Committee on Design

I think the problem of explaining design excellence to the general public is amply illustrated by the recent exchanges on this forum. It can be an arcane subject that is all to quickly overshadowed by concerns over its all-too-measurable rivals, cost and schedule. Does anyone use DQI? We have been using our "Design Quality Indicator" on projects we manage for our clients and is is quite helpful in defining "quality" among the stakeholders of our projects.  Originally conceived by the Construction Specification Institute and the RIBA in London, it is a simple tool for assessing and measuring design quality on a capital project from start to finish.  It's not perfect, but it does at least provide a common vocabulary by which we can discuss design and agree on what we might mean by quality (and that can vary from project to project), and a design metric that elevates quality to the same level of "measurability" as cost and schedule.

-------------------------------------------
David Burney FAIA
Commissioner
NYC Dept of Design and Construction
Long Island City NY
-------------------------------------------

David, thanks, where can we find it?
Mike

Mention of a "Design Quality Indicator" brought to mind the following scene from a memorable film:

INT. KEATING'S CLASSROOM - DAY

Keating sits at his desk at the front of the classroom and opens up one of his books.

                               KEATING

               Gentlemen, open your text to page

               twenty-one of the introduction. Mr.

               Perry, will you read the opening

               paragraph of the preface, entitled

               "Understanding Poetry"?

                               NEIL

               Understanding Poetry, by Dr. J. Evans

               Pritchard, Ph.D. To fully understand

               poetry, we must first be fluent with

               its meter, rhyme, and figures of speech.

               Then ask two questions: One, how artfully

               has the objective of the poem been

               rendered, and two, how important is that

               objective. Question one rates the poem's

               perfection, question two rates its

               importance. And once these questions have

               been answered, determining a poem's

               greatest becomes a relatively simple

               matter.

Keating gets up from his desk and prepares to draw on the chalk board.

                               NEIL

               If the poem's score for perfection is

               plotted along the horizontal of a graph,

               and its importance is plotted on the

               vertical, then calculating the total

               area of the poem yields the measure of

               its greatness.

Keating draws a corresponding graph on the board and the students dutifully copy it down.

                               NEIL

               A sonnet by Byron may score high on the

               vertical, but only average on the

               horizontal. A Shakespearean sonnet, on

               the other hand, would score high both

               horizontally and vertically, yielding a

               massive total area, thereby revealing the

               poem to be truly great. As you proceed

               through the poetry in this book, practice

               this rating method. As your ability to

               evaluate poems in this matter grows, so

               will - so will your enjoyment and

               understanding of poetry.

Neil sets the book down and takes off his glasses. The student sitting across from him is discretely trying to eat. Keating turns away from the chalkboard with a smile.

                               KEATING

               Excrement. That's what I think of Mr. J.

               Evans Pritchard. We're not laying pipe,

               we're talking about poetry.

Cameron looks down at the graph he copied into his notes and quickly scribbles it out.

                               KEATING

               I mean, how can you describe poetry like

               American Bandstand? I like Byron, I give

               him a 42, but I can't dance to it.

Charlie suddenly appear to become interested in the class.

                               KEATING

               Now I want you to rip out that page.

The students look at Keating as if he has just gone mad.

                               KEATING

               Go on, rip out the entire page. You heard

               me, rip it out. Rip it out!

 

I wonder: Would a system for measuring design quality ever inspire an architect or help an architect to develop the ability to design well? How does risk-taking figure into design excellence and how is it affected by design quality measurement? Would measurement of every project in a given setting tend to lift or stifle? Has any "system" of measuring or achieving design quality ever achieved its objectives? How about the Beaux Arts School? Would a system of design quality measurement be the architectural equivalent of "No Child Left Behind" (elevating the worst but bringing down the best to achieve uniform mediocrity)?
-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------

Response to Sean Catherall, Nice vignette, and I am completely sympathetic to your concern and completely opposed to some sort of design review system.  Nonetheless, I think, and I know that the AIA disagrees with me, sometimes vehemently, but I think we will never be as important as I think we should be in society until we face up to our taste isolation from most of the American public.  That's a short comment on a huge subject.  I hope you will respond further.  Its not as late in Alaska as it is in Utah, but we are getting there.
-------------------------------------------
Mike Mense
Owner
mmenseArchitects
Anchorage AK



Original Message:
Sent: 06-17-2011 02:19
From: Sean Catherall
Subject: Measuring Design Excellence

Mention of a "Design Quality Indicator" brought to mind the following scene from a memorable film:

INT. KEATING'S CLASSROOM - DAY

Keating sits at his desk at the front of the classroom and opens up one of his books.

                               KEATING

               Gentlemen, open your text to page

               twenty-one of the introduction. Mr.

               Perry, will you read the opening

               paragraph of the preface, entitled

               "Understanding Poetry"?

                               NEIL

               Understanding Poetry, by Dr. J. Evans

               Pritchard, Ph.D. To fully understand

               poetry, we must first be fluent with

               its meter, rhyme, and figures of speech.

               Then ask two questions: One, how artfully

               has the objective of the poem been

               rendered, and two, how important is that

               objective. Question one rates the poem's

               perfection, question two rates its

               importance. And once these questions have

               been answered, determining a poem's

               greatest becomes a relatively simple

               matter.

Keating gets up from his desk and prepares to draw on the chalk board.

                               NEIL

               If the poem's score for perfection is

               plotted along the horizontal of a graph,

               and its importance is plotted on the

               vertical, then calculating the total

               area of the poem yields the measure of

               its greatness.

Keating draws a corresponding graph on the board and the students dutifully copy it down.

                               NEIL

               A sonnet by Byron may score high on the

               vertical, but only average on the

               horizontal. A Shakespearean sonnet, on

               the other hand, would score high both

               horizontally and vertically, yielding a

               massive total area, thereby revealing the

               poem to be truly great. As you proceed

               through the poetry in this book, practice

               this rating method. As your ability to

               evaluate poems in this matter grows, so

               will - so will your enjoyment and

               understanding of poetry.

Neil sets the book down and takes off his glasses. The student sitting across from him is discretely trying to eat. Keating turns away from the chalkboard with a smile.

                               KEATING

               Excrement. That's what I think of Mr. J.

               Evans Pritchard. We're not laying pipe,

               we're talking about poetry.

Cameron looks down at the graph he copied into his notes and quickly scribbles it out.

                               KEATING

               I mean, how can you describe poetry like

               American Bandstand? I like Byron, I give

               him a 42, but I can't dance to it.

Charlie suddenly appear to become interested in the class.

                               KEATING

               Now I want you to rip out that page.

The students look at Keating as if he has just gone mad.

                               KEATING

               Go on, rip out the entire page. You heard

               me, rip it out. Rip it out!

 

I wonder: Would a system for measuring design quality ever inspire an architect or help an architect to develop the ability to design well? How does risk-taking figure into design excellence and how is it affected by design quality measurement? Would measurement of every project in a given setting tend to lift or stifle? Has any "system" of measuring or achieving design quality ever achieved its objectives? How about the Beaux Arts School? Would a system of design quality measurement be the architectural equivalent of "No Child Left Behind" (elevating the worst but bringing down the best to achieve uniform mediocrity)?
-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------

Mike:

I'd like to respond to some of your comments about taste isolation and design review. I think we have to accept one of the foundation tennants of discovery (something artistic knowledge knows well). And that is, anything new is always going to be difficult for a major segment of the population. If we are to sit around worrying about how to make all people happy the instant they experience something new, well we may as well all just give up, move into mobile homes, sit in a nice lazy boy chair and watch Wheel of Fortune.

When the Eiffel Tower was built, a lot of people don't know that it was actually despised by most of the public. Letters were written to the press to tear it down. It offended the people of Paris. Try finding a Parisian today who would like to tear it down. The history of art tells this story a million times. The fact is, people will accept things once they get to know it, if its truly worthy. But somebody has to maintain the courage to make the introduction. We have to stop apologizing to those who are too shy to meet the stranger who just walked through the door.

Nutritionists all know that if somebody is addicted to a poor diet, changing them to a healthy diet can be both traumatic and shocking. (Try taking coffee from your boss one day, and see how that works for you). Change of any sort, is never easy, and not always pleasant, even when it's for the better. It's part of our biology. Scientists are starting to understand how the brain interprets new sounds when we hear new music. Some songs in the past have been radical enough to drive people nuts (literally), only be be warmly accepted a few years later. And that is because it takes a bit of time for the brain to organize itself to a new set of order it has never seen, and the process can be a bit disturbing until the intepretations become more aligned. This is the science of discovery, the science of art.

This is one of the huge dilemnas in architecture, because so many of us are trying to achieve comfort and happiness, when in fact, real discovery and innovation is not always comfortable and happy to all people. But it's a dilema you cannot avoid. If you do, you will limit your discoveries.  Perhaps that is one of the problems of our spoiled, soft, modern generation. We have become so focused on making everything painless and easy, that nobody wants to suffer for a single second, trying to change to something new. It is simply not possible to expect the entire world public to all make a simultaneous, common, instant, equal, interpretation. And sometimes I feel like that's what some architects keep hoping for. It's unrealistic and pointless. 

I think the AIA does a relatively decent job with design awards. If you put them in context with other types of recognition bestowed on architecture, their honors are by far more credible to design quality, because they tend to use reputable designers as judges. I see awards given out by industry groups, contractor organizations, . . . etc. that tend to be handed out like candy to the favored dollar of the day. Very little talent is required. AIA awards, on the other hand, tend to be handed out to actual design achievement, judged by people who actually know a bit about design themselves. Like any jury system, it may not be perfect, but it's the best we've got.
 
Now some people in this group might want to give out an award to the architect who uses the least BTU's per square foot divided by a ratio of land utilization per dollar, times the cubic feet of free natural air divided by the number of smiles per minute of the occupant. Or something arcane that they believe calculates a perfect world order.     ... Good luck with that.

-------------------------------------------
Rich Farris AIA
Architect
Dallas TX
-------------------------------------------






Original Message:
Sent: 06-17-2011 02:32
From: Mike Mense
Subject: Measuring Design Excellence

Response to Sean Catherall, Nice vignette, and I am completely sympathetic to your concern and completely opposed to some sort of design review system.  Nonetheless, I think, and I know that the AIA disagrees with me, sometimes vehemently, but I think we will never be as important as I think we should be in society until we face up to our taste isolation from most of the American public.  That's a short comment on a huge subject.  I hope you will respond further.  Its not as late in Alaska as it is in Utah, but we are getting there.
-------------------------------------------
Mike Mense
Owner
mmenseArchitects
Anchorage AK

I'll dive into that huge subject: Yes, I think it's fair to say that the average architect and the average person on the street have fairly different tastes when it comes to architecture and probably when it comes to aesthetics in general (clothing, cars, furnishings, color, graphic design, art, etc.). But, I also think that there is a wider divergence among architects than is apparent by browsing architectural magazines and there is a wider divergence among average people than is apparent by browsing Better Homes & Gardens magazine.

However, to the extent that there is a separation of averages, I think we see that same separation of tastes between the general public and anyone who has advanced training in a visual discipline, whether that discipline is art history, fine art, industrial design, fashion design, graphic design or a similar area. I think that the process of studying the visual world and acquiring visual literacy has a tendency to morph our tastes.

I disagree about the meaning of this separation of tastes when it comes to our importance in society. I think most people want advice on architectural matters from a professional who is visual literate and who has an elevated level of taste. That has been my experience in dealing with the general public. What the man on the street does not respond well to is snobbishness. If we refuse to accommodate a client's wishes on aesthetic grounds or refuse to explain our aesthetic ideas, we come across as stuffy and unapproachable, not just having isolated tastes. And I think it's the stuffy and unapproachable (in addition to perhaps too expensive) that makes us seem less relevant, if not less important. If we are flexible, aesthetically, and express our good visual ideas and well-trained tastes through good writing and speaking (a constellation of skills to which we should all aspire), then I think misconceptions melt away, our relevance is assured and the separation of tastes becomes a positive attribute.

-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------



Original Message:
Sent: 06-17-2011 02:32
From: Mike Mense
Subject: Measuring Design Excellence

Response to Sean Catherall, Nice vignette, and I am completely sympathetic to your concern and completely opposed to some sort of design review system.  Nonetheless, I think, and I know that the AIA disagrees with me, sometimes vehemently, but I think we will never be as important as I think we should be in society until we face up to our taste isolation from most of the American public.  That's a short comment on a huge subject.  I hope you will respond further.  Its not as late in Alaska as it is in Utah, but we are getting there.
-------------------------------------------
Mike Mense
Owner
mmenseArchitects
Anchorage AK
-------------------------------------------

In the AIA National library I came across an unpublished book written in 1989 by a committee made up of "signature firms" entitled "Keys to design excellence: Learnings from the American
Institute of Architects 1989 Design Practice for the 90's Program."

The illustrations throughout the document will be familiar to anyone that has seen James R Franklin's work.

I mention this because in the Appendix of this book there is a single page (C-3) entitled "Working List from a Member Firm."

To my eyes and mind, it is the most helpful checklist I have ever come across. Period. It all but assures that a building project will attain design excellence.

The one page document itself had been in use by the unnamed firm that supplied it since November 1987 and at that time entitled "Criteria for design."

The list begins:

1. SENSE OF PLACE
Is there a memorable, landmark quality about the design that projects an experience of architecture as place?

2. STRENGTH OF CONCEPT

And so on...(I would write them all out but am leaving for a speaking engagement.)

The list includes a total of 18 diverse criteria for design excellence. I have referenced this list on every project I have worked on in the past 20 years, over 100 large-scaled, complex projects - which I like to believe have been improved and owner, users and neighbors alike benefited by the hard-earned wisdom handed down on this list.

Amazon has one copy remaining for $99.95 http://www.amazon.com/Keys-design-excellence-Learnings-Architects/dp/B000725I7G

-------------------------------------------
Randall Deutsch AIA
Co-founder
Deutsch Insights
Winnetka IL
-------------------------------------------







Original Message:
Sent: 06-21-2011 16:27
From: Sean Catherall
Subject: Measuring Design Excellence

I'll dive into that huge subject: Yes, I think it's fair to say that the average architect and the average person on the street have fairly different tastes when it comes to architecture and probably when it comes to aesthetics in general (clothing, cars, furnishings, color, graphic design, art, etc.). But, I also think that there is a wider divergence among architects than is apparent by browsing architectural magazines and there is a wider divergence among average people than is apparent by browsing Better Homes & Gardens magazine.

However, to the extent that there is a separation of averages, I think we see that same separation of tastes between the general public and anyone who has advanced training in a visual discipline, whether that discipline is art history, fine art, industrial design, fashion design, graphic design or a similar area. I think that the process of studying the visual world and acquiring visual literacy has a tendency to morph our tastes.

I disagree about the meaning of this separation of tastes when it comes to our importance in society. I think most people want advice on architectural matters from a professional who is visual literate and who has an elevated level of taste. That has been my experience in dealing with the general public. What the man on the street does not respond well to is snobbishness. If we refuse to accommodate a client's wishes on aesthetic grounds or refuse to explain our aesthetic ideas, we come across as stuffy and unapproachable, not just having isolated tastes. And I think it's the stuffy and unapproachable (in addition to perhaps too expensive) that makes us seem less relevant, if not less important. If we are flexible, aesthetically, and express our good visual ideas and well-trained tastes through good writing and speaking (a constellation of skills to which we should all aspire), then I think misconceptions melt away, our relevance is assured and the separation of tastes becomes a positive attribute.

-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------



Original Message:
Sent: 06-17-2011 02:32
From: Mike Mense
Subject: Measuring Design Excellence

Response to Sean Catherall, Nice vignette, and I am completely sympathetic to your concern and completely opposed to some sort of design review system.  Nonetheless, I think, and I know that the AIA disagrees with me, sometimes vehemently, but I think we will never be as important as I think we should be in society until we face up to our taste isolation from most of the American public.  That's a short comment on a huge subject.  I hope you will respond further.  Its not as late in Alaska as it is in Utah, but we are getting there.
-------------------------------------------
Mike Mense
Owner
mmenseArchitects
Anchorage AK
-------------------------------------------

I have just a thought to add to this interesting discussion.  Americans' tastes have been guided by what developers and contractors build, by the media, by the entertainment industry, by HG ( !! ) because sometime in the 19th century architects decided to withdraw from housing and construction for the masses, even folks from the upper classes. It is no wonder that there now exists a gulf between us and the public.  This in addition to the mistrust many feel that architects do not listen to their needs, their desires, or their budget. 

-------------------------------------------
Gisela Schmidt

-------------------------------------------







Original Message:
Sent: 06-21-2011 21:55
From: Randall Deutsch
Subject: Measuring Design Excellence

In the AIA National library I came across an unpublished book written in 1989 by a committee made up of "signature firms" entitled "Keys to design excellence: Learnings from the American
Institute of Architects 1989 Design Practice for the 90's Program."

The illustrations throughout the document will be familiar to anyone that has seen James R Franklin's work.

I mention this because in the Appendix of this book there is a single page (C-3) entitled "Working List from a Member Firm."

To my eyes and mind, it is the most helpful checklist I have ever come across. Period. It all but assures that a building project will attain design excellence.

The one page document itself had been in use by the unnamed firm that supplied it since November 1987 and at that time entitled "Criteria for design."

The list begins:

1. SENSE OF PLACE
Is there a memorable, landmark quality about the design that projects an experience of architecture as place?

2. STRENGTH OF CONCEPT

And so on...(I would write them all out but am leaving for a speaking engagement.)

The list includes a total of 18 diverse criteria for design excellence. I have referenced this list on every project I have worked on in the past 20 years, over 100 large-scaled, complex projects - which I like to believe have been improved and owner, users and neighbors alike benefited by the hard-earned wisdom handed down on this list.

Amazon has one copy remaining for $99.95 http://www.amazon.com/Keys-design-excellence-Learnings-Architects/dp/B000725I7G

-------------------------------------------
Randall Deutsch AIA
Co-founder
Deutsch Insights
Winnetka IL
-------------------------------------------







Original Message:
Sent: 06-21-2011 16:27
From: Sean Catherall
Subject: Measuring Design Excellence

I'll dive into that huge subject: Yes, I think it's fair to say that the average architect and the average person on the street have fairly different tastes when it comes to architecture and probably when it comes to aesthetics in general (clothing, cars, furnishings, color, graphic design, art, etc.). But, I also think that there is a wider divergence among architects than is apparent by browsing architectural magazines and there is a wider divergence among average people than is apparent by browsing Better Homes & Gardens magazine.

However, to the extent that there is a separation of averages, I think we see that same separation of tastes between the general public and anyone who has advanced training in a visual discipline, whether that discipline is art history, fine art, industrial design, fashion design, graphic design or a similar area. I think that the process of studying the visual world and acquiring visual literacy has a tendency to morph our tastes.

I disagree about the meaning of this separation of tastes when it comes to our importance in society. I think most people want advice on architectural matters from a professional who is visual literate and who has an elevated level of taste. That has been my experience in dealing with the general public. What the man on the street does not respond well to is snobbishness. If we refuse to accommodate a client's wishes on aesthetic grounds or refuse to explain our aesthetic ideas, we come across as stuffy and unapproachable, not just having isolated tastes. And I think it's the stuffy and unapproachable (in addition to perhaps too expensive) that makes us seem less relevant, if not less important. If we are flexible, aesthetically, and express our good visual ideas and well-trained tastes through good writing and speaking (a constellation of skills to which we should all aspire), then I think misconceptions melt away, our relevance is assured and the separation of tastes becomes a positive attribute.

-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------

I too have been following along with the discussion, and want to reinforce what Gisela said, particularly her last sentence. There is an underlying tone of frustration (not only frustration, I also hear a bit of optimism, quite a bit of rationalization, and a lot of determination too, but certainly a high level of frustration) that I think is pretty common in our profession. There are a few things I learned that have helped create an attitude shift, and have allowed our firm to do better work, enjoy more success (including more design awards) and to make more money (however, we still have much room for improvement in all three areas):

1. For many reasons (it seems to start in school), architects tend to think of the buildings we design as ours. They are not ours; they are our clients', who have paid dearly for them. Once we truly realize this there is a -perhaps surprising- release, a sense of freedom, and a significant reduction in frustration. We come to realize that while we can do a bad building for a good client (and this is the problem our profession should be focusing on, many of us think we have a bad client when really it is ourselves who have not performed), it is very difficult to do a good building for a bad client. Our firm focuses our energies on finding good clients and seek to be their trusted partners, not their taste guru (with mixed success, but at least we have a plan). Architects can be passionate about the design of our client's buildings without needing to think they are ours.
2. For many reasons (it also seems to start in school) architects tend to expect our clients to be 'patrons'. A patron is somebody who strives to help make us successful and famous. A client, on the other hand, is somebody who hires us to help make them successful. When we realize that we (at least most of us) have clients and not patrons, and we focus our energies on using great design to help them succeed, they then reward us. When we expect clients to pay millions to help make us famous, we only irritate them and disappoint ourselves. Let's not worry about being 'taste makers', rather let's solve our client's problems and give them unexpected joy in the buildings we help design for them, and the taste making will work itself out.
3. Design is a team sport, and architects have to be good teammates. We need strong clients, strong engineering partners, strong contractors, if the project is to succeed. We can bring great value to a project, but we need to recognize that almost every other player in the construction industry sees our profession as a necessary evil, rather than as a key value adder (for explanation, see point #2 above). Reading Frampton's book on Corb while flying recently, he made a great point of identifying how 35 Rue de Sevres was a collaborative place, with many contributing (it wasn't all about Corb, as much as Corb might have cultivated that impression). As a profession we need to stop encouraging the media to glorify individuals over teams!
4. On the one hand, design is a process of invention and discovery. One the other hand, design is a negotiation (with client, engineer, contractor, authority having jurisdiction, etc.). We need to be good at both: 1] creating great design and 2] negotiating for great design's value to the project and to all of our teammates.
5. Architects (as well as every other group within the construction industry) confuse 'luxury' with 'beauty'. Architects always whine 'the budget wasn't adequate for my brilliance'. Hogwash! That is why we are seen as necessary evils rather than value adders (Sean mentioned 'snobbishness', perfect word). I always tell our staff that it is easy to make something look good if money is not a constraint, and it is easy to meet the budget if you don't care about how well something works or how good it looks, but we are paying them to make something that performs well, looks great, and is affordable. Our firm doesn't always succeed, but at least we know that what we are expected to do is difficult, and when we do succeed it is a great joy. Be passionate in your pursuit of beauty, but find beauty within the constraints of the budget rather than outside them.

Regards,

F Jeffrey Murray, AIA

IDC Architects

Pittsburgh PA

[PS, on that 'form/function' discussion, a couple comments:

1. I think, with all deference to Sullivan, it is not really useful to talk about what follows what.
2. I believe that form is the means, function is the end.  All we can really do is FORM spaces and surfaces using building systems, materials, and products, for human occupation.
3. Function should be looked at broadly. The multiple 'functions' of an exterior wall or façade might include: keep the weather out except when it is comfortable, then let it in; bring useful daylight in but keep glare-y light out; protect occupants from violent natural and manmade occurrences; provide views to nature for occupants; support the activities occurring in the spaces behind the façade; work closely with the HVAC systems to improve energy efficiency; potentially produce energy using PV or other technology; mark entry and assist with visitor/occupant wayfinding; express how it is made tectonically ('ornament begins with the construction joint' -Lou Kahn); compliment and enrich the surrounding buildings and environment; positively express the culture of the building occupants to broader society; provide visual delight through the creation of subtle patterns of light and shade, texture and color, line and shape; comment on the history of architecture.]

-------------------------------------------
F. Murray AIA
Director Of Architecture
IDC Architects
Pittsburgh PA
-------------------------------------------






Original Message:
Sent: 06-22-2011 08:56
From: Gisela Schmidt
Subject: Measuring Design Excellence

I have just a thought to add to this interesting discussion.  Americans' tastes have been guided by what developers and contractors build, by the media, by the entertainment industry, by HG ( !! ) because sometime in the 19th century architects decided to withdraw from housing and construction for the masses, even folks from the upper classes. It is no wonder that there now exists a gulf between us and the public.  This in addition to the mistrust many feel that architects do not listen to their needs, their desires, or their budget. 

-------------------------------------------
Gisela Schmidt

-------------------------------------------







Original Message:
Sent: 06-21-2011 21:55
From: Randall Deutsch
Subject: Measuring Design Excellence

In the AIA National library I came across an unpublished book written in 1989 by a committee made up of "signature firms" entitled "Keys to design excellence: Learnings from the American
Institute of Architects 1989 Design Practice for the 90's Program."

The illustrations throughout the document will be familiar to anyone that has seen James R Franklin's work.

I mention this because in the Appendix of this book there is a single page (C-3) entitled "Working List from a Member Firm."

To my eyes and mind, it is the most helpful checklist I have ever come across. Period. It all but assures that a building project will attain design excellence.

The one page document itself had been in use by the unnamed firm that supplied it since November 1987 and at that time entitled "Criteria for design."

The list begins:

1. SENSE OF PLACE
Is there a memorable, landmark quality about the design that projects an experience of architecture as place?

2. STRENGTH OF CONCEPT

And so on...(I would write them all out but am leaving for a speaking engagement.)

The list includes a total of 18 diverse criteria for design excellence. I have referenced this list on every project I have worked on in the past 20 years, over 100 large-scaled, complex projects - which I like to believe have been improved and owner, users and neighbors alike benefited by the hard-earned wisdom handed down on this list.

Amazon has one copy remaining for $99.95 http://www.amazon.com/Keys-design-excellence-Learnings-Architects/dp/B000725I7G

-------------------------------------------
Randall Deutsch AIA
Co-founder
Deutsch Insights
Winnetka IL
-------------------------------------------







Original Message:
Sent: 06-21-2011 16:27
From: Sean Catherall
Subject: Measuring Design Excellence

I'll dive into that huge subject: Yes, I think it's fair to say that the average architect and the average person on the street have fairly different tastes when it comes to architecture and probably when it comes to aesthetics in general (clothing, cars, furnishings, color, graphic design, art, etc.). But, I also think that there is a wider divergence among architects than is apparent by browsing architectural magazines and there is a wider divergence among average people than is apparent by browsing Better Homes & Gardens magazine.

However, to the extent that there is a separation of averages, I think we see that same separation of tastes between the general public and anyone who has advanced training in a visual discipline, whether that discipline is art history, fine art, industrial design, fashion design, graphic design or a similar area. I think that the process of studying the visual world and acquiring visual literacy has a tendency to morph our tastes.

I disagree about the meaning of this separation of tastes when it comes to our importance in society. I think most people want advice on architectural matters from a professional who is visual literate and who has an elevated level of taste. That has been my experience in dealing with the general public. What the man on the street does not respond well to is snobbishness. If we refuse to accommodate a client's wishes on aesthetic grounds or refuse to explain our aesthetic ideas, we come across as stuffy and unapproachable, not just having isolated tastes. And I think it's the stuffy and unapproachable (in addition to perhaps too expensive) that makes us seem less relevant, if not less important. If we are flexible, aesthetically, and express our good visual ideas and well-trained tastes through good writing and speaking (a constellation of skills to which we should all aspire), then I think misconceptions melt away, our relevance is assured and the separation of tastes becomes a positive attribute.

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Sean Catherall, AIA
Herriman, UT
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James Franklin's "Keys to Design Excellence..." was published in a collection of papers as a book, In Search of Design Excellence, as part of the Vision 2000 project.

In Search of Design Excellence has been digitized from the AIA Archives and is available on the AIA web site at http://www.aia.org/akr/Resources/PDFS/AIAP072827

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Nancy Hadley Assoc. AIA
Manager, Archives & Records
The American Institute of Architects
Washington DC
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Original Message:
Sent: 06-21-2011 21:55
From: Randall Deutsch
Subject: Measuring Design Excellence

In the AIA National library I came across an unpublished book written in 1989 by a committee made up of "signature firms" entitled "Keys to design excellence: Learnings from the American
Institute of Architects 1989 Design Practice for the 90's Program."

The illustrations throughout the document will be familiar to anyone that has seen James R Franklin's work.

I mention this because in the Appendix of this book there is a single page (C-3) entitled "Working List from a Member Firm."

To my eyes and mind, it is the most helpful checklist I have ever come across. Period. It all but assures that a building project will attain design excellence.

The one page document itself had been in use by the unnamed firm that supplied it since November 1987 and at that time entitled "Criteria for design."

The list begins:

1. SENSE OF PLACE
Is there a memorable, landmark quality about the design that projects an experience of architecture as place?

2. STRENGTH OF CONCEPT

And so on...(I would write them all out but am leaving for a speaking engagement.)

The list includes a total of 18 diverse criteria for design excellence. I have referenced this list on every project I have worked on in the past 20 years, over 100 large-scaled, complex projects - which I like to believe have been improved and owner, users and neighbors alike benefited by the hard-earned wisdom handed down on this list.

Amazon has one copy remaining for $99.95 http://www.amazon.com/Keys-design-excellence-Learnings-Architects/dp/B000725I7G

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Randall Deutsch AIA
Co-founder
Deutsch Insights
Winnetka IL
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Original Message:
Sent: 06-21-2011 16:27
From: Sean Catherall
Subject: Measuring Design Excellence

I'll dive into that huge subject: Yes, I think it's fair to say that the average architect and the average person on the street have fairly different tastes when it comes to architecture and probably when it comes to aesthetics in general (clothing, cars, furnishings, color, graphic design, art, etc.). But, I also think that there is a wider divergence among architects than is apparent by browsing architectural magazines and there is a wider divergence among average people than is apparent by browsing Better Homes & Gardens magazine.

However, to the extent that there is a separation of averages, I think we see that same separation of tastes between the general public and anyone who has advanced training in a visual discipline, whether that discipline is art history, fine art, industrial design, fashion design, graphic design or a similar area. I think that the process of studying the visual world and acquiring visual literacy has a tendency to morph our tastes.

I disagree about the meaning of this separation of tastes when it comes to our importance in society. I think most people want advice on architectural matters from a professional who is visual literate and who has an elevated level of taste. That has been my experience in dealing with the general public. What the man on the street does not respond well to is snobbishness. If we refuse to accommodate a client's wishes on aesthetic grounds or refuse to explain our aesthetic ideas, we come across as stuffy and unapproachable, not just having isolated tastes. And I think it's the stuffy and unapproachable (in addition to perhaps too expensive) that makes us seem less relevant, if not less important. If we are flexible, aesthetically, and express our good visual ideas and well-trained tastes through good writing and speaking (a constellation of skills to which we should all aspire), then I think misconceptions melt away, our relevance is assured and the separation of tastes becomes a positive attribute.

-------------------------------------------
Sean Catherall, AIA
Herriman, UT
-------------------------------------------

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James Jonassen FAIA
NBBJ
Seattle WA
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A key issue in this dialogue is whether the discussion is focused only on the aesthetic issues of design, or more wholistically on the total purpose of design. If the latter then I offer that there ought to be at least the five following concerns in assessing excellence (or performance) of design:
- Does it awaken and inspire the human spirit (and here there is a broad range of issues)?
- Does it transform the user enterprise to a higher level of performance?
- Does it make the place (or object) better than what went before it, including the context in which it resides?
- Is it accomplished with the minimum essential and sustainable resources?
- Is it affordable to the user enterprise and to society (in all resources including time and money)?
Can architecture, whose design's commit such a great share of our resources, ethically aspire to less?
Or as Alain de Botton says in Architecture and Happiness, "To care deeply about a field that achieves so little, and yet consumes so many of our resources, forces us to admit to a disturbing,even degrading lack of aspiration."
On a lighter note regarding inspiring the human spirit and the meaning in design, Robert Grudin, in Design and Truth says"Because our designs convey solid meaning, and because they interface between us and the world, they must tell the truth about the world and they must tell the world the truth about us"





Original Message:
Sent: 06-22-2011 10:49
From: Nancy Hadley
Subject: Measuring Design Excellence

James Franklin's "Keys to Design Excellence..." was published in a collection of papers as a book, In Search of Design Excellence, as part of the Vision 2000 project.

In Search of Design Excellence has been digitized from the AIA Archives and is available on the AIA web site at http://www.aia.org/akr/Resources/PDFS/AIAP072827

-------------------------------------------
Nancy Hadley Assoc. AIA
Manager, Archives & Records
The American Institute of Architects
Washington DC
-------------------------------------------

Mike,