Tag Archives: LEGACY

#194: COMPLEXITY AND CONTRADICTION IN TRANSITION PLANS

October 11, 2024

West Olympic Science Hub, Los Angeles, California, by BA Collective (rendering from bacollective.com)

All great businesses evolve. This cliché we know. But how does a celebrated name-brand architecture firm evolve beyond the celebrated founder? Some companies have lost their cache with the exit of its founder. What will become of Gehry Partners when Frank Gehry retires? On the other hand, Zaha Hadid Architects continues to flourish beyond the 2016 passing of its name founder. Legacies can progress with thoughtful planning or sink under its own weight of arrogance.

Neue Zollhof, Dusselfdorf, Germany, by Frank Gehry (photo from Pixabay)
Glasgow Riverside Museum of Transport, Glasgow, England, by Zaha Hadid (photo by Charlie Irvine on Pixabay)

Many strategic companies speak of the transition plan, which comprises many things, e.g., business plan, org chart, stock ledger, legal documents, etc.—all with an eye towards an unknown future. A transition plan represents the significant act where the founder(s) pass on the firm’s ownership and operations to the next generation of (patiently-waiting) leaders. Whether a mom-pop studio of a few architects or a corporation of several thousand, transitions can bring about ego battles, company politics and seismic cultural shifts, as well as promising opportunities.

Beware of a condition known as founder-itis. When inflicted, an aging founder simply won’t let go of the reins, often forcing promising successors to desert the firm. Their prospects within the company dwindle each year as the founder keeps a choking grip on the dimming future.

Eagle + West, Brooklyn, New York, by Rem Koolhaas (photo by Koushalya Karthikeyan on Pexels)

Some name-brand firms can suffer from transitions. After the starchitect-founder retires, will a client still commission this firm—a business that no longer offers the creative force of said starchitect, but rather untested new personalities or artificially-elevated middle managers? Or perhaps the host of new leaders will be an even stronger design force? But with the current zeitgeist of hyper media and celebrity fascination, the shadow of our industry’s luminaries (Gehry, Hadid, Koolhaas, Mayne, Meier, Zumthor, or any Pritzker Prize-honored architect) is long and omnipresent?

A tactical founder can reap many rewards with an exit strategy into a setting sun: overseeing the company’s reputation into new promising hands, maintaining an executive salary with partial ownership, profit sharing, reduced liability, and having an enjoyable place to continue working part time as a productive architect—as this founder sails off into semi-retirement, then full retirement.

Orange County Museum of Art, Costa Mesa, California, by Morphosis (photo by Anthony Poon)

When should founders consider a transition plan? Most management advisors recommend as early as possible, such as 40 or 50 years old. But with most architects rarely retiring at the national average of 66, and with some architects working decades longer (Philip Johnson and I.M. Pei into their 90s!), many founders will delay the discussion as long as possible, such as into their 70s or beyond.

Louvre Pyramid, Paris, France, by I.M. Pei (photo by Kirandeep Singh Walia on Pexels)

The recommended early planning is simply because it can take years to come up with a plan, choose successors or nurture leaders, define shifting duties, and inform stakeholders and the marketplace. In addition, there are the legal and financial terms: How much is the company worth; how many successors will buy into the firm and what percentage equity for each; or how much stock will the founder maintain over the years as it eventually reduces to zero? After creating a plan, the implementation can take years or over a decade.

Getty Center, Los Angeles, California, by Richard Meier, (photo by Ludovic Charlet on Unsplash)

To signal transitions and an eye to the future, I.M. Pei & Associates became Pei Cobb Freed & Partners in 1989, Polshek Partnership became Ennead in 2010, and Richard Meier & Partners became Meier Partners in 2021, to name a few in New York. In Los Angeles, Anshen + Allen became CO Architects in 2010, Ehrlich Architects became EYRC in 2015, and Belzberg Architects became BA Collective in 2023. It is often said: all good businesses evolve. Stay tuned.

The International Performance Center, Shenzhen, China, by Ennead (rendering from ennead.com)

#93: PODCAST PART 1: THE ART WITHIN MUSIC AND ARCHITECTURE

December 14, 2018

Golf resort hotel villa, California, by Poon Design (rendering by Mike Amaya)

Recently, I had the pleasure of being interviewed on Josh Cooperman’s podcast, Convo By Design. We talked about architecture, art, music, life, and all the things that encompass our creative existence. This is an excerpt.

YouTube clip here. Audio podcast here.

Golf resort hotel villa, California, by Poon Design (photo by Poon Design)

Josh Cooperman: I had the chance to sit with Anthony Poon: author, musician, speaker, artist, teacher, award-winning architect and interior designer. Poon received his bachelor of arts from Berkeley and his master of architecture from Harvard. We talked about architecture, but we also discussed music and art, compared and contrasted these disciplines, and explored ways to incorporate new ideas into traditional applications using nontraditional methods.

I talk to a lot of creative types, and the people that I speak to are really masters of what they do, be it architecture, design, chefs, set decorators, musicians. The point is that everyone I talk to has a creative specialty, but very few have all of them at the same time like you do. So explain this to me. Artist, musician, architect—obviously you’re an architect by trade, but do you enjoy all of these creative pursuits the same?

With Josh Cooperman at the Pacific Design Center, West Hollywood, California (photo by Christine Anderson)

Anthony Poon: I enjoy all of them. I enjoy them all differently and in similar ways. My passion has always been music and that’s led me to many other things, generating my interests in art, painting, mixed media, and writing too, having recently published my first book.

Josh: Isn’t that a little selfish, taking all of the arts for yourself? Doing everything? Most people can only do one at a time.

Skull Painting, 44” x 52”, by Anthony Poon (2018)

Anthony: Well, it is selfish in that it makes me happy. But all of these art forms do require an audience. And I am grateful to have the opportunity to share.

Josh: I have a theory that you have an artistic side and then you have an educational side. By joining the two, you can figure out how to do what you’re trying to do in a systematic way. That you’re limiting the cost of improvisation.

Anthony: I think the thing is this: In architecture and in most arts, there are two components. Architecture has the problem solving component, where you have to figure out the square footage, you have to figure out for the client what the program is, how many bedrooms or how many seats in a restaurant. You have the problem solving of construction costs, of city codes and getting building permits.

Anthony Poon in Architects in Concert, Santa Monica, California, 2012 (photo by Vince Jordan)

On the other hand, completely different, you have the level of artistry, of creativity. Take classical music. Part of the work is learning all the notes on the page. A classical musician can spend years learning one piece, trying to master the flurry of 10,000 notes that fly by in three minutes. That’s not music though. That’s just getting the notes right. After you get to that point, you then have to make it sound beautiful. You then have to add your interpretation, the lyrical aspect that makes it a work of art.

I go back and forth between the problem solving and the pragmatic vs. the poetic and aspirational sides. A building has to be part science in that it can’t fall down. It has to withstand rain. It has to put a roof over your head. But it has to be a little more enlightening than just a structure. It has to be beautiful. It has to make you have a reason to get up every day and go to work, and go to this office building. Or on the weekend, go to the park or go to the museum.

Jungsuck Library, Inha University, Inchon, Korea, by Anthony Poon (w/ HHPA)
Jungsuck Library, Inha University, Inchon, Korea, by Anthony Poon (w/ HHPA, photo by Foaad Farah)

Josh: As you look at your work now, what would you like it to be in 10 or 20 years from now? What is the short term legacy value of what you’re doing right now?

Anthony: The legacy is that, I hope, that my explorations become an inspiration for someone else. I see any artistic endeavor as a constantly moving target, as an evolution, and we’re all only contributing one small step to this evolution. I may work my whole career and only master three buildings that I actually think are worthwhile. Similarly to a musician who says, “Yeah, I’ve composed 500 pieces, but I actually only think these few are great.”

I hope those few pieces that I’ve created are enough for someone to see one day, and it inspires them to move their art process to another level, in another direction, and that’s progress—moving forward. That’s what I call civilization. And that’s what I hope to do.

I gathered 66 stuffed animals from my children, and sewed them onto an Ikea chair. Inspired by the Campana brothers. (photo by Anthony Poon)
© Poon Design Inc.