Tuesday, September 25, 2012

How much does your building cost, Mr. Designer?



I recently watched the remarkable documentary: How much does your building weigh, Mr. Foster?

Led by a singular vision and determined rigor, for the last 30 years Norman Foster's practice has been at the nexus of innovation and aesthetics in architecture. Not only has he grasped with unusual clarity the multi-dimensional problems raised by modern urban development, but he has also consistently delivered design that is aligned with his client's goals.




In the movie, as we marvel at his mastery of the design process and his use of new light-weight materials at the Sainsbury Centre for Visual Arts, we are caught in a wonderful twist when Buckminster Fuller, the Yoda of the built environment, asks the Architect one of his incisive questions: "So, how much does your building weigh, Mr. Foster?".




The Architect did not have the answer, but once he found it, this insight was incorporated into his process and became another critical variable of design: an additional element of value to clients that seek his firm's expertise.

As I watched this, I thought of another critical question which so often turns designers and building consultants into masters of evasion:  "So, how much does your project cost, Mr. Designer?"

I do believe that it is the role of the design professional to challenge the Client's assumption, all of them, without exception. Clients, whether they are owners, developers or investors allocate a portion of their budget to hire talented and experienced consultants with the expectation that they will contribute to achieve or exceed the project return on investment. The perception of value will be ever greater the more the client feels that the consultants are sitting on his side of the table, looking at the problem with the same set of eyes, although with a different set of tools.  

It is a reality that increasingly fragmented technical disciplines dilate costs estimates to wide intervals that leave too much uncertainty in the project, and result in extensions of the decision-making timeline. This in turn increases the project costs for the consultants and initiates a spiral of negative value sometimes as early as the schematic phase of the project.

Integrated Project Delivery (IPD), a collaborative process between all consultants to optimize project results, is beginning to address this problem, but it is taking time to reach the base of the design services pyramid. Even in robustly managed projects, I have seen design solutions advance well beyond design development before cost assessments become an objective element of project management. Why do I think this happens?

  • Maybe the client feels that it might constrain the creative impulses of consultants while they are focused on the conceptual aspects of the project?
  • Or maybe project managers believe that strong concepts can always be budgeted down, but that budget-conscious designs can't be upgraded successfully?
  • Or maybe designers are all too aware of the fact that when design documents are sent out to bid they will be inevitably simplified, and they pursue high-level concepts regardless as long as someone else is paying for their time?
  • Or maybe the coordination of work between disciplines during the schematic phase is always seen as too time-consuming and ineffective?

These are all issues that PMs commonly address as part of project risk management, but in reality they are also the result of each consultant's very narrow view of their own scope and financial performance on the project. 

Until IPD becomes more commonly used, I believe that managing projects with a higher degree of effectiveness can begin with an improvement of communication and the implementation of a simplified set of tools. None of these notions are new for seasoned professionals, but I find that they often elude decision makers and less discerning consultants. An increased effort to communicate them can vastly improve project efficiency, especially in property renovations where the sequencing of activities presents more complex challenges than in new construction.

These are a few initiatives that I believe can improve project cost management:

  • As many consultants as possible should be simultaneously involved at a very early stage, instead of staggering the appointments based on when the information will be  needed. This will reduce scope gaps, and eliminate empty layers of accountability. It requires some front-loading of soft-costs, but the impact in ROI is more likely positive than not. 
  • Designers particularly must develop an ability to communicate the value in pursuing alternative solutions and in exploring innovative ways of approaching the building problem. This can result in constructive discussions with the client in regards to the deployment of project funds, and replace the often inaccurate use of benchmark percentages in budget allocation with more rigorous scope-specific budgeting.
  • Explore collaborative platforms to manage communication and documentation. The cash-flow limitations that prevent many firms from investing in robust technologies, as well as the numerous international projects that integrate first world consultants collaborating in emerging economies with local partners mean that the use of full-blown BIM to achieve documentation consistency is still some time away. There are numerous cost-effective cloud-based technologies available to increase the intensity, timeliness and depth of communication between consultants. Setting-up project-specific media rich networking tools based on existing social media platforms, coupled with equally inexpensive video-conferencing tools is not complicated. But it does require a disciplined process and the implementation of strict quality control and quality assurance guidelines. I also find that this is an area where the millenial generation can become extremely valuable, and where their intuitive understanding of these tools can be leveraged to increase their sense of accountability and commitment to projects and to professional services firms.
  • Transparency in project cost analysis. The complaint from Clients about consultant's inability to stay on budget is as common as the complaint from consultants that they don't have access to the project's evolving budget. In an age where business intelligence is so pervasive to most organizations even with the most basic accounting applications, it surprises me that so few projects have real-time budget dashboards. Regular updates of budget allocation by discipline with high-level values and reviews via web-conferencing could easily allow consultants to adjust their designs and documentation in real-time, before too many hours are spent proceeding in abortive directions, which consume both the client's and the consultants resources unnecessarily.

By implementing a few of these principles, and mostly if appropriate time is applied to communicating their importance to the project team, I think consultants will be in a better place to answer the dreaded question, and probably their projects will be more profitable. 

Sunday, September 23, 2012

Color blocking: trendy or timeless?

I lived this year's Mercedes-Benz Fashion Week in a particularly intense way as my wife covered the Jason Wu for Brizo Collection for her blog Dec-a-PorterAs I browsed through photos of the new collections, it struck me that color-blocking seems to make a comeback with some regularity. It is almost originally predictable. I wonder if color blocking is a recurrent trend, or rather a timeless fashion statement? There is no doubt that when used well, it can be very elegant and effective, but we have also seen the easily forgettable cases of simplistic adaptation.


                                                                                              BCBGMAXAZRIA


Drawing a parallel with my world of interiors and architecture, I tried to remember when I have seen it used effectively in the built environment, and when it has fallen short of what solid colors can achieve when used with talent.

A recent Dezeen feature on the Hotel Modez in Arnhem came to mind, where the ubiquitous QR-codes were used as decoration, framed by blocks of black and white. I am not sure if this is the kind of room that Philip K. Dick might have had in mind when he wrote about the way androids dream, but it must be close.

                                                                        QR-Code Hotel Room by Antoine Peters 


Beyond this unusual example, my mind wandered towards images that have been more inspirational to me, and bursts of my favorite abstract expressionist painter popped-up. I have always been captivated by Rothko's pulsating canvases, and if they are not entirely the result of pure blocking, those large juxtaposed color spaces are both mesmerizing and soothing.

                                                                                                                                      Mark Rohtko 


Luis Barragan achieve the same serene tension in his interiors with the use of color to define surfaces and architectural elements, and I think he created unmistakably timeless spaces that recurrently provide inspiration for the newer archetypes.


                                                                                              Casa Gilardi (1975) - Luis Barragan


On a more artistic level, the use of sharp, well-defined color blocks to influence human interaction with the urban world has been a theme in the work of artists like Christo and Jeanne-Claude, which illuminated another New York catwalk with their Central Park The Gates project in 2005. New Yorkers that were lucky to experience this site-specific artwork will probably never again see the color orange in the same way.

                                                                                          The Gates (2005) - Christo and Jeanne-Claude


I think color is a crucial element in the creation of the visual environment, and if the richness of layered spaces can often be key to achieving comfort, a wise and talented use of color in its simplest form can achieve simultaneously a fashionable and timeless quality that so many designs aspire to.

Some great examples are:

The work of Karim Rashid, in particular his Semiramis Hotel in Athens, where blocks of colored glass not only define the spaces, but they also influence the way guests transition from one to the other.




                                                                                                                                                                                                                                                      Semiramis (Athens, Greece)




The Saguaro in Palm Springs is a colorful oasis, where all the side-by-side hues achieve a visually striking effect that flows from exterior to interior.

Architects Peter Stamberg and Paul Aferiat infused local color into the building around a palette of 12 vibrant tones found in native desert wildflowers.

The colors adorn each balcony and patio, enlivening the indoor areas and spilling to the outdoor public spaces. The color set follows the light spectrum, which in turn creates different perspectives of the hotel according to the time of day.










And finally, a hotel that I wish I could call my regular hang-out, the Gramercy Park Hotel. I love how the blocks of varying tones of red color punctuate the spaces, and define this intriguing and fashionable New York sanctuary.


                                                                                                             Gramercy Park Hotel - Lobby








Friday, September 14, 2012

Hotels of the future: will they be comfortable?


Whenever I see articles with propitious titles like "Hotels of the Future" I already know it will be all about renderings of buildings that visionaries like Fritz Lang or Ridley Scott imagined long before there were such things as easily available desktop rendering programs. 

Don't misunderstand me: some of the proposals that are floating around are fabulously inventive and they do push the envelope of the built environment (Forbes.com: Hotels Of The Future: 7 Architectural Stunners On The Horizon.)


Zaha Hadid's Dorobanti Tower - Bucharest

My issue with these images is that what seems to impress so much is only the result of very controlled studio experiments, that so often get diluted as they approach feasibility. And outside industry conferences, or the usual tech talk, few people really talk about what the experience of a hotel will be like 30 years from now.

One thing I am sure: it will increasingly be about choices that relate to our own comfort. The choices might be between service and independence, or between human connection and pre-determined selections, or between random ambiances and perfectly controlled environments, but I have no doubt they will relate more to human "stuff" than to building shapes.

There is one thing that architects can't imprint into these buildings at the edge and that is things like a sense of history, or a sense of comfort, or the homely notion of relaxing in a space that takes care of us. The surrealist french writer Boris Vian wrote that music can alter the "roundness of room corners". I think that what hotels feel like is what will really impact our comfort in a world full of tech.

So I wonder if we should be talking about the hotels of the future in these terms, or if we should be talking instead about the ones that will be able to create that sense of unexpected and inner traveling. I have a few favorites, some that I have been to and others that I dream of visiting, and here they are (in no particular order).


The Saint James Paris (France)





Vidago Palace Resort (Portugal)





Fasano Punta del Este (Uruguay)





The Upper House (Hong Kong)





Amangiri (Utah, USA)



Thursday, September 6, 2012

Is curated overrated?


How much more often can the word “curated” appear in conversations and articles, and still make sense? And aren’t you under the impression that what curated really means is no more than what professional interior designers and interior decorators have been doing for years? If you agree, stick with me and let’s try to make sense of this.



                                                                                                            Byblos Arts Hotel

Just for the sake of formality, let’s check the definition of "curation":

According to the Oxford Dictionaries, it means “to select, organize, and present using professional or expert knowledge”, or “to organize and maintain a collection of artworks or artifacts.”


So there is professional expertise involved, but there is also selection. And the ability to select is not just one that comes from experience – it requires an understanding of what one is trying to achieve, it requires a reason or a concept that sets the boundaries for the selection. And if we push the definition, I would say it can’t be done successfully without intuition and culture.


                                                                                                           Byblos Arts Hotel

In today’s world, where we are flooded by redundant information, by ideas that are shared before they are fully processed and by countless versions of the same product, being able to select is essential. However, that ability is not on its own the answer to deal with the excess of things, let alone the way living spaces should be designed.

Yes, it is seemingly easy to find original products online (thank you, 1st Dibs). Yes, it is seemingly easy to find ideas (thank you, Pinterest). Yes, it is seemingly easy to put them  together (thank you, Olioboard). Yes, it is easy to find where the image came from (thank you, Google Images). But most of this does not amount to more than somewhat shallow experimentation.

To me, real curating is just another way to say “less is more”. It is the process by which designers and decorators edit the ideas that are less than perfect, the process by which layers are peeled to reveal elegance, crispness, scale and proportion – it is how timeless interiors are created. And no great designer has ever set-out to “curate”: either by intuition or by process, they imagine, then they test, then they search, then they combine, and then they might unveil an answer that is unique and that is possibly the right one.

I remember a moment, when still a design student, after a studio presentation for an art gallery project that had particularly inspired me, a colleague congratulated me and said: “You did great. You found the answer ”. At the time I thought that comment made no sense, as many designs would certainly produce an answer. But today, I go back very often to that elusive moment in which I had apparently come up with a design that made sense to other people. Did I ever think I had curated the space? Did I think I had curated the objects in that space? No, it was always part of a larger scheme, part of a broader effort to achieve unity in the design. In Ancient Rome this notion had a name: Ars Una – Art is One.



                                                                                                            Mondrian Miami


So if curation makes no sense when there is a designer involved, why is it such a popular buzzword?

I think it is a by-product of our times, of how the creative process in interior design has sometimes been so fragmented through specialist consultants, either due to reasons of liability or cost of service.

Maybe clients accept to curate when the scope of work is apparently too small to engage a designer – somehow it can simulate originality.


Or maybe clients accept to curate when their designers lack the ability to edit their designs, and they think that another partial specialist can fill that void.


Or maybe designers accept that they are curating when there isn’t enough time to come up with a real concept … maybe it is linked to money, maybe it is due to fast-track schedules, maybe it is linked to lack of original resources and maybe it is even linked to a lack of culture. Culture is not just acquired from experience, it is more the result of curiosity, travel, research and open-mindedness. And that is often lacking in young designers. 

I think the spaces that really appeal to us, the spaces that last, are never curated … they are designed.

Hotels provide great examples of properties where the unity of concept and where the integration of thoughtful ideas can determine their success and ensure a long-lasting design. I have been “curating”  a few images on my Pinterest board aptly named "Designed, not Curated". Below are some of my favorites, but you can explore the others, and why not recommend a few ...




This converted 16th century Palazzo, located in Verona, houses a permanent collection of work by the likes of Damien Hurst, Cindy Sherman, and Anish Kapoor. The art is so well integrated with the concept of the hotel and the spaces that guests experience,that nothing seems "too much", no art piece seems out of place, or even randomly selected. It is One.









The Villa Kennedy is a luxury hotel in Frankfurt nestled just off the south bank of the Main River in a wonderful villa landscape. Combining tradition and innovation, the hotel was built around the traditional 1904 Villa Speyer. It is tasteful addition to a historic building where finishes, furniture and art blend together seamlessly, all selected within a congruous and sophisticated palette that could belong to the original owners of the Villa.  







Roman and Williams have created original, eclectic, “seems to have been always there” spaces in this New York modern hospitality icon. It feels effortless and un-layered, and provides the feel of a room that could be our own. The permanently fully-booked lobby is a testament to its comfort.