams Allen; and his brother, Frank M. Sullivan, Jr. He is survived by three sons, David (Marilyn), Douglas (Marcia), Daniel (Vicky); six grandchildren; and two great grandchildren. John retired from the Virginia ABC Board with 41 years of service. He was a Special Agent in Charge. He served in the U.S. Navy as GM-2C...Article LinkSupport the show

In which we finish the conversation we started on Thursday's "Life On Earth" episode ... When The Hero & The Villain Are The Same Guy, Part Two! Also, the Treaty of Paris, the Stars & Stripes, Skyscrapers, and Happy Birthday, Louis Sullivan!

A portion of this interview aired on Monday, August 21, 2023 at 9:30 am, on WRCR Radio 1700 AMSpecial guest TG Jamroz  spoke about his new documentary, The Murals, which delves into the art of Henry Varnum Poor, formerly of New City. The film features the New Deal–era Uptown Post Office Murals in Chicago and explores how and why they were made by Poor; why they feature Carl Sandburg and Louis Sullivan; and how they inspire people today.“Through this filmmaking journey, I came to understand the outsized influence Poor had on the 20th century,” Jamroz says. “He might be the most unknown influential artist of the 20th century. He was involved everywhere with everything.About the filmmaker: TG Jamroz is a filmmaker/performer who has written and directed many independent films, stage plays, and music videos. His projects have been screened at the prestigious Gene Siskel Film Center and around the world. He also has appeared as an actor in the film The Dark Knight and onstage in Chicago; written a one-act play that is being produced in New York City and Chicago; directed a six DVD volume of lectures by the world-famous theologian James Alison; and written and produced four albums of original music that can be streamed online under the name The Platinum Tears.Learn more about The Murals at https://www.instagram.com/themuralsdocumentary or https://www.facebook.com/themuralsdoc***We are pleased to announce Rockland County screenings of this new film on September 30, 2023, at the Historical Society of Rockland County (2 pm) and Rockland Center for the Arts (7 pm).Both events are $FREE of charge, but RSVPs are required.To register for the 2 pm screening at the HSRC (20 Zukor Road, New City), click here.To register for the 7 pm screening at RoCA (27 South Greenbush Road, West Nyack), click here.***Crossroads of Rockland History, a program of the Historical Society of Rockland County, airs on the third Monday of each month at 9:30 am, right after the Jeff and Will morning show, on WRCR Radio 1700 AM and www.WRCR.com. Join host Clare Sheridan as we explore, celebrate, and learn about our local history, with different topics and guest speakers every month. Our recorded broadcasts are also available for streaming on all major podcasts platforms.  The Historical Society of Rockland County is a nonprofit educational institution and principal repository for original documents and artifacts relating to Rockland County. Its headquarters are a four-acre site featuring a history museum and the 1832 Jacob Blauvelt House in New City, New York.www.RocklandHistory.org

Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an American architect, designer, writer, and educator. He designed more than 1,000 structures over a creative period of 70 years. Wright played a key role in the architectural movements of the twentieth century, influencing architects worldwide through his works and hundreds of apprentices in his Taliesin Fellowship. Wright believed in designing in harmony with humanity and the environment, a philosophy he called organic architecture. This philosophy was exemplified in Fallingwater (1935), which has been called "the best all-time work of American architecture". Wright was the pioneer of what came to be called the Prairie School movement of architecture and also developed the concept of the Usonian home in Broadacre City, his vision for urban planning in the United States. He also designed original and innovative offices, churches, schools, skyscrapers, hotels, museums, and other commercial projects. Wright-designed interior elements (including leaded glass windows, floors, furniture and even tableware) were integrated into these structures. He wrote several books and numerous articles and was a popular lecturer in the United States and in Europe. Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time". In 2019, a selection of his work became a listed World Heritage Site as The 20th-Century Architecture of Frank Lloyd Wright. Raised in rural Wisconsin, Wright studied civil engineering at the University of Wisconsin and then apprenticed in Chicago, briefly with Joseph Lyman Silsbee, and then with Louis Sullivan at Adler & Sullivan. Wright opened his own successful Chicago practice in 1893 and established a studio in his Oak Park, Illinois home in 1898. His fame increased and his personal life sometimes made headlines: leaving his first wife Catherine Tobin for Mamah Cheney in 1909; the murder of Mamah and her children and others at his Taliesin estate by a staff member in 1914; his tempestuous marriage with second wife Miriam Noel (m. 1923–1927); and his courtship and marriage with Olgivanna Lazović (m. 1928–1959). Original video ⁠here⁠⁠ Full Wikipedia entry ⁠here⁠ Frank Lloyd Wright's books ⁠here --- Support this podcast: https://podcasters.spotify.com/pod/show/theunadulteratedintellect/support

Tracy talks through the many paths she went down trying to track down Wautier's birth year. The hosts also discuss Louis Sullivan's incredibly quotable autobiography.See omnystudio.com/listener for privacy information.

Louis Sullivan was an architect working in Chicago at the dawn of the skyscraper. He sought to define a new, bold style of design in the U.S., and was deeply frustrated when his peers didn't do the same.  Research: Sullivan, Louis. “An Autobiography of an Idea.” Dover Architecture. 2012. Kindle Edition. “Louis Sullivan.” Chicago Architecture Center. https://www.architecture.org/learn/resources/architecture-dictionary/entry/louis-sullivan/ “Auditorium Building.” Chicago Architecture Center. https://www.architecture.org/learn/resources/buildings-of-chicago/building/auditorium-building/ Smith, Mark Richard. “Louis Sullivan – The Struggle for American Architecture.” Whitecap Films. 2010. “Charnley-Persky House Museum.” https://www.sah.org/about-sah/charnley-persky-house Glancey, Jonathan. “The city that changed architecture forever.” BBC Culture. October 5, 2015. https://www.bbc.com/culture/article/20150930-chicago-birthplace-of-the-skyscraper “Auditorium Theater.” https://auditoriumtheatre.org/ Chewning, John Andrew. “William Robert Ware and the beginnings of architectural education in the United States, 1861-1881.” Massachusetts Institute of Technology. 1986. https://dspace.mit.edu/handle/1721.1/14983 Britannica, The Editors of Encyclopaedia. "Dankmar Adler". Encyclopedia Britannica, 13 Apr. 2023, https://www.britannica.com/biography/Dankmar-Adler Koeper, H.F.. "Louis Sullivan". Encyclopedia Britannica, 10 Apr. 2023, https://www.britannica.com/biography/Louis-Sullivan Lowe, David Garrard. “Architecture: The First Chicago School.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/62.html “World's Columbian Exposition of 1893.” American Experience. PBS. https://www.pbs.org/wgbh/americanexperience/features/chicago-worlds-columbian-exposition-1893/ Crook, David H. “Louis Sullivan and the Golden Doorway.” Journal of the Society of Architectural Historians, vol. 26, no. 4, 1967, pp. 250–58. JSTOR, https://doi.org/10.2307/988451 Mumford, Mark. “Form Follows Nature: The Origins of American Organic Architecture.” Journal of Architectural Education (1984-), vol. 42, no. 3, 1989, pp. 26–37. JSTOR, https://doi.org/10.2307/1425061 Gary C. Meyer. “Louis Sullivan's Columbus Jewel Box.” The Wisconsin Magazine of History, vol. 88, no. 3, 2005, pp. 2–17. JSTOR, http://www.jstor.org/stable/4637133 Britannica, The Editors of Encyclopaedia. "William Le Baron Jenney". Encyclopedia Britannica, 21 Sep. 2022, https://www.britannica.com/biography/William-Le-Baron-Jenney See omnystudio.com/listener for privacy information.

To commemorate our 100th episode, WEDI welcomes our founder, former HHS Secretary Dr. Louis Sullivan. 30 years ago, Dr. Sullivan founded WEDI in an effort to identify opportunities to improve the efficiency of health care data exchange. After 3 decades, we ask Dr. Sullivan if the industry is on the right path, his thoughts on improving health equity in the country and how can organizations like WEDI continue the good fight toward reducing burden and establishing more efficient data exchange.  Purchase Dr Sullivan's book, "We'll Fight It Out Here: A History of the Ongoing Struggle for Health Equity", co authored by Dr. David Chanoff, on Amazon

This week, Norah joins Ben to talk about a subjective… subject.  The word is art, so prepare yourself for a more philosophical episode than you're used to.  The hosts share their love of observing, appreciating, making, and talking about art.  Ben tells a few stories, Norah brings her research, and they both drop many artist and architect names.  For details about the episode's "video game bookends," see below!  Video games mentioned or discussed (albeit briefly) in this episode include:  Mahjong Dimensions - by Arkadium Pocket Card Jockey: Ride On! - GAME FREAK The Grand Theft Auto franchise - Rockstar Games World of Demons - PlatinumGames Odin Sphere: Leifthrasir, 13 Sentinels: Aegis Rim, and Dragon's Crown - Vanillaware Jet Set Radio - Smilebit and Sega The Borderlands franchise - Gearbox Software 00:00:21 - Chicago snowstorms, gauntlets, removable hands, and one big wind tunnel 00:02:30 - What we are playing these days: Mahjong Dimensions and Pocket Card Jockey 00:05:27 - An impromptu endorsement of Apple services and products 00:06:40 - Art according to Oxford Languages, the 13 Bhutanese Arts, and the Art of War 00:10:30 - Subjectivity, relativity, no abbreviations, “art thou,” and ars  00:12:20 - Personal meanings of the word, Ben's arts of podcasting, and NFT-like episode titles 00:15:30 - Ben asks, “when you follow a pattern, are you creating art?” 00:17:42 - Norah's “not normal people” when drawing and painting, and Ben's modern art  00:20:46 - Paint by numbers is so much easier with iPads, and representative art philosophy 00:26:28 - Impressionism, art as form, Norah loves Frank Gehry, and noisy mimes 00:33:32 - Architecture of Louis Sullivan, Frank Lloyd Wright, and Ludwig Mies van der Rohe  00:35:47 - Ben's Mister 20 / POÄNG chair diversion, and an architect's furniture designs  00:38:51 - HEY GRAHAM!  Do you know what would make this podcast better? 00:40:42 - Norah's experiences at this year's International Puppet Festival in Chicago 00:43:19 - Bad puppet show criteria, Tony Scott, and thinking about what isn't art 00:45:51 - Paul's impressive latte art, art student Dread Scott, and the movie “So Fine” 00:50:38 - The use photorealism and other stylistic choices in video games 00:54:09 - Ben loves Vanillaware Ltd.  games, and talks about the company's history 00:57:25 - Ben tries to explain hand painted images, RTS games, and pointless teasers  01:00:01 - “Better Off Ted,” Jabberwocky, and Ben loses his train of thought 01:02:20 - Norah impressed by the art style of “World of Demons” 01:04:28 - The cel shading game art style, ne'er-do-wells, graffiti art, and Jean-Michel Basquiat  01:08:40 - Perceptions of art, closing thoughts, the art of shame  If episode graphics are not displayed or supported by your preferred podcast app, you can check them out at www.twovaguepodcast.com .

For six months in 1961, Richard Nickel, John Vinci, and David Norris salvaged the interior and exterior ornamentation of the Garrick Theater, Adler & Sullivan's magnificent architectural masterpiece in Chicago's theater district. The building was replaced by a parking garage, and its demolition ignited the historic preservation movement in Chicago. The Garrick (originally the Schiller Building) was built in 1892 and featured elaborate embellishments, especially in its theater and exterior, including the ornamentation and colorful decorative stenciling that would become hallmarks of Louis Sullivan's career. Reconstructing the Garrick: Adler and Sullivan's Lost Masterpiece (Alphawood Exhibitions, 2021) documents the enormous salvaging job undertaken to preserve elements of the building's design, but also presents the full life story of the Garrick, featuring historic and architectural photographs, essays by prominent architectural and art historians, interviews, drawings, ephemera from throughout its lively history and details of its remarkable ornamentation—a significant resource and compelling tribute to one of Chicago's finest lost buildings. A seventy-two-page facsimile of Richard Nickel's salvage workbook is tipped into the binding. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

For six months in 1961, Richard Nickel, John Vinci, and David Norris salvaged the interior and exterior ornamentation of the Garrick Theater, Adler & Sullivan's magnificent architectural masterpiece in Chicago's theater district. The building was replaced by a parking garage, and its demolition ignited the historic preservation movement in Chicago. The Garrick (originally the Schiller Building) was built in 1892 and featured elaborate embellishments, especially in its theater and exterior, including the ornamentation and colorful decorative stenciling that would become hallmarks of Louis Sullivan's career. Reconstructing the Garrick: Adler and Sullivan's Lost Masterpiece (Alphawood Exhibitions, 2021) documents the enormous salvaging job undertaken to preserve elements of the building's design, but also presents the full life story of the Garrick, featuring historic and architectural photographs, essays by prominent architectural and art historians, interviews, drawings, ephemera from throughout its lively history and details of its remarkable ornamentation—a significant resource and compelling tribute to one of Chicago's finest lost buildings. A seventy-two-page facsimile of Richard Nickel's salvage workbook is tipped into the binding. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

For six months in 1961, Richard Nickel, John Vinci, and David Norris salvaged the interior and exterior ornamentation of the Garrick Theater, Adler & Sullivan's magnificent architectural masterpiece in Chicago's theater district. The building was replaced by a parking garage, and its demolition ignited the historic preservation movement in Chicago. The Garrick (originally the Schiller Building) was built in 1892 and featured elaborate embellishments, especially in its theater and exterior, including the ornamentation and colorful decorative stenciling that would become hallmarks of Louis Sullivan's career. Reconstructing the Garrick: Adler and Sullivan's Lost Masterpiece (Alphawood Exhibitions, 2021) documents the enormous salvaging job undertaken to preserve elements of the building's design, but also presents the full life story of the Garrick, featuring historic and architectural photographs, essays by prominent architectural and art historians, interviews, drawings, ephemera from throughout its lively history and details of its remarkable ornamentation—a significant resource and compelling tribute to one of Chicago's finest lost buildings. A seventy-two-page facsimile of Richard Nickel's salvage workbook is tipped into the binding. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Dr. Louis Sullivan's leadership and advocacy for equity in the health professions have taken him from the classroom to the seats of power in Washington. He reflects on his own journey and the challenges that still exist in training people of color to become doctors and for other medical roles. Dr. Sullivan believes, “It's a combination of a lack of adequate preparation, lack of financial resources, and also a lack of role models.” He shares his inspiring story from the then-segregated South and the influences that helped him. Dr. Sullivan served as Secretary of the U.S. Department of Health and Human Services and is the co-author of the new book “We'll Fight it Out Here: A History of the Ongoing Struggle for Health Equity.” We're honored to have him join hosts Mark Masselli and Margaret Flinter to discuss these topics, the gaps COVID has exposed, and the current political battles over equity. Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen/

Dr. Louis Sullivan's leadership and advocacy for equity in the health professions have taken him from the classroom to the seats of power in Washington. He reflects on his own journey and the challenges that still exist in training people of color to become doctors and for other medical roles. Dr. Sullivan believes, “It's a combination of a lack of adequate preparation, lack of financial resources, and also a lack of role models.” He shares his inspiring story from the then-segregated South and the influences that helped him. Dr. Sullivan served as Secretary of the U.S. Department of Health and Human Services and is the co-author of the new book “We'll Fight it Out Here: A History of the Ongoing Struggle for Health Equity.” We're honored to have him join hosts Mark Masselli and Margaret Flinter to discuss these topics, the gaps COVID has exposed, and the current political battles over equity.

Dr. Louis Sullivan's leadership and advocacy for equity in the health professions have taken him from the classroom to the seats of power in Washington. He reflects on his own journey and the challenges that still exist in training people of color to become doctors and for other medical roles.Dr. Sullivan believes, “It's a combination of a lack of adequate preparation, lack of financial resources, and also a lack of role models.” He shares his inspiring story from the then-segregated South and the influences that helped him.Dr. Sullivan served as Secretary of the U.S. Department of Health and Human Services and is the co-author of the new book “We'll Fight it Out Here: A History of the Ongoing Struggle for Health Equity.”We're honored to have him join hosts Mark Masselli and Margaret Flinter to discuss these topics, the gaps COVID has exposed, and the current political battles over equity. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dr. Louis Sullivan's leadership and advocacy for equity in the health professions have taken him from the classroom to the seats of power in Washington. He reflects on his own journey and the challenges that still exist in training people of color to become doctors and for other medical roles. Dr. Sullivan believes, “It's a combination of a lack of adequate preparation, lack of financial resources, and also a lack of role models.” He shares his inspiring story from the... Read More Read More The post Why Are Only 5% Of Doctors African American? Dr. Louis Sullivan Tells Us appeared first on Healthy Communities Online.

In 1896, Louis Sullivan wrote about skyscrapers and architectural design in “The Tall Building Artistically Considered” This was the origin of the famous phrase, “form follows function.” What Sullivan actually said was “form must ever follow function” but regardless of phrasing, the meaning remains the same - architects should first consider how a building will be used then base the design on that.  One of his most famous designs was for the Carson Pirie Scott building downtown Chicago. Today the building is actually called the Sullivan Center in his honor, but Sullivan was such a difficult man to deal with, he was actually passed over for the third phase of it's construction. Essentially Louis Sullivan couldn't get the job of designing The Sullivan Center. Other episodes you may find interesting: Frank Lloyd Wright | Falling Water Barbara Kruger | Don't Be a Jerk Art Smart | Art Nouveau Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (the teacher who gets the most shoutouts on this form by Feb 27 will get a $50 Amazon gift card) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

When architect Louis Sullivan coined the phrase Form Follows Function he set the foundation for good design in just three words. In the world of musical instruments, especially electronic ones, designers and engineers who follow the principle stand out of the crowd. In this episode of the Synth Design Podcast, I talk to Ciro Caputo from Unknown Devices - a synth designer and engineer from Italy. Ciro's approach appeals to me in particular because he starts formulating his concepts directly in Adobe Illustrator. Giving his ideas a clear visual representation helps cut down to the core functionality, which is then being realized in various techniques, both digital and analog depending on the need. Moreover, there's an evident love for detail in Ciro's work. Not only in sound and function, but also in motion graphics and brand identity. Altogether making it quite an interesting company to learn from, especially considering it is not only 2 years old. Join our community: https://www.synthux.academy/join-discord Check out the website for prototype images and extra content: https://www.synthux.academy/blog/unwn-devices

Ring of Terror dares Chris and Charlotte to gather at the morgue and discuss bad prints, old actors, irrational fears, medical school, and invisible creeps.Featuring the short: The Phantom Creeps, episode 3!cw: Discussions of animal harm, fat shaming, and sexual assault.Show Notes.Ring of Terror: IMDB. MST3K Wiki. Trailer.Our episode on The Pumaman.George Mather obituary.Norman Ollestad: Inside the FBI.Chris forgot to mention that Pamela Raymond played Alice Lund. June Smaney.Tiger sharks. No, wait: Leopard sharks! That's what Charlotte was talking about.Our episode on The Time Travelers.A poem by Henry Gibson.Betty White's The Pet Set.A review of Karen Findlay's yams.The Hollies: Bus Stop.Louis Sullivan.Our episode on Riding with Death.The history of Betty Crocker.Support It's Just A Show on Patreon and we will shower you with praise.

Form follows function. I expect you're familiar with that quote but you may not know the entire context. The phrase is a vast simplification of an idea put forth by architect Louis Sullivan, mentor to Frank Lloyd Wright, in his 1896 article titled “The Tall Office Building Artistically Considered.” Working from an idea of the ancient Roman architect Vitruvius that a building should be solid, useful and beautiful, Sullivan developed his overriding philosophy, what he called the single "rule that shall permit of no exception." This was his complete statement: Whether it be the sweeping eagle in his flight, or the open apple-blossom, the toiling work-horse, the blithe swan, the branching oak, the winding stream at its base, the drifting clouds, over all the coursing sun, form ever follows function, and this is the law. Where function does not change, form does not change. The granite rocks, the ever-brooding hills, remain for ages; the lightning lives, comes into shape, and dies, in a twinkling. It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law. Those are profound thoughts and today we are going to apply them not to the oak, the clouds or the cosmos, but to the harp, specifically to one of the more confusing aspects of harp technique, the technique of raising. What you do with your hands after you play a string or a scale or a chord is just as important as how you place your fingers before you play and how you move your fingers when you play. It's the follow through that makes a huge difference in your sound. It also affects your ability to move around the harp quickly and helps you stay relaxed while you play.  There are many schools of thought on how to raise and on today's show I'll try to get to the heart of the matter - why we raise. Because once you understand the why, the true function of raising, the gesture itself follows naturally. I'll also give you a simple formula to help you practice the perfect raise, even if you've never felt comfortable raising before.   Links to things I think you might be interested in that were mentioned in the podcast episode:  Coaching Enrollment is now open. Click here to reserve your spot. Related resource: Rich, Warm, Round: How to Create Your Sensational Harp Sound blog post Harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-066

In 1896, Louis Sullivan wrote about skyscrapers and architectural design in “The Tall Building Artistically Considered” This was the origin of the famous phrase, “form follows function.” What Sullivan actually said was “form must ever follow function” but regardless of phrasing, the meaning remains the same - architects should first consider how a building will be used then base the design on that.  I remember when I was in school hearing my art history professor describe the early modern architectural philosophy like a layer cake. Sullivan argued that the building should be considered in tiers. At the base level, the business should be easily accessible to the public. It should be light and open and the second story should also be easily accessed by stairways. Above that, there should be offices. The offices should be uniform. They should look the same to unify the design and because they are all serving the same purpose. This section can have as many stories as needed and desired, then finally the attic at the top. Sullivan argued the attic story should have distinctive molding or a cornice to add not only a decorative flourish but to mark an end point to the building. Simultaneously this decorative topper would serve to set the building apart from others in the skyline.  While the building bears Sullivan's name today, and he was a very important and influential architect, he was not an easy man to work with. One of the things many people leave out of the story of this building is the fact that a different architect, Daniel Burnham was hired to complete the last phase of the building in 1906. Louis Sullivan had a reputation for being great artist but awful human and his career suffered because of it. In the end, Sullivan died penniless. Another great architect, Frank Lloyd Wright, actually took up a collection and paid for Sullivan's burial and stone inscribed to pay tribute to Sullivan's legacy. While the man may be gone, his words that “form must ever follow function” have been repeated in textbooks and etched in stone to live on influencing generations to come.  Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Buy me a coffee As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are joined by Dan Barousse, Co-Founder and CEO of @Slice Engineering . Dan is a mechanical engineer that was turned to the Dark Side of Business, i.e. sales and marketing, when he started Slice Engineering. He is passionate about using 3D printing as a tool to help people bring their ideas to life. We are going to be discussing the history of Slice Engineering, what sets them apart, and maybe some fun beef with E3D ;) Slice's Story: When it comes down to it, we're engineers. And when we encounter a problem, it's compulsive for us to find a solution, or create one. We look to the greatest inventors in history and we see a shared vision: a contagious curiosity about how things work, and an insatiable desire to improve the world. That curiosity inspires us - a vision to push technology forward further than people thought was possible. One of the great architects, Louis Sullivan, had a philosophy that has permeated design, engineering, and architecture: form ever follows function. Within the context of architecture, it means that the shape of a building should primarily relate to its intended function or purpose. It's simple, but profound. And that philosophy led us to re-imagine some of the components on the 3D desktop printer we were using at the time. Were they optimally designed and structured based on their intended function? We told you it's compulsive...That lens to life has unlocked engineering discoveries that led to the formation of Slice Engineering®. Because of these discoveries, you can now print faster, with higher resolution, using engineering-grade plastics. Learn more here: https://www.sliceengineering.com/ __________________________________ Do you have an idea you want to get off the ground? Reach out to the Making Awesome Podcast through https://3DMusketeers.com/podcast and someone will get you set up to be a guest!

Play Store Audiobook, "The Devil in the White City: a saga of magic and murder at the fair that changed America" by Erik Larson. ("NEW YORK TIMES BESTSELLER • The true tale of the 1893 World's Fair in Chicago and the cunning serial killer who used the magic and majesty of the fair to lure his victims to their death. “Relentlessly fuses history and entertainment to give this nonfiction book the dramatic effect of a novel .... It doesn't hurt that this truth is stranger than fiction.” —The New York Times Combining meticulous research with nail-biting storytelling, Erik Larson has crafted a narrative with all the wonder of newly discovered history and the thrills of the best fiction. Two men, each handsome and unusually adept at his chosen work, embodied an element of the great dynamic that characterized America's rush toward the twentieth century. The architect was Daniel Hudson Burnham, the fair's brilliant director of works and the builder of many of the country's most important structures, including the Flatiron Building in New York and Union Station in Washington, D.C. The murderer was Henry H. Holmes, a young doctor who, in a malign parody of the White City, built his “World's Fair Hotel” just west of the fairgrounds—a torture palace complete with dissection table, gas chamber, and 3,000-degree crematorium.  Burnham overcame tremendous obstacles and tragedies as he organized the talents of Frederick Law Olmsted, Charles McKim, Louis Sullivan, and others to transform swampy Jackson Park into the White City, while Holmes used the attraction of the great fair and his own satanic charms to lure scores of young women to their deaths. What makes the story all the more chilling is that Holmes really lived, walking the grounds of that dream city by the lake. The Devil in the White City draws the reader into the enchantment of the Guilded Age, made all the more appealing by a supporting cast of real-life characters, including Buffalo Bill, Theodore Dreiser, Susan B. Anthony, Thomas Edison, Archduke Francis Ferdinand, and others. Erik Larson's gifts as a storyteller are magnificently displayed in this rich narrative of the master builder, the killer, and the great fair that obsessed them both.") For Educational Purposes Only. The Creators own their music/songs and content.

On today's episode we welcome American explorer and photographer from Chicago Eric Holubow who has urbexing for over 15 years. We talked about Eric's origins and his connection to Richard Nickel, Louis Sullivan buildings and the difference between exploring abandoned locations and being a preservationist. Eric shared many stories, including Uptown Theater, another ladder story and obviously many cops stories plus many many more. You can find Eric on Instagram at eholubow or by visiting his website ebow.org Intro song is Watcha Gon' Do is performed by Chris Shards [EPIDEMIC SOUND MUSIC LICENSE] Viewer discretion announcement at the beginning of the episode was done by Adrian Wunderler-Selby.

Pictured: Dr. Louis Sullivan, Former Secretary, U.S. Department of Health and Human Services Bonus read from Dennis Kimbro's Book, "Think and Grow Rich: A Black Choice" Get your copy Dr. Kimbro's book: https://amzn.to/3t5HEAB More of Dr. Kimbro's Work: https://amzn.to/36oGpm6 If you need some help getting your self together or putting this message into practice here are some practical resources. Make a Plan for yourself: https://www.selfauthoring.com/ Write it Out: https://amzn.to/3eiLocF GET THE FULL PODCAST EPISODE ON YOUR FAVORITE PODCAST PLAYER OR AT itsmytimepodcast.com Follow Asher Tchoua Online: IG: @itsmytimepodcast Web: solo.to/imtp --- Send in a voice message: https://anchor.fm/asher-tchoua0/message

Today is U.S. Bowling League Day https://nationaldaycalendar.com/u-s-bowling-league-day-september-3/?subscribe=success#485 Today's word is Solipsism https://www.merriam-webster.com/dictionary/solipsism Born on this day in 1856, architect Louis Sullivan https://www.onthisday.com/

Another episode to forge from the previous ones on Building the Design Manifesto, by reflecting on the Louis Sullivan axiom of "Form Follow Function" on the premise of how we currently think about theory affecting practice or vice versa. Some arguments explored to support Sullivan's proposition, especially in this day and age where due to the increase in the aging population, there are current concerns on designing for all users. Looking at building types and what we need to do in our design approaches, at all stages of design. When does that happen (designing in the function comes) in the design process stages of an office design project to be built? When do we look into the function, when we usually design the form first? Just some ideas for us to think about in this series of discussions.The reference of the Guggenheim museum in New York designed by Frank Lloyd Wright ( who worked with Sullivan) is here: https://www.guggenheim.org/teaching-materials/the-architecture-of-the-solomon-r-guggenheim-museum/form-follows-function© 2021 Talk Architecture, Author: Naziaty Mohd YaacobPhoto taken in 2015, at FAUP (Faculty of Architecture of the University of Porto), at the end of the year review session in the second year studio.

Dr. Louis Sullivan, the former Secretary of the U.S. Department of Health and Human Services during President George H. W. Bush's Administration, a founding dean of the Medical Education Program at Morehouse School of Medicine and. Sullivan talks with Rose about several coronavirus-related topics.

Ever wonder what HH Richardson, Louis Sullivan, and Frank Lloyd Wright all have in common? Besides being recognized as the “trinity of American architecture” they also share Preservation Chicago. In this episode we hear from Ward Miller, Executive Director and Co-founder of Preservation Chicago. Founded in 2001, this organization has remained committed to preserving, promoting, and protecting historic Chicago neighborhoods and buildings. Through their many partnerships, Miller discusses how, “individual citizens, when acting together, could truly make a difference” Want to get engaged? Website: https://preservationchicago.org/ Phone: 312-443-1000 Email: info@preservationchicago.org Facebook: https://www.facebook.com/PreservationChicago/ Instagram: @preservationchicago

SCO: The Podcast returns for season 2 and opens with Neal Hopkins hosting Louis Sullivan, who chats candidly about his struggles with mental health, hitting rock bottom and what gave him the confidence to seek help, and how he's now bringing awareness to the topic. You can support Louis' Movember cause here: https://uk.movember.com/mospace/14436477.

For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pbliving/message Support this podcast: https://anchor.fm/pbliving/support

Quote ดีๆ จากสถาปนิกชื่อดัง และประวัติของแต่ละท่านทำให้เรารู้ว่ามีความเชื่อมโยงระหว่างสถานศึกษากับการทำงานอย่างไรในยุคต่าง ๆ ของเวลาที่น่าจดจำ Mie van der Rohe, Louis Sullivan, Le Corbusier, Louis Kahn, I.M.Pei, Frank Gehry, Zaha Hadid, Peter Eisenman, Helmut Jahn และ Tadao Ando ถ้าท่านอยากจะให้รีวิวหนังสือเรื่องใด ท่านสามารถเขียน inbox มาที่ https://humancdesign.com --- Send in a voice message: https://anchor.fm/sakol/message

In this episode, we talk with Shrikant Rangnekar, the creator of the 52 Living Ideas meetup, about his intellectual journey across life, the times he's changed his mind about things, and how the Meetup formed. We cover everything from his immigration from India to the United States, to his departure from tech, to his evolution from a solitary learner to a mutual explorer.Links to things in the episode:How To Read A Book: https://en.wikipedia.org/wiki/How_to_Read_a_BookShrikant's re-writing of Louis Sullivan's Kindergarten Chats: https://shrikantrangnekar.wordpress.com/2011/03/29/louis-sullivans-kindergarten-chats-foreword/The Switch on Patreon: https://www.patreon.com/switch_podcast52 Living Ideas: https://52livingideas.com/52 Living Ideas on Patreon: https://www.patreon.com/52livingideasJoin our next session live on Zoom, Mondays at 9pm EST - the call link is available for free on our Pateron page!

"It is the pervading law of all things organic and inorganic...that form ever follows function." Louis Sullivan, famed architect, wrote these words in 1896. And while it is true that we can become what we do, it's important to maintain focus on your true worth and identity apart from your function in society. Inspired by Sabrina Orah Mark's essay in the Paris Review, we discuss embracing change and discovering yourself.

What I learned from reading Plagued By Fire: The Dreams and Furies of Frank Lloyd Wright by Paul Hendrickson.Upgrade to the Misfit feed and unlock every premium episode by tapping this link. 

Je kent 't wel. De gevleugelde uitspraak "Form follows function" van architect Louis Sullivan. Het gaat er vanuit dat de vorm afhankelijk is van functie. Maar is dat altijd zo? Of zijn er situaties waarin vorm en functie elkaar minder of helemaal niet beinvloeden? Zijn er ook interfaces die alleen voor de vorm bestaan en waarbij functie ondergeschikt is? We hebben het uitvoerig over dit onderwerp en bespreken de UX -fuckup van de week, die deze keer over de NPO Start Plus website gaat. Stellingen zijn deze week: Stelling 1: Functie is altijd belangrijker dan vorm (form follows function) Stelling 2: Een vormtaal is bepalend voor ‘t succes van een product Stelling 3: Lelijke websites zijn succesvoller dan mooie websites Stelling 4: ‘Mooi’ mag nooit een argument zijn in een design-proces

In this episode, Realtor Adam Kruse and Realtor Shannon St. Pierre talk to Amrit and Amy Gill of Restoration St. Louis http://www.restorationstl.com/. Find out how they have succeeded in breathing life back into neglected neighborhoods like The Grove by developing the worst 10% of the properties. Email questions to PODCAST@HermannLondon.com Adam Kruse-https://hermannlondon.com/realtor/adam-kruse/ Shannon St. Pierre-https://hermannlondon.com/realtor/shannon-st-pierre/ Amrit and Amy Gill-http://www.restorationstl.com/ Facebook - https://www.facebook.com/HermannLondon/ Producer - Joey Vosevich Theme Song by Trastornobeats 1:51 Hotel Saint Louis is their latest project 2:23 Everyone within their companies must know the mission statement 2:39 Their mission statement is to strengthen and enhance the communities they operate in by redeveloping neglected neighborhoods and making them great places to live, work, and play 3:08 Adam remembered seeing their double headed eagle logo spray painted on homes 14 years ago  3:28 The first neighborhood they redeveloped was the loop and then they worked their way to the Coronado by SLU campus 4:58 A & A Contracting was their first company 5:39 How did they choose to start redeveloping The Grove neighborhood in St. Louis? 7:04 “Every building is like a person. Single and unrepeatable.”-Louis Sullivan 7:37  In 2003 they mounted an aggressive effort to save the Harris Teachers College 11:06 SLU wanted to buy up everything and tear it down. They would buy the drug houses around SLU and redevelop them. 12:02 The Grove started out as a defensive project in 2004  13:10 Once people find out the Gills are coming, property values jump and speculators start to snatch up properties 14:20 They buy unoccupied properties 99% of the time 15:01 They will map out the entire neighborhood so they can focus on the worst 10% of the property 17:15 Rents in The Grove were around 50 cents a square foot when they started developing the neighborhood. 19:36 When the recession hit, the community banks they had construction loans with went out of business. The bigger banks tried to put liens against their properties 27:15 How do they operate their business differently since the recession? 42:30 How did Amrit and Amy Gill get started in redevelopment? What was the first building they ever bought? What happened when Amrit and Amy Gill tried to buy their first building in the Delmar Loop? 52:08 They worked with Pulaski Bank to create a program where people could cash their checks with no charges and no overdraft fees 56:42 What is the next area they will be redeveloping? 58:07 St. Louisans are down on St. Louis because of the decline of downtown 59:00 They will be expanding Hotel Saint Louis into The Chemical Building next door 1:01:00 To redevelop downtown St. Louis it must be made attractive to young people 1:04:08 If we care about St. Louis as a region and its place in this nation then we’ve got to make downtown a lot more vibrant

  Widely hailed as the greatest American architect of all time, Frank Lloyd Wright (1867–1959) designed hundreds of iconic buildings and structures throughout the early 20th century. Well-known for his creative and visionary designs, Wright believed that America should break away from traditional European architectural designs, and helped to establish a uniquely American style of structure. Over the course of his 70-year career, Wright planned over a thousand designs ranging from homes to churches to museums. Robert Twombly teaches architectural history at the City University of New York. He has written biographies of Louis Sullivan and of Frank Lloyd Wright, and has edited Sullivan's public papers. He shares his insight into the life and work of the great American architect.

Widely hailed as the greatest American architect of all time, Frank Lloyd Wright (1867 – 1959) designed hundreds of iconic buildings and structures throughout the early 20th century. Well-known for his creative and visionary designs, Wright believed that America should break away from traditional European architectural designs, and helped to establish a uniquely American style of structure. Over the course of his 70-year career, Wright planned over a thousand designs ranging from homes to churches to museums. Robert Twombly teaches architectural history at the City University of New York. He has written biographies of Louis Sullivan and of Frank Lloyd Wright, and has edited Sullivan's public papers. He shares his insight into the life and work of the great American architect.

Every year, thousands of people walk past the landmark Getty tomb in Chicago’s Graceland Cemetery to admire the architecture. Designed by Louis Sullivan, it’s perhaps the most perfect example of Sullivan’s style. Almost no one who sees it realizes that inside lie the remains of one of the most fascinating women in Chicago history – Alice Getty could have starred in adventure serials. The daughter of lumber baron Henry Getty, after her mother died in the 1880s, Alice, now in her early 20s, began to travel the world, collecting art and curios. She became a noted composer in her 20s…Continue ReadingAlice Getty and the Musical Skull

#EduDuctTape S02-E034 #EduDuctTape -- EduDuctTape.com -- @JakeMillerTech -- JakeMiller.net -- JakeMillerTech@gmail.com Ways to Support the Show or Connect with Jake & other Duct Tapers!  Apple Podcast Reviews FlipGrid.com/EduDuctTape #EduDuctTape on social media Telling your friends & colleagues The Duct Tapers Facebook Group - facebook.com/groups/ducttapers Certificates of Listening, Laughing, and Learning! EduDuctTape.com/certificate Listen to the whole show to hear the “super-secret code”! #EduDuctTape Twitter Chats Access the calendar! - bit.ly/EduDuctTapeCalendar Highlights from the last chat - jakemiller.net/eduducttape-twitter-chat-12-18-19 Seah Fahey & Karly Moura’s “A Beginner’s Guide to Twitter for Educators” - Section 2 focuses on Twitter Chats - drive.google.com/file/d/1wrMWGN6QyrICGNis1SwLQOHlbfze3vpt/view Thanks to The Mighty Ducts! Alex Oris, Amy Huckaby, Angela Green, Brandy New, Dan Stitzel, David Allan, Jennifer Conti, Kimberly Wren, Lisa Marie Bennett, Matt Meyer, Melinda Vandevort, Melissa Van Heck, Molly Klodor, Nanci Greene, Pam Inabinett & Sarah Kiefer! The JakeMillerTech Newsletter - Sign up! jakemiller.net/newsletter Jake’s Upcoming Events Educational Duct Tape Workshop Series at Kent State University Research Center for Educational Technology - kent.edu/rcet/innovating-teaching-learning Session 2 - 2.7.20,  9:00 a.m. - 3:00 p.m.-  Educational Duct Tape Toolbox Focus Session: Flipgrid OETC (Ohio Educational Technology Conference) - 2.11.20-2.13.20 Revere Schools, OH - 2.14.20 KySTE Spring Conference - 3.12.20 - kyste.org/Content2/conference Tech Meet Tuscaloosa - Tuscaloosa, Alabama - 5.29.20 uatmt.weebly.com WITCon (Whatever It Takes Conferences) - Galesburg, Ill - 6.12.20 - witconf.org ISTE - 6.30.20 ***Vote for the #EduDuctTape Panel*** conference.iste.org/2020/peopleschoice/proposal_detail.php?sessionid=113427428 Engage Conference, San Angelo, TX - 7.15.20 Book Jake as a Speaker! - JakeMiller.net/Speaking SoapBox Moment - “ Less of the Science and Much More of the Art” Daniel Burrus - wikipedia.org/wiki/Daniel_Burrus StartEdUp Episode - soundcloud.com/don-wettrick/ep-79-daniel-burrus-on-anticipating-innovation Today’s Guest: Jared Cooney Horvath, Phd, MEd Jared is an award-winning cognitive neuroscientist, best-selling author and renowned keynote speaker with an expertise in human learning, memory, and brain stimulation. In 2018, Jared co-founded LME Global to bring his pioneering brain and behavioral research to teachers, students and professionals seeking a boost in their performance. Lmeglobal.net Book: Stop Talking, Start Influencing | 12 Insights from Brain Science to Make Your Message Stick - lmeglobal.net/stop-talking-start-influencing-book Order here on Amazon 2 Truths & 1 Lie Question #1: How can students learn sets of vocabulary words in more “sticky” ways? Goals: recall, spacing, find the narrative Super Memo - iOS, Android Memrise - memrise.com Quizlet - quizlet.com Context-dependent learning Lock performance to practice OR vary context Strategies for transfer and memory The Fast & The Curious EduProtocol The books - https://www.eduprotocols.com/purchase-books Jon Corippo - @jcorippo Jon’s episode - eduducttape.libsyn.com/jon-corippo-eduprotocols-formative-assessment-quizizz-gimkit-socrative-formative-cue-the-fast-amp-the-curious-nacho-paragraphs-and-more Marlena Hebern -  @mhebern                     More Questions: Is closed captioning beneficial for learners without auditory handicaps in videos & live presentations? “You learn less than if you would have just shut your eyes and listened or shut your ears and looked at the words.” Are giving notes beneficial for learners with auditory handicaps?  What about learners without auditory handicaps? Universal Design for Learning Blended Learning Sketch noting Sketch-noting & doodling Give time for recall  Collaborative note-taking Jared recommends doing collaborative note-taking after live discussions or lectures (or at breaks in the discussion)  Spatial recall - ebooks Screen-reading negatively impacts learning & memory if content is more than 3 pages We expect to use a screen a certain way “Form follows function” - Louis Sullivan     Content from the Duct Taper Community This Episode’s Apple Podcast Review: Mr. Gway    

In the nineteenth century, under the influence of scientific-rationalism, the concept of the body was transformed into a political tool for representing national identity. Architectural historian Charles Davis reveals the parallels between race and style in modern architecture.

Today, host Amy Guth talks with Crain’s Chicago Business residential real estate reporter Dennis Rodkin about three local homes designed by famous architects—Frank Lloyd Wright, Louis Sullivan and the Keck brothers. The two also discuss—mainly using Disney movie references—a house that recently sold. Plus: ADM sees the tariff war permanently changing China’s soy trade pattern, the University of Chicago lands a $25 million gift, an Elgin credit union strikes a deal for an Arlington Heights community bank, a look inside the new visual identity at McDonald's, and Oscar Mayer rents out its Weinermobile to the public. Find host @AmyGuth on Twitter and continue the conversation with hashtag #CrainsDailyGist.

เราจะเรียนรู้อะไรได้บ้างจาก ไอ.เอ็ม. เพ (I.M. Pei) สถาปนิกชาวอเมริกันเชื้อสายจีน ผู้ออกแบบพีระมิดลูฟวร์, หอสมุดจอห์น เอฟ. เคนเนดี, อาคาร Bank of China และสถานที่มีชื่อเสียงอีกมากมาย การันตีความสำเร็จด้วยรางวัลสูงสุดอย่าง รางวัลพริตซ์เกอร์ ซึ่งเปรียบเสมือนรางวัลโนเบลในสาขาสถาปัตยกรรม ไอ.เอ็ม. เพ เสียชีวิตด้วยอายุ 102 ปีในวันที่ 16 พฤษภาคมที่ผ่านมา ผลงานและเบื้องหลังแนวคิดไม่ธรรมดาที่เขาฝากไว้ ยังคงส่งต่อให้ทุกคนสามารถนำไปปรับใช้ได้ไม่ว่าคุณจะทำอาชีพอะไรก็ตาม เคน-นครินทร์ เล่าถึงเบื้องหลังวุ่นๆ ของพีระมิดลูฟวร์ กับ 4 แนวคิดจาก ไอ.เอ็ม. เพ สถาปนิกจีนดังระดับโลก ในรายการ The Secret Sauce อ่านเนื้อหาของเอพิโสดนี้ ได้ที่ thestandard.co/podcast/thesecretsauce114 ขออภัยในความผิดพลาดของข้อมูล  - François Mitterran เป็นประธานาธิบดีฝรั่งเศส ไม่ใช่ นายกรัฐมนตรี - ผู้ที่กล่าวคำว่า form follows function ไม่ใช่ Le Corbusier แต่คือสถาปนิกชื่อ Louis Sullivan

A arquitetura precisa funcionar, disfuncionar ou algo além de funcionar? DESCRIÇÃO No fim do século XIX o arquiteto Louis Sullivan, tradicionalmente associado à Escola de Chicago, cunhou a expressão "a forma segue a função". Desde então, o lema se transformou em grito de guerra para uma ética do projeto de pretensões modernizadoras e totalizantes. Anos mais tarde Adolf Loos associaria todo ornamento ao delito (“The evolution of culture marches with the elimination of ornament from useful objects”) e o clássico Mies van der Rohe diria que "menos é mais". Já nos anos 60, contudo, jovens arquitetos respondiam à sugestão de que "less is more" com "less is a bore": o casal Venturi e Scott Brown, em particular, explorava aspectos semióticos dos edifícios que contradiziam as supostas associações entre forma e função. Mais de um século após Sullivan, esse debate ainda faz sentido? MARCAÇÕES 00h01min30s - Preâmbulo 00h04min16s - Debate 00h50min58s - Entrevista 01h08min51s - Crônica LINKS Archidaily: Louis Sullivan Interesting Engeneering: 25 casos de falhas na arquitetura Archdaily: A polêmica dos novos pontos de ônibus em São Paulo Monografia de Luiza Orsini Cavalcanti: A Implantação do BIM e a Melhoria do Processo de Projeto na CPTM. MÚSICAS Eliza Aria (Wild Swans Suite) - Elena Kats-Chernin Variations for Vibes, Pianos and Strings: I Fast - Steve Reich Five Nine Seven Eight - Virt Playlist no Spotify

Chicago's Glessner House is a National Historic Landmark that was designed by noted American architect Henry Hobson Richardson and completed in 1887 for John Glessner and Frances Glessner. The structure served as an inspiration to architects such as Louis Sullivan, Mies van Der Rohe, and the young Frank Lloyd Wright and helped redefine domestic architecture. On this week’s PreserveCast, we’re talking to Glessner House’s Executive Director and Curator Bill Tyre about the unique design and residents of this house including, Frances Glessner Lee, daughter of John and Frances Glessner. Lee was the first female police captain in the United States, likely the inspiration for Jessica Fletcher in Murder, She Wrote, and is known as “the mother of forensic science.” Her series of extremely detailed dioramas, “Nutshell Studies of Unexplained Death,” influenced investigative training for many years. The dioramas were recently featured in an exhibition at the Smithsonian’s Renwick Gallery in 2018. The Glessner House will host a Birthday Gala in honor of Lee later this month at which her meticulously detailed miniature model of the Chicago Symphony Orchestra will be on display for the first time in six years. Bill Tyre is the Executive Director and Curator at Glessner House Museum. He’s one of just three full-time staff members who manage and maintain one of Chicago’s most famous homes. Glessner House was saved thanks to preservation efforts that resulted in the formation of both the house museum and Chicago Architecture Center in 1966.

What started with the renovation of one building in University City has evolved into the restoration of hundreds of buildings across St. Louis. Amy and Amrit Gill of Restoration STL look at a crumbling building and see a future home or a chance to rebuild a neighborhood one brick at a time. The husband and wife team has restored 400 buildings, from single-family homes to the newly-opened Hotel St. Louis in the Louis Sullivan-designed Union Trust building in Downtown St. Louis. They sat down with Meet St. Louis to talk about their passion for history, their take on the revitalization of the region and why attention to detail is so important.

This week on Conversations on Health Care, hosts Mark Masselli and Margaret Flinter speak with Dr. Louis Wade Sullivan, Founding Dean and President Emeritus of the Morehouse School of Medicine, and former HHS Secretary under the first Bush Administration. Dr. Sullivan discusses his efforts to build diversity in the health professions through his organization, the Sullivan Alliance, and his contributions to building equity in health systems around the country and the world. The post Continued Quest for Equity in Health: Thoughts from Morehouse School of Medicine Founder and former HHS Secretary Dr. Louis Sullivan appeared first on Healthy Communities Online.

We're back for another season! (Better late than never.) Louis Sullivan schools us on form and function.

As one of 30 buildings left standing that was designed by Louis Sullivan and one of two in St. Louis (Wainwright Building is the other), the newly restored Hotel Saint Louis is a shining example of how revitalization can enhance communities. Restoration St. Louis' Amrit and Amy Gill reflect on their efforts to being the old Union Trust Building back to life as the new Hotel Saint Louis. http://www.restorationstl.com/ https://www.hotelsaintlouis.com/

Hotel Saint Louis, the former Union Trust Building in St. Louis which was designed by Louis Sullivan, has been restored to its glory. Find out from owners Amrit and Amy Gill about their efforts to recreate this building which is one of 30 Louis Sullivan buildings left standing. http://www.restorationstl.com/ https://www.hotelsaintlouis.com/ Louis Sullivan: He is considered by many to be the father of the skyscraper. Who was he, what impact did he leave on architecture, and what is left of his legacy for us to see?

ตึกระฟ้า สัญลักษณ์แห่งความก้าวหน้า รุ่มรวย และรุ่งเรืองของมหานคร จุดกำเนิดของมันนั้นถูกเรียงร้อยขึ้นจากองค์ประกอบมากมาย กว่าจะพัฒนามาเป็นอาคารสูงอย่างที่เราเห็นกันจนชินตาในปัจจุบัน SAOSAOSAO HISTORY ชวนคุณมาย้อนเวลา เดินทางสู่มหานครที่เป็นแหล่งกำเนิดอาคารสูง  นครชิคาโก ประเทศสหรัฐอเมริกา สำรวจองค์ประกอบ  และบุคคลสำคัญผู้มีส่วนให้กำเนิดแนวคิด  และจุดระเบิดยุคสมัยใหม่แห่งสถาปัตยกรรมที่เรียกว่า "Chicago School"  พร้อมแขกรับเชิญ "คุณเคน" สถาปนิกหนุ่มไฟแรง  ที่ขอเหลาเรื่องตึกสูงให้คุณฟ้ง (เออ  คุณเคนเป็นแขกรับเชิญคนแรกของซีรีส์นี้ที่เป็นสถาปนิกจริงๆ ล่ะ 5555) (0:05:00 แนะนำซีรีส์เสาเสาเสาประวัติศาสตร์ (0:11:00) ไฟไหม้ใหญ่ในชิคาโก (Great Chicago Fire) (0:22:00) ลิฟต์ (0:33:00) ฐานรากและโครงสร้าง (0:40:00) รูปลักษณ์หน้าตาของอาคาร (0:47:00) สุดยอดสถาปนิกในยุคนั้น: Richardson (0:54:00) William Le Baron Jenney (1:02:00) Dankmar Adler & Louis Sullivan (1:29:00) ระบบประปาในตึกสูง (1:35:00) Sullivan Center (1:47:00) William Holabird, Daniel Burnham (1:53:00) Frank Lloyd Wright กับการทลายเทรนด์ตึกสูง (2:01:00) International Style และ Mies van der Rohe (2:18:00) รีวิวตึกสูงในเมืองไทย (2:23:00) บทสรุป: สิ่งที่ต้องคำนึงในการออกแบบตึกสูง

ตึกระฟ้า สัญลักษณ์แห่งความก้าวหน้า รุ่มรวย และรุ่งเรืองของมหานคร จุดกำเนิดของมันนั้นถูกเรียงร้อยขึ้นจากองค์ประกอบมากมาย กว่าจะพัฒนามาเป็นอาคารสูงอย่างที่เราเห็นกันจนชินตาในปัจจุบัน SAOSAOSAO HISTORY ชวนคุณมาย้อนเวลา เดินทางสู่มหานครที่เป็นแหล่งกำเนิดอาคารสูง นครชิคาโก ประเทศสหรัฐอเมริกา สำรวจองค์ประกอบ และบุคคลสำคัญผู้มีส่วนให้กำเนิดแนวคิด และจุดระเบิดยุคสมัยใหม่แห่งสถาปัตยกรรมที่เรียกว่า "Chicago School" พร้อมแขกรับเชิญ "คุณเคน" สถาปนิกหนุ่มไฟแรง ที่ขอเหลาเรื่องตึกสูงให้คุณฟ้ง (เออ คุณเคนเป็นแขกรับเชิญคนแรกของซีรีส์นี้ที่เป็นสถาปนิกจริงๆ ล่ะ 5555) (0:05:00 แนะนำซีรีส์เสาเสาเสาประวัติศาสตร์ (0:11:00) ไฟไหม้ใหญ่ในชิคาโก (Great Chicago Fire) (0:22:00) ลิฟต์ (0:33:00) ฐานรากและโครงสร้าง (0:40:00) รูปลักษณ์หน้าตาของอาคาร (0:47:00) สุดยอดสถาปนิกในยุคนั้น: Richardson (0:54:00) William Le Baron Jenney (1:02:00) Dankmar Adler & Louis Sullivan (1:29:00) ระบบประปาในตึกสูง (1:35:00) Sullivan Center (1:47:00) William Holabird, Daniel Burnham (1:53:00) Frank Lloyd Wright กับการทลายเทรนด์ตึกสูง (2:01:00) International Style และ Mies van der Rohe (2:18:00) รีวิวตึกสูงในเมืองไทย (2:23:00) บทสรุป: สิ่งที่ต้องคำนึงในการออกแบบตึกสูง

Frank Furness (1839-1912) has remained a curiosity to architectural historians and critics, somewhere between an icon and an enigma, whose importance and impact have yet to be properly evaluated or appreciated. To some, his work pushed pattern and proportion to extremes, undermining or forcing together the historic styles he referenced in such eclectic buildings as the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania Library. To others, he was merely a regional mannerist creating an eccentric personal style that had little resonance and modest influence on the future of architecture. By placing Furness in the industrial culture that supported his work, George Thomas finds a cutting-edge revolutionary who launched the beginnings of modern design, played a key part in its evolution, and whose strategies continue to affect the built world. In his sweeping reassessment of Furness as an architect of the machine age, Thomas grounds him in Philadelphia, a city led by engineers, industrialists, and businessmen who commissioned the buildings that extended modern design to Chicago, Glasgow, and Berlin. Thomas examines the multiple facets of Victorian Philadelphia's modernity, looking to its eager embrace of innovations in engineering, transportation, technology, and building, and argues that Furness, working for a particular cohort of clients, played a central role in shaping this context. His analyses of the innovative planning, formal, and structural qualities of Furness's major buildings identifies their designs as initiators of a narrative that leads to such more obviously modern figures as Louis Sullivan, William Price, Frank Lloyd Wright and eventually, the architects of the Bauhaus. George E. Thomas is a cultural and architectural historian who serves as co-director of the Critical Conservation Program at Harvard's Graduate School of Design. Description courtesy of University of Pennsylvania Press.

Happy Sunday! For every designer, the philosophy of "Form Follows Function" is familiar. Coined by Louis Sullivan during the modernist movement, it is a phrase we continue to repeat as architects and industrial designers. We chat about its history in the Bauhaus movement, our own relationship with the phrase and where we see it being applied in the future in regards to affordances and mental models. Thank you for listening! Velvet Morning vlvtmorning.com instagram: @vlvtmorning @hong.celine@lisaylai @cindy.nach

Feb. 24, 2016. The remarkable life of Dr. Louis W. Sullivan, who spent his childhood in Jim Crow southern Georgia in the 1930s, became a physician, went on to found the Morehouse School of Medicine and was appointed secretary of Health and Human Services, is recounted in his new book, "Breaking Ground: My Life in Medicine". Speaker Biography: At the age of five, Louis Sullivan told his mother that he wanted to be a doctor. At the time, schools in Blakely, Georgia, were segregated, so his parents sent him to Savannah and later to Atlanta for his education. After graduating from Morehouse College, he attended medical school at Boston University, where he was the sole African American in his class. Several years later, the dean at Morehouse asked him to found a medical school there. During that time, Sullivan developed a relationship with George H.W. Bush, who appointed him Secretary of the U.S. Department of Health and Human Services, where he served from 1989-1993. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7200

It’s an uncomfortable topic to talk about, especially for men, but there’s more to prostate cancer than you think – and women should know about it too. With a little education and forethought, you could be saving your life or the life of your loved one. It doesn’t come out of nowhere. Experts say prostate cancer builds over decades, then strikes men in their 40s, 50s, or older. It’s a highly curable disease, but often men tend to drag their feet until their wives or girlfriends nudge them to go and get checked out, or when they are forced by symptoms. On our podcast this week: What you should know that could save your life. We interview Atlanta urologist Dr. James Bennett. He’s working to raise awareness, with an emphasis on detection and prevention. Who Is He? James K. Bennett, M.D., F.A.C.S. Dr. Bennett is a Georgia native whose enthusiasm for medicine began at Clark College in 1976 where he graduated summa cum laude. After receiving his medical degree from Duke University in 1979, Dr. Bennett attended Emory University, where he completed an internship in surgery and a residency in urology. His enthusiasm continues today through the establishment of a urology practice providing quality health care. Honored as the National Medical Association Practitioner of the Year in 1999 and recipient of the Nash-Carter award in 2014, Dr. Bennett is an activist in the treatment and education of prostate cancer.  He was the first Georgia urologist to perform cryosurgical ablation of the prostate.  He also created an educational film featuring Dr. Louis Sullivan entitled “Prostate Cancer in Black Men,” which has been used nationwide by the American Cancer Society.  Dr. Bennett’s video credits include “The Next River to Cross,” narrated by Les Brown, as well as, “Prostate Cancer,” which was narrated by Sydney Poitier.

Today the topic of our Bridge The GAAP – Accounting Podcast is faithful representation.  We’re going to discuss the topic by building a bridge that connects the ideas of testing artificial intelligence, Topic 840 of the Accounting Standards Codification, and skyscrapers in Chicago. We start off by discussing Alan Turing's famous "Imitation Game," which is now typically called the "Turing Test," and is used as a measurement of artificial intelligence.  The approach that Turing used to answer the question serves as a tool to relate the three topics of this podcast. As we discuss Accounting Standard ASC 840, we will cover the difference between capital leases and operating leases, including the four criteria that are considered in determining for a lessee whether a lease is a capital lease.  We'll also discuss direct financing type leases and sales type leases from the perspective of the lessor. The podcast includes a brief discussion about Louis Sullivan, who is considered to be the "Father of the Skyscraper" and some of his thoughts regarding the consideration that form follows function.  

Elizabeth Siegel, Art Institute curator, outlined the goals of the symposium "From Fragment to Photograph—Interpreting Louis Sullivan's Architecture" and explored John Szarkowski's photography of architecture as key to our seeing and appreciating Louis Sullivan's work keenly. Matthew S. Witkovsky, curator and chair of the Department of Photography, opened the symposium. This symposium was offered in support of the special exhibition Looking after Louis Sullivan: Photographs, Drawings, and Fragments. Presented as a part of the symposium "From Fragment to Photograph—Interpreting Louis Sullivan's Architecture." This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Alison Fisher, Art Institute of Chicago curator, spoke about Louis Sullivan and the development of architectural ornament as a part of the symposium "From Fragment to Photograph—Interpreting Louis Sullivan's Architecture." This symposium was offered in support of the special exhibition Looking after Louis Sullivan: Photographs, Drawings, and Fragments. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Tim Samuelson, cultural historian for the City of Chicago, spoke on the experience of seeing Louis Sullivan's buildings as a part of the symposium "From Fragment to Photograph—Interpreting Louis Sullivan's Architecture." He was introduced by curator Alison Fisher. This symposium was offered in support of the special exhibition Looking after Louis Sullivan: Photographs, Drawings, and Fragments. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Aspire Episode 68: Aug 17, 2008 Tough times for famous architects during economic turn downs: On this show the Panic of 1893 and Frank Lloyd Wright and Louis Sullivan in Chicago. Listener Feedback at aspire@szilverwolf.com or 813-249-9222 Copyright © 2008 Szilverwolf LLC

Aspire Episode 68: Aug 17, 2008 Tough times for famous architects during economic turn downs: On this show the Panic of 1893 and Frank Lloyd Wright and Louis Sullivan in Chicago. Listener Feedback at aspire@szilverwolf.com or 813-249-9222 Copyright © 2008 Szilverwolf LLC