Tag Archives: THE FOUNTAINHEAD

IS TV FOR REAL? PART 2

February 17, 2017

Potential clients have come to my office asking for three free designs from which to pick—“the way we saw it on HGTV.” My anger aside from how reality TV twists reality, the client’s request compromises the integrity of the architectural process. (This article is a follow up to my past one, Is TV for Real?)

My client meeting with a Buddhist Foundation, Virginia, for a new dining hall (photo by Bryan Bethem)
My client meeting with a Buddhist Foundation, Virginia, for a new dining hall (photo by Bryan Bethem)

When I design for a client, I don’t draw three random schemes in a vacuum. I listen to the client first—their goals and dreams. When I show preliminary concepts, the client provides feedback on what they like and what they don’t. Through this back-and-forth process, a design develops, and is then refined. Not ever in a vacuum, the creative process is an exciting and thoughtful journey.

Okay, time for me to confess. Here and there, I have learned a few things from TV about color coordinating, selecting furniture, and being creative on a budget. I confess!

Also, the reality TV DIY shows have brought design to the forefront, that a well-crafted, nicely-styled life is desirable and achievable. In 15-minute bite size servings, these shows have delivered architecture to the mainstream.

Architect Howard Roark’s client presentation from The Fountainhead, 1949
Architect Howard Roark’s client presentation from The Fountainhead, 1949

In some distant past, clients were under the impression that design was a mysterious, closed-loop process. Now, many are conscious of how accessible good design advice is, whether from an award-winning architect or, yes, a charismatic TV personality.

I enjoy meeting with clients who already understand the concepts of an open floor plan, for example. Good or bad, these clients come prepared with Pinterest pages on style. Thank you reality TV. The clients and I can hit the ground running, proceeding with a shared foundation. Knowledge is power, after all, even in choosing paint colors.

Love-It-Web

Once was a cocktail debate between architects: “Who is the most influential voice in our industry?”

The usual suspects were tossed out as conversational sacrificial lambs. Local big names like Steven Ehrlich and Eric Owen Moss. Pritzker Prize winners like Zaha Hadid and Frank Gehry. A safe go-to is naming the senior leaders like I.M. Pei and Renzo Piano.

National Centre for The Exhibition of Contemporary Art and Architecture, Rome, Italy, by Zaha Hadid (photo from fundazionemaxxi.it)
National Centre for The Exhibition of Contemporary Art and Architecture, Rome, Italy, by Zaha Hadid (photo from fundazionemaxxi.it)

Another angle is to suggest famous architects no longer living, but believed to be still influential today, i.e., Frank Lloyd Wright or Le Corbusier. Pretentiously, you can also try the obscure, though no less significant, such as Wang Shu, Sverre Fehn or Paulo Mendes de Rocha.

Ningbo Museum, China, by Wang Shu (photo by Iwan Baan)
Ningbo Museum, China, by Wang Shu (photo by Iwan Baan)

My contribution that night stopped the discussion. I proclaimed, “Martha Stewart!”

At the time, Martha Stewart utilized avenues of outreach in all forms, and was better known than any other designer in the country, maybe even in the world. If she stated with a quiet breath that “pink is to be used at table settings this season,” you could count on millions of dining tables across America set with something pink.

Stewart-2-Web

Let the debates and cynicism rage on. It’s all for the good. Martha, HGTV, Sunset, Houzz, Dwell, Wayfair, the plethora of magazines and blogs, etc.—all of it deserves gratitude from architects everywhere. To the widest audience, these mainstream entities deliver the concept of wanting good design. And for that, I say thank you.

Covers-Web

BAD APPLES

November 11, 2016

A client screaming at his architect (from hongkiat.com)

No client names are mentioned. This essay will not kill my career, but I certainly have no shortage of battle scars from ridiculous clients. When it comes to what a client can demand of their architect, I am sure that they are not yet done with me.

Gary Cooper as Howard Roark with his clients, The Fountainhead, 1949
Gary Cooper as Howard Roark with his clients, The Fountainhead, 1949

Yes, clients.

Architecture is a service industry. So while our art form pursues creative passions, we are here to oblige.

Unfortunately, architecture cannot exist without the client who hires the architect with a project in mind, with a location at hand, and with the wallet to bankroll the whole thing. Similar to a dentist, an accountant, and even a cobbler, architects are in a business that relies on customers.

Even the art of making shoes requires customers, a cobbler in Capri, Italy (photo by Jorge Royan)
Even the art of making shoes requires customers, a cobbler in Capri, Italy (photo by Jorge Royan)

I say ‘unfortunately’ because at times, I fantasize about creating architecture without the involvement of (meddling) clients. I wish to create designs exclusively of my interest and no one else’s. I am often envious of poets who have the luxury of writing poems as they choose. For the most part, poets don’t wait around to be contracted by a client, paid a retainer check, and then given the poem’s subject matter and stylistic direction.

An architect fantasizing about his designs in The Architect’s Dream, Thomas Cole, 1840
An architect fantasizing about his designs in The Architect’s Dream, Thomas Cole, 1840

Imagine this dreadful situation: A poet by legal contract composes four options for a poem, recites his work before a committee, and then must listen to the client’s so-called “constructive criticism.” The committee’s feedback usually demands the absurd combination of the content of the first option, the length of the second option, a few words from the third option, but with the tone of the fourth option!

Who do the clients want their architect to be? Man Juggling His Own Head, unknown artist, 1880
Who do the clients want their architect to be? Man Juggling His Own Head, unknown artist, 1880

Architects do so much for their clients that go beyond the industry of architecture. When designing a restaurant, I am asked my opinion of the menu, as if I am a food critic or chef. When designing a shopping center, I am asked my opinion on concepts for profitability, as if I am a financial analyst. When designing for a client, I am called upon to be a best friend, psychiatrist, marriage counselor, life coach, church member, gym buddy, car mechanic, or any such role that doesn’t actually relate to the skills I acquired in architecture school.

Guilty of profiling, I have categorized my worst clients. Those of us in any service industry know these customers. In an earlier draft of this article, I detailed rants for each specific client below. But life has enough negativity. Let’s leave my tirade as merely a list for your imagination.

Some clients have no idea what they want or like (from 3coze.com)
Some clients have no idea what they want or like (from 3coze.com)

 The Indecisive and The Chaotic
The Yellers and The Whiners
The Bandits and The Delinquent
The Needy and The Insecure
The Haters and The Unhappy
The Narcissistic and The Conceited

Vincent D’Onofrio in The Cell, 2000
Vincent D’Onofrio in The Cell, 2000

There is no end to clients that are bizarre, melodramatic, thoughtless, dishonest, loathsome, and invasive—and even criminal. (I had one client that was found guilty of fraud, witness tampering, bribery, and obstruction of justice—in a murder case.)

Though there are indeed great clients—the ones that get me out of bed smiling, the ones that love the design process, the ones that beam with joy from our discussions—it is the scary client that keep me up at night. This client always has new ways to torture your architect.

So very scary, Heather Donahue in The Blair Witch Project, 1999
So very scary, Heather Donahue in The Blair Witch Project, 1999

CELLULOID HEROES

May 27, 2016

Gary Cooper in The Fountainhead (1949), Robert Reed in The Brady Bunch (1969-1974), Charles Bronson in the Death Wish (1974), Paul Newman in Towering Inferno (1974)

Why are there so many architects in the movies and on TV?

In most cases, the fact that an actor is an architect on the small or big screen is superfluous to the actual plot. Though a popular trope, the role of the architect is no more than a characteristic, a trait assigned to the male lead, and in fewer cases the female lead, only to provide substance and gravitas.

This matter—the truth and accuracy of how architects are portrayed by Hollywood—is frequent coffee room or cocktail hour chatter among practicing architects. We are at turns offended or flattered, but always perplexed.

Here are the basic elements of the architect-in-entertainment mix-and-match dramatis personae toolkit:

 – affluent, but not necessarily rich
 – thoughtful and introspective
 – attractive
 – cultured
 – sensitive
 – artistic-with-a-job
 – highly intelligent
 – coolly professional

Tom Selleck in Three Men and a Baby (1987), Wesley Snipes in Jungle Fever (1991), Tom Hanks in Sleepless in Seattle (1993), Woody Harrelson in Indecent Proposal (1993)
Tom Selleck in Three Men and a Baby (1987), Wesley Snipes in Jungle Fever (1991), Tom Hanks in Sleepless in Seattle (1993), Woody Harrelson in Indecent Proposal (1993)

The writer and director of Sleepless in Seattle needed Tom Hanks to be the reserved, artistic businessman at the center of the story, so they made him an architect, not a poet, cop, or hedge fund manager. They also didn’t want Hanks actually being an architect most of the time. Those paying to watch a romantic comedy with Meg Ryan want to see Hanks as the sensitive, romantic architectural designer with an ideal nature, not Tom Hanks as a real architect trying to restart his laptop because the Revit software has crashed again, and then spending the rest of his day slaving for a client who can’t decide whether the exterior paint should be tan, sand, or beige, or whether the bathroom tile should be ivory, buff, egg shell, or ecru. Also, Hanks can’t spend his time hitting the pavement hoping to find another commission so he can pay his office rent.

Poets, cops, and denizens of Wall Street are equally charged character fodder, but for different purposes. The architect character is altruistic, worldly, cool, but not too cool, well dressed, and established. Architects are also considered not wild, emotional, or too, too sexy. (I would sometimes like to be, or at least thought of as being, one or two of those things.)

In a drama, the architect is the cool center, and often needs the supplement of other traits from the screenwriters’ playbook, such as diplomatic jury member or struggling educator, to beef up the character’s potentially monochromatic dimension. In comedy, the architect’s impartiality allows other cast members to shine uncontested with wit and satire. Architects are safe non-distractions.

Richard Gere and Sharon Stone in Intersection (1994), Matthew Broderick in The Cable Guy (1996), Michelle Pfeiffer in One Fine Day (1996), Matt Dillon in There’s Something about Mary (1998)
Richard Gere and Sharon Stone in Intersection (1994), Matthew Broderick in The Cable Guy (1996), Michelle Pfeiffer in One Fine Day (1996), Matt Dillon in There’s Something about Mary (1998)

Here’s a partial list of movies featuring architects:

Boris Karloff in The Black Cat (1934)
Gary Cooper in The Fountainhead (1949)
Henry Fonda in 12 Angry Men (1957)
Kirk Douglas in Strangers When We Meet (1960)
Donald Sutherland in Don’t Look Now (1973)
Charleton Heston in Earthquake (1974)
Tom Selleck in Three Men and a Baby (1987)
Wesley Snipes in Jungle Fever (1991)
Steve Martin in HouseSitter (1992)
Tom Hanks in Sleepless in Seattle (1993)
Woody Harrelson in Indecent Proposal (1993)
Richard Gere and Sharon Stone in Intersection (1994)
Matthew Broderick in The Cable Guy (1996)
Michelle Pfeiffer in One Fine Day (1996)
Matt Dillon in You, Me and Dupree (1998)
Matt Dillon in There’s Something about Mary (1998)
Matthew Perry and Oliver Platt in Three to Tango (1999)
Billy Crudup in World Traveler (2001)
Liam Neeson in Love Actually (2003)
Ashton Kutcher in Butterfly Effect (2004)
Michael Keaton in White Noise (2005)
Adam Sandler in Click (2006)
Keanu Reeves in The Lake House (2006)
Virginia Madsen in Firewall (2006)
Zach Braff in The Last Kiss (2006)
Luke Wilson in My Super Ex-Girlfriend (2006)
Tom Everett Scott in Because I Said So (2007)
Joseph Gordon-Levitt in (500) Days of Summer (2009)
Steve Martin (again) in It’s Complicated (2009)
Ellen Page in Inception (2010)
Sean Penn in Tree of Life (2011)

Matthew Perry and Oliver Platt in Three to Tango (1999), Adam Sandler in Click (2006), Keanu Reeves in The Lake House (2006), Zach Braff in The Last Kiss (2006)
Matthew Perry and Oliver Platt in Three to Tango (1999), Adam Sandler in Click (2006), Keanu Reeves in The Lake House (2006), Zach Braff in The Last Kiss (2006)

Except for the Gary Cooper role, which came with the heavy expectation associated with Ayn Rand’s bestselling and controversial novel, The Fountainhead, I suspect most do not recall that the actors above portrayed architects. That’s how well the role was written and the stereotype applied. And as to the stereotype syncing with the real world, the roles are mostly male, reflecting an issue in the real architectural world, though that is changing for the better.

Serious movie fans will note some omissions on my list. I did not list the following, for the reasons stated:

Paul Newman in Towering Inferno: He’s really playing an architect in a real design and construction crisis, not playing a stereotype.

“The Architect” in the The Matrix movies: He’s not a builder of buildings per se, but a builder of an entire future world, which I certainly envy, but not quite to that extent, my ego aside.

Charles Bronson in the Death Wish movies: As he is a vigilante murderer, I invoke the “exception proves the rule” cliché. Architects can be cool, but not cool killers.

For my full feature essay, go to the Film and Music Issue of the recent LA Home.

Steve Martin in It’s Complicated (2009), Ellen Page in Inception (2010), Sean Penn in Tree of Life (2011), Josh Radnor in How I Met Your Mother (2005-2014)
Steve Martin in It’s Complicated (2009), Ellen Page in Inception (2010), Sean Penn in Tree of Life (2011), Josh Radnor in How I Met Your Mother (2005-2014)
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