How to be Famous

There are several aspects of my personality that will have to change before I can be a leader in the dynamic field of architecture. It will not only require passion; to be a successful architect I will need to be technologically keen, efficient with my design, and be able to convince my clients to opt for sustainable architecture. In order to remain current with new technologies, I must be familiar with the economics of these products and involved with engineers that are capable of implementing them. To do this I will need to acquire communication and networking skills during my education at UT. If I want to produce efficient designs my studio will need good morale and tangible goals. To secure these aspects, I must have people management skills and the ability to execute rigorous organization and scheduling. In order to justify the initial extra costs that are associated with green architecture I will need to be convincing. Rhetoric is an essential tool that every architect must have, but I must also develop an architectural vocabulary. One of the most effective ways to do this is by critiquing architecture and knowing what makes form aesthetically pleasing. If I can master these three skills, I will have the tools to excel as a leader in the field. However, I need to remain true to my ideals during my practice. I must also work to obtain notable and influential contracts. Keeping these lofty goals in sight will help me push myself to my limits.

When an architect begins their design for a project, they have to keep two things in mind. The first, of course, is creating spaces that are appropriate and beautiful. This requires a trained mind and the ability to push one’s perception of a building. Truly beautiful architecture doesn’t merely satisfy requirements; it defines an area and produces spaces that lend themselves completely to their intended uses. The second aspect that the architect must adhere to is the budget set by the client. Exceptional architects can inspire the owner to increase the budget, but there is a certain point where sacrifices will be made. These sacrifices, if done properly, do not compromise the function of the building. Jester Dormitory, as any resident can tell, is a truly oppressing housing structure that resulted from a low budget. To avoid this pitfall, I will need to have a thorough knowledge of different materials, their qualities, and their cost. Even low cost materials, if they are intentionally used, can be beautiful in their own right.[1] The University of Texas Architecture Department has an excellent materials lab that serves this exact purpose. Although I have not needed to search for materials yet, there will be projects in my future design classes that will require thorough investigations in construction. It is crucial for me to explore sustainable and recyclable materials during these assignments. Otherwise, I will miss opportunities to see these products and their uses. By going through my education with the intent to stay environmentally conscious, I will be able to explore green architecture more extensively.


THIS INSULATION IS MADE FROM SOY AND IS BIODEGRADABLE.

In order to find engineers that can help me use cutting-edge technology, I will need to be able to network effectively. This requires the ability to relate with people and make personal connections quickly. At first I assumed that I would need excellent speaking skills in order to be successful at this. I quickly realized that this was the opposite of what I need to do; listening skills are what people remember. During our classes’ tour of the football stadium, Jimbo said that “Every once and a while you encounter someone that makes you feel like you’re the only person in a room.” Bill Clinton, the man Jimbo was describing, made a lasting impression because of his ability to truly listen. Interactions that induce these firm memories are made by using sympathetic imagination. By utilizing this style of empathetic listening one can create strong personal bonds. Covey observes that “When you listen with empathy to another person, you give that person psychological ‘air’ [that is necessary for survival]. After that vital need is met, you can then focus on influencing or problem solving.”[2] By using this powerful skill I will be able to connect with the people around me and work toward my goals.

THAT PERSON PROBABLY FEELS LIKE THE ONLY PERSON IN THE ROOM.

People management is closely related to networking, but it requires a much more personal and lasting relationship. The studio setting is one of collaboration and synergy; if the designers within the studio don’t enjoy being there or around their colleagues, projects will suffer. I have found that having fun is a great way to relate with people. I always try to keep a lighthearted atmosphere when working on projects because when I enjoy being somewhere, my ideas flow better. Also, a studio with open communication will be able to work together effectively. Covey states that synergistic communication means that “you are simply opening your mind and heart to new possibilities, new alternatives, [and] new options.”[3] This type of cooperation and idea-sharing is perfect for architecture. By creating a tightly woven community—especially one that is lighthearted and enjoyable—the efficiency of the workers will be increased.

FRANK GEHRY IS KNOWN FOR PUSHING HIS FELLOW DESIGNERS-SOMETIMES TOO HARD.

Time management is probably my weakest trait. My mind is typically only motivated when the consequences are dire. Unfortunately, procrastination can mean failure when it comes to designing projects. Even in the few architecture assignments I have had, there has been a reoccurring pattern: the more time I spend exploring different possibilities, the better the result is. Design projects, especially ones that require intimate detail, often only materialize after repeated experiments. Unless I start working on the projects prior to their deadline, the amount of exploration I can do is greatly reduced. In order to avoid this problem as a professional, I need to be able to set definite goals over manageable time periods. As a procrastination veteran I realize that great strides can be made during crunch time, but when it comes to winning or losing big contracts it is too risky to leave the design to chance. College is already teaching me that cramming is a high school phenomenon— hopefully it won’t be a problem for me by the time I graduate. It is my personal goal to be able to finish projects, papers, and studying with ample time before the deadlines.

I ONLY THINK ABOUT IT WHEN I DON'T HAVE IT.

The final step in producing architecture is perhaps the most important one. Unless the architect can convince the client that a building is worth building, their efforts are futile. This talent of “selling the building” is particularly challenging due to the fact that the building doesn’t exist. An architect needs to be able to transport the client into the building by describing the total sensual experience. Larry Speck, a respected Austin architect and professor, is a master of this technique. He has a powerful vocabulary that can make two-dimensional slides seem three-dimensional in the mind’s eye. He can also find beauty in every structure—a skill that is almost annoying. For example, in class he analyzed the form of Le Centre Pompidou. I am firmly opposed to the building and find it quite repulsive,

LE CENTRE POMPIDOU IS UGLY AND POINTLESS. YET I WANTED TO SEE IT.

but for a moment he made me appreciate it. He described the uninterrupted, sweeping spaces inside that were made possible by locating the utilities on the exterior of the building. I suddenly had a strong desire to see inside of the building, to experience those open spaces (though I was quickly disappointed by the photos of the interior.) Still, for a moment Speck was able to produce strong feelings of curiosity and wonder in me. His mastery of pathos is a skill that he can use to influence his clients, and has probably been a catalyst for his career. Even though green architecture is gaining popularity and merit, it will be hard to motivate customers to spend more money without strong arguments. Green architecture will not be influential until it exists; the ability to sell it is of upmost importance.

If I can truly master the abilities outlined by this paper, there is no doubt in my mind that I will be able to succeed in architecture. Whether or not I will be influential in the field is a completely different matter. There are countless talented architects around the world that produce beautiful works, and usually they receive recognition among fellow architects. These architects are well respected, and I will be thrilled if I can achieve their success. However, their work does not make the strong statement that is necessary to raise awareness about sustainable architecture. If I want to make people around the world think about green architecture, to truly explore its benefits and motivations, I will need to achieve a superstar status. Stardom is a goal that is stumbled upon more often than it is worked for, so I understand the loftiness of my proposition. Even a successful career could pass completely under the radar. Still, there are some fundamental ideals that I believe can lead to that degree of popularity. The first is to challenge what is accepted. I will need to lose my inhibitions when it comes to the accepted qualities of a building and release my creativity. The fear of failure is crippling, and will be difficult to overcome. When I lose this fear my architecture will reach its full potential. The second ideal is to stay true to my beliefs. If I do not firmly support the architecture that appears with my name on it, then my intended message will be weakened. Herzog and De Mueron, a partnership of architects that is revered world-wide, displayed this fortitude during the designing of the Blanton Art Museum here in Austin. The architects refused to compromise their submittal to the degree asked by the board of regents, and as a result they were fired. One year later, they utilized their ideas from the Blanton project on the De Young museum, and gained instant stardom for the building.[4]



TEXAS SACRIFICED GREAT ARCHITECTURE FOR UNITY--OF ROOFS.


Although it is obvious that my architecture courses are helping me towards my overall goal, it is harder to find direct benefits from my Plan II courses. Still, the classes I am taking in liberal arts are very important to me. My vision of my university experience includes becoming a well rounded person, both academically and emotionally. The required classes for my degree will expose me to the world and help me realize the context of my life. Also, having a wide base of knowledge will enable me to relate with a larger variety of people during my career. I don’t see these classes as a burden, but as a chance to help me focus on what is really important to me. I will cherish the educational opportunities made possible by my Plan II major.

I am nowhere near to being an influential architect; I’m not even sure what it means to design a building. As I go through school my understanding about sustainable architecture will deepen, and I will be able to see new patterns and steps that are necessary to achieve my goal. The other abilities outlined in this paper will not only help with architecture, but with any profession I decide to pursue. Effective networking, time management, organizational and people skills are important tools for any walk of life. When I do learn them, they will become invaluable tools for achieving my influential position in the green architecture world. I stand on the edge of a vast sea of knowledge; all I can do now is swim.

[1] In the Russell A. Steindam Hall at UT, I noticed that the linoleum in certain classrooms is arranged in a unique diamond pattern. The tiles are also about three 3’ by 3’, a much larger size than usual. The result is a floor that appears intentional instead of economic.
[2] Covey. 240
[3] Covey 264
[4] The designers refused to add a “red-tile roof” to their project, the only problem the board of regents needed changed. The tile roof would have been a compromise to their design, and they were adamant about staying true to their concept of a beautiful museum.