Explorez tous les épisodes du podcast Life of an Architect

Ep 209: Understanding Residential Contracts breaks down five ways architects charge for residential work, along with the tradeoffs of each.

Designing a house does not begin with floor plans, exterior styles, or deciding where the kitchen island should go. It begins with understanding the people who will live there and translating their habits, priorities, routines, and expectations into a useful design framework.

In this episode, Bob and Andrew examine the residential programming process and the role a well-constructed client workbook can play before design begins. They discuss why traditional questionnaires tend to focus too heavily on what a client wants while failing to explore why those spaces matter, how they will be used, and what problems the house needs to solve.

The conversation also looks at when programming should occur, how clients should complete the process, and why architects need to interpret the answers rather than simply collect them. From daily routines and entertaining preferences to storage, privacy, budget, and future flexibility, the goal is to uncover the information that actually shapes a thoughtful home.

A good house begins long before anyone starts drawing. It begins with better questions, honest priorities, and a clearer understanding of the people the architecture is meant to serve.

In episode 204, “Character Development - Revisited,” we go back to the beginning and revisit the very first Life of an Architect podcast episode. Episode 001 was mostly an introduction: who we were, why the podcast existed, and what we thought it might become. At the time, the website had grown beyond the casual creative outlet it was intended to be, and the podcast seemed like a way to return to the original idea - talking honestly about architecture, practice, and the profession in a more immediate way.

More than 200 episodes later, that first conversation feels different. The show has changed, the co-host dynamic has changed, and we have changed. What started as an experiment has become a long-running record of how our thinking has evolved over time.

In this episode, we talk about what the podcast was trying to do at the beginning, what Andrew thought the show was before he joined, what changed once the conversation became the two of us, and what we misunderstood about podcasting, audience, editing, preparation, rhythm, and chemistry. We also look at why the podcast still feels worth recording after all this time.

The title still fits, probably better now than it did then. Character is not established in the introduction. It gets revealed through the work.

Ep 200: Hate to Love You looks back at favorite episodes, hard lessons, great guests, and the conversations that made this podcast worth your time from day one.

Ep 199: Conflict Resolution explores how architects manage tension, stay useful under pressure, and move hard conversations toward better outcomes.

Ep 198: The Creative Process | Why creativity in architecture depends on process, judgment, and knowing which ideas are worth pursuing

Ep197: The Knowledge Gap: As veteran architects retire, the profession risks losing hard-won knowledge, mentorship, and judgment no handbook can replace.

Ep 196: Do Architects Retire explores why architects work longer, what comes next, identity shifts, and how money choices that shape retirement options.

Designing Your Own House explores why architects hesitate to design their own homes: pressure, endless choices, ego vs livability, money, and what it reveals.

Being your own boss isn’t about starting a firm. It’s about control, momentum, money, and owning the tradeoffs shaping your career long before you noticed.

Ep 193: The Client Experience, looks at why client relationships feel adversarial and why architects have more control than they think.

Have a Plan is a reflective conversation about why pausing to think matters and how intention can help you move off square one this year.

Architects ask the questions they actually want answered as Bob and Andrew dig into careers, practice, and the occasional absurdity.

The Truth about Titles explores why architectural titles matter, why they don’t, and how their meaning shifts over the course of a career.

Discover the ultimate Holiday Gift Guide for Architects – curated picks, tools, and books that every designer will actually want to unwrap this season.

At some point in every career, the path ahead stops looking like the one behind it. The work that once defined you begins to shift, not because it lost value but because you start to see yourself differently within it. For architects, that realization can be complicated because we build our identities around what we design, who we work with, and the roles we play in the process. Change has a way of testing all of that, forcing us to ask what parts of our career still fit and which ones need to evolve. Today, Andrew and I are talking about what happens when you change course, the challenges and rewards of starting fresh in familiar territory, and how to recognize when it is time to head in a new direction. Welcome to Episode 188: Changing Paths.  [Note: If you are reading this via email, click here to access the on-site audio player]  Change is something both Andrew and I have lived through, and in this episode we wanted to take a closer look at what that really means. Each of us has reached a point where our careers needed to evolve, and the decisions that came next reshaped how we think about design, leadership, and purpose. This conversation isn’t about following a formula or finding the perfect next step; it’s about the reality of letting go of what feels safe and learning from what comes after. We talk about the adjustments, the uncertainty, and the satisfaction that can come from realizing you are still capable of growing no matter how long you have been doing this. Our hope is that anyone listening who might be facing a similar decision can find something here that helps them recognize that change, when you allow it, can be the most constructive part of your career. When the Path Starts to Bend (Recognition) jump to 3:21 Bob's Perspective: There comes a point in most careers where the work you are doing and the person you are becoming start to drift just far enough apart that you can feel the gap forming. For me, it wasn’t about dissatisfaction or failure, but about balance. I began to recognize that not every professional decision I made was about me anymore. I had a family to provide for, and whether I liked it or not, that reality had to shape how I evaluated opportunity. The irony, of course, is that architecture doesn’t exactly offer financial guarantees no matter where you go, but I started to realize that what I was looking for had begun to shift. I wasn’t just thinking about projects anymore; I was thinking about impact. Much of that realization came through the writing I was doing for the blog. Storytelling forced me to look at the profession differently and to think about how architects explain what they do and why it matters. Over time, I began to see that my influence didn’t have to come solely from drawing lines. I still think of myself as an above-average designer, but I started to value other skills that had developed along the way: communication, teaching, and helping people think differently about architecture. Those areas began to feel like ways to make a broader difference, and that awareness started to change what I wanted from my career. When the opportunity came to move from a small, residentially focused practice to a larger commercial firm, the attraction wasn’t about leaving one thing behind for another; it was about growth. I wanted to see what would happen if I stepped into an environment that operated at a completely different scale. More people meant more challenges, more opportunities for leadership, and more potential to help shape culture. Change has never scared me. I have always seen it as a chance to redefine myself and fix a few flaws that I know I have. Every new chapter is an opportunity to rethink how I communicate, to see how others experience me, and to test whether I am living up to the expectations I set for myself. The conversation that started the transition wasn’t strategic, and it wasn’t planned. I asked Andrew Bennett, one of the owners at BOKA Powell, a simple question: “Do you think my skill set would translate to a larger office?” That was it. No job hunt, no sales pitch, just curiosity. But in hindsight, that question planted a seed for both of us. Over time, my goals evolved dramatically. I used to want to be known as an exceptional designer, then I wanted to be a better communicator, then a collaborator, and now I think of myself as a thought leader, though it is hard to be a shepherd without any sheep. Writing made me aware of that evolution. It reminded me that what I wanted most was to make things better for others. Andrew Hawkins likes to joke that I have a savior complex, but he’s not wrong. Most of my career decisions over the last twenty years have been attempts to align my work with that impulse, to do work that helps people rather than just impressing them. Andrew's Perspective: The realization that I might want to change directions came slowly, long before I admitted it to myself or even identified its occurrence. For years, I had been running my own firm, managing every detail, balancing design, business, and people. Even at the peak of twelve or fourteen people, it always felt like I was carrying the entire weight. Of course, this was because I was doing most of the heavy lifting tasks. I realize now that a major turning point may have started when I hired someone of a similar level and experience in the profession, hoping they would eventually take on some of the responsibility that had become overwhelming. But they passed away suddenly, and it caught me off guard, leaving an impact I didn’t recognize at first. In hindsight, it was probably a moment that quietly shifted how I viewed my role, my firm, and the limits of what I could sustain. At that time, the daily effort began to feel repetitive and draining. I felt as though I was pushing the same rock uphill only to have it roll back down, and at times, crush me with its weight. The creative energy that once defined the practice had become secondary to the grind of management and business operations. However, due to the fact that my office was mainly comprised of young employees and student interns, I was consistently providing guidance to them. This is common for almost anyone who reaches a certain level of experience in our profession, so it wasn’t extraordinary. But I realized that I enjoyed that process as a significant part of my role. So this renewed a semi-forgotten notion; I had always wanted to teach. When I was in college and graduate school, my original plan was to go straight into teaching, never really considering practice as part of the picture. So when the chance came to teach part-time, it felt invigorating and exciting in a way that practice and the firm work no longer did. Even then, while teaching part-time, I didn’t imagine making the move to teaching full-time. It was simply a side commitment that helped me reconnect with something meaningful. But over time, both internal and external factors continued to nudge me further in that direction. What made the idea difficult was the feeling that leaving practice would mean abandoning what I had built: a firm, a name, and twenty years of work. It felt like betraying a version of myself. I had devoted and sacrificed so much of myself and my life into establishing something independent that the thought of walking away from it, even for something with potential, felt like a loss. It felt like giving up, like abandoning a child. It was not easy, and I am still not sure I am over it after several years. I am still working on letting go and not seeing it as failure. I am simply moving into another phase of my career and life and learning how that works. Trading Places (Transition) jump to 14:06 Bob's Perspective: The biggest adjustment I had to make when I joined a larger firm was learning how defined the roles were. In my previous offices, I did everything from concept design to field coordination, and while that breadth came with its challenges, it also gave me control and continuity. If I wasn’t there, things waited on me, which at the time felt like both a burden and a compliment. At BOKA Powell, the structure was completely different. Project Designers, Project Architects, and Project Managers all had distinct responsibilities, and understanding who handled what took time. The process wasn’t less collaborative, but it was more specialized. That specialization made the machine efficient, but it also meant I had to learn to trust people to do the work I had always done myself. It was harder than I expected. The pace was another shock. I probably shouldn’t have been surprised by the difference between an office of eight and one with a hundred, but it still caught me off guard. I had to figure out which decisions required collaboration and which I could make on my own. Even as a principal, there was an invisible line between what was mine to solve and what needed higher approval. That took patience to learn. The larger the organization, the more the success of one person depends on everyone else being aligned, and that coordination takes time. Once I began to understand the rhythm of how information moved through the office, I started to see how scale itself can become a design constraint - not just a logistical one, but a creative one too. Adapting to that new rhythm meant rethinking how I approached design. The team dynamic was different, the process was different, and even the codes were different. At times I felt like I had the practical value of someone five years out of school. I had plenty of experience as a leader and communicator, but the act of being an architect was distinct at this scale. The confidence I once had in high-end residential work didn’t automatically transfer to commercial projects. It took more time, more collaboration, and more humility. The details I used to solve instinctively now required layers of coordination across disciplines....

Architects explore the stories behind objects of design that remind us why design matters — revealing creativity, purpose, and meaning in everyday things.

Every rule was made to be broken, except in architecture, where even the act of breaking rules seems to come with its own set of rules. Modernism promised liberation from the past, but it quickly wrote its own commandments into the story—flat roofs, open plans, white walls, and exposed structure became the expected vocabulary. A movement that arrived as rebellion soon carried the weight of convention, and those conventions still shape how we design and judge buildings today. This week, Andrew and I are taking a closer look at the commandments of Modernism—where they came from, why they matter, and what they mean for the way we practice now. Welcome to Episode 186: The Rules of Modernism.  [Note: If you are reading this via email, click here to access the on-site audio player]  If you are interested in seeing just a few of the houses I mentioned on the podcast, you can see them listed on the Realtor.com (here and here are just a few of them) The Roots of Modernism jump to 6:30 Modern architecture did not emerge in a vacuum. It was a response to seismic shifts in society, technology, and culture that took place in the late nineteenth and early twentieth centuries. Industrialization had transformed the way people lived, cities were expanding at unprecedented rates, and new materials like steel, reinforced concrete, and large sheets of plate glass were suddenly available to architects. These inventions were not simply practical tools, they were symbols of a new age. Architects began to ask why they should keep designing buildings that looked like medieval castles or classical temples when the world around them had become faster, lighter, and more efficient. The very idea of progress seemed incompatible with copying the past, and so Modernism positioned itself as the architecture of a new century - an architecture that would represent industry, rationality, and optimism for the future. This rejection of the past was more than an aesthetic preference, it was a manifesto. Ornament was not just unnecessary, it was cast as dishonest and wasteful. Historical references were treated as evidence of cultural stagnation. In their place, Modernists put forward ideas of functional clarity, open planning, and structural honesty. The promise was bold: architecture would no longer serve as a backdrop for tradition, it would become a tool for shaping a better society. Housing would be healthier, cities would be more efficient, and design would finally align with the realities of modern life. It was not only about how buildings looked, but about how they could transform the way people lived … and that is why the roots of Modernism matter to this conversation. The movement began as a radical break from the architectural traditions that came before it, yet it also established a new set of values that quickly hardened into conventions of their own. Before we can explore the “rules” of Modern design, we need to understand the cultural and historical conditions that gave rise to them. Only then can we appreciate the irony that a movement born from revolution became one of the most codified design languages of the twentieth century. By the time Modernism had established itself internationally, the movement that began as rebellion had already created its own set of unwritten rules. Architects may not have published them in a single manifesto, but they were understood all the same. You could look at a building and know whether it was ‘Modern’ or not, based on a handful of essential qualities. These rules were never carved into stone, yet they became the code that defined the movement for decades. To understand Modern design, and to really grasp how it operates, we need to lay out those unspoken commandments - the ideas that quietly dictate what belongs inside the Modernist tradition and what falls outside of it. The Ten Commandments of Modernism jump to 13:42 Modernism never published a rulebook, but anyone who studied it - or even just walked through a few of its buildings - could tell that certain expectations were always in play. These weren’t written down in manifestos or carved into stone tablets, yet every architect seemed to know them. They became the quiet commandments of Modern design, the guidelines that told you when a building belonged to the movement and when it strayed too far. What I want to do is call them out, one by one, and see how they’ve shaped our understanding of Modern architecture. Thou Shalt Embrace Function When people talk about Modern architecture, the first thing they always bring up is ‘form follows function.’ That phrase is almost a commandment in itself. The idea is that buildings should be driven by purpose, by use, not by ornament or whim. On paper it sounds simple, but in practice it gets tricky. What happens when function alone doesn’t make a building beautiful, or when the function is flexible? The irony is that many of the architects who pushed this commandment the hardest were also the ones who added their own stylistic flourishes. Corbusier gave us pilotis and roof gardens, and Mies obsessed over proportions in ways that went far beyond pure utility. So yes, function is at the heart of it, but we also know that the story is more complicated. This is where Modernism becomes less about a single rule and more about a shared belief system. Thou Shalt Honor Simplicity Simplicity is the soul of Modern architecture. Clean lines, restrained geometry, uncluttered spaces. But don’t mistake simplicity for easy. The cleaner a design is, the more difficult it becomes to execute. When there’s nowhere to hide, every joint, every alignment, every proportion has to be perfect. That is why Modernism often feels more expensive, not less. A perfectly simple box can take as much effort as a Gothic cathedral, just in a different way. The lesson is that simplicity is not about doing less, it is about doing things with greater discipline. Thou Shalt Reject Ornament This is the commandment everyone remembers. Modernism declared war on ornament. For centuries, buildings had been covered in carved details, cornices, moldings, scrollwork, all of it. Modern architects came along and said, ‘Nope, none of that. Strip it away.’ A wall should be a wall, not a canvas for decoration. But here’s the thing, removing ornament didn’t mean removing expression. It just shifted expression to proportion, detail, and material. And I’ll argue that sometimes those ‘simpler’ details are actually harder to pull off. A Modernist railing detail can cost more than an entire set of classical moldings, because the tolerances are tighter and the craftsmanship has to be flawless. So, rejecting ornament didn’t make architecture cheaper or easier, it just made it more precise. Thou Shalt Express Structure Honestly Modernism elevates structure into aesthetics. Columns, beams, slabs—these are not things to be hidden, they are things to be celebrated. You are supposed to be able to read how a building stands up just by looking at it. Mies made this an art form, and Corbusier turned structure into a sculptural gesture. But let’s be honest, structural honesty is often more of an idea than a reality. Plenty of Modern buildings cheat a little, exaggerating one element or concealing another to tell a clearer story. So this commandment is less about literal honesty and more about the appearance of honesty. It is about making the building feel like it is telling the truth, even if you are editing the story behind the scenes. Thou Shalt Be True to Materials Concrete should look like concrete. Steel should look like steel. Glass should be transparent, not painted to imitate something else. This commandment is about authenticity, a refusal to disguise or imitate. That honesty elevates materials into beauty. Brutalism is the most extreme example, celebrating raw concrete in all its roughness. But the challenge is that technology complicates this purity. Today we have coatings, composites, high-performance materials that don’t always look like what they are. So being ‘true to materials’ becomes less about absolute purity and more about staying within the spirit of authenticity, even in a world where materials are rarely simple. Thou Shalt Embrace Light and Openness Light is sacred to Modern design. Think ribbon windows, glass curtain walls, open floor plans. These are not just aesthetic moves, they are about a new way of living. Healthier, brighter, more transparent. This is where Modernism broke radically from the past—away from dark, compartmentalized interiors, toward spaces that felt connected to the world outside. And this commandment is still alive today. Every client, whether they know it or not, is chasing light and openness when they say they want a ‘modern’ home or office. It has become so fundamental that we forget it was once revolutionary. Thou Shalt Respect the Grid The grid is the invisible backbone of Modernism. It provides order, clarity, and discipline. Whether it is structural bays, window spacing, or floor tile layout, the grid is sacred. It’s one of those rules where most people never notice it, but architects do, and we get irritated when someone breaks it. A mullion that’s out of alignment or a window that doesn’t land on the grid can ruin the entire composition for an architect. Respecting the grid is about more than geometry, it’s about communicating that the building is orderly, rational, and disciplined. It tells you that someone cared about how the parts fit together. Thou Shalt Flatten the Roof The flat roof might be the most recognizable symbol of Modernism. You can look at a building from a hundred yards away, see that crisp horizontal line, and know what you’re dealing with. But here’s the dirty little secret, flat roofs leak. They always have. Contractors hate them, homeowners eventually learn to hate them, and yet architects keep drawing them. Why?...

It’s one thing to be busy and another to be productive – and most of us are far better at the first than the second. The reality is that architects live in a world of deadlines, meetings, and endless to-do lists, but somehow there’s always time to check Instagram, rearrange your desktop icons, or spend twenty minutes deciding which playlist will help you focus before actually doing the work. Procrastination has a way of disguising itself as “just five more minutes” until suddenly tomorrow is looking a lot worse than today. This week, Andrew and I are taking a closer look at procrastination – why it happens, how it disrupts even the best-laid plans, and what you can actually do to keep it from derailing your work. Welcome to Episode 185: Procrastination: Today’s Problems Tomorrow.  [Note: If you are reading this via email, click here to access the on-site audio player]  The Struggle is Real jump to 4:09 Procrastination is not about a lack of discipline or effort, it is more like a default response that shows up once the to-do list starts outpacing the hours in the day. Think of it as that urge to tidy up your inbox, check social media one more time, or find anything else to do besides the one task that really matters. It is less about bad intent and more about a short-term survival instinct. I would not describe myself as someone who avoids work, but I can admit there are times when I put things off until there is no other choice, and I suspect that puts me in the same company as most people reading this. There is research that connects personality traits with procrastination, and some of it feels uncomfortably familiar when applied to architects. People who score high in conscientiousness usually do well in professional settings, but that same trait often brings with it a strong tendency toward perfectionism. When you are wired to want things done at a very high level, it can be easy to delay getting started until you believe conditions are “just right.” The irony is that the higher the standard, the harder it becomes to begin, and procrastination finds a perfect opening. Other personality studies using Myers-Briggs categories found that INTP (Introversion, Intuition, Thinking, Perception) types were among the highest procrastinators. Those individuals tend to be analytical, independent, and comfortable living in their heads, which can be useful qualities for architects, but those same strengths can also create a pattern of putting things off. When you are wired to keep analyzing and refining your ideas, starting the work can feel less urgent than thinking about it just a little longer. There is another angle to consider, which is that procrastination can actually act as a coping mechanism. Psychologists describe it as a form of avoidance, but not always in a destructive sense. Putting something off can create short-term relief, and that breathing space can sometimes be what allows a person to function in the moment. The problem is that the stress does not go away, it simply accumulates and grows heavier with time. For some people, that mounting pressure even becomes the fuel they rely on to finally act, which is why procrastination is not only common but oddly effective for those who claim they “work best under pressure.” Architects are Busy jump to 16:03 a look at my weekly calendar for the time we recorded today's podcast episode Procrastination is not always about laziness, and more often than not it shows up as the result of overload. Nobody in this profession plans to avoid their responsibilities, but when the day fills up with meetings, deadlines, and emails, something is going to slip. That delay might look small in the moment, like moving one task to tomorrow’s list, but it still qualifies as procrastination. It is not intentional avoidance, it is triage, and triage always comes with consequences. Architects are especially vulnerable to this because so much of our time is spent in coordination mode, and what little space is left on an already congested calendar is rarely left alone. Any open gaps are quickly filled by others, often with another conversation about the work rather than time to actually do the work, and the result is that the very moments that could have helped move things forward disappear before they can make a difference. The real trap is that this kind of procrastination often feels productive. Answering emails, cleaning up a spreadsheet or proposal, or working on staffing assignments might feel like progress, but in reality these tasks are just distractions from the harder thing that needs attention. Hours can pass in this cycle and the needle never moves, yet it feels like work has been accomplished. The cost of those small delays is rarely contained to a single person’s to-do list, because architecture is collaborative and every missed step sends ripples through the team. An internal delay means consultants receive drawings later, coordination gets compressed, and suddenly the client’s submission deadline has become a sprint. What seemed like a minor shuffle on Monday can balloon into a project-wide scramble by Friday, and the result is that procrastination rarely stays personal, in this profession it multiplies. Add in a podcast and helping friends out with their home renovations and you can quickly feel like you are capable of doing 100 things, but are currently under-performing on 95 of them. Tips to Avoid Procrastination jump to 29:27 this is the markerboard behind my desk, where I have written down that days "to do" list ... plus a chart on the age-to-risk of waterbeds which is an example of procrastination Break Big Tasks into Smaller Ones jump to 30:00 Procrastination thrives when the mountain looks too high to climb, so the trick is to stop staring at the peak. Take the 200-page spec you’ve been ignoring and just outline the headers. Draw one wall section instead of the entire building envelope. The smaller the step, the harder it is to rationalize avoiding it — and once you’re in motion, momentum does the rest. Architects know better than anyone that a building is just a lot of little details stitched together, so treat your tasks the same way. Set Deadlines Before the Deadline jump to 32:44 If the submission is due Friday, convince yourself it’s really due Wednesday. This isn’t lying to yourself, it’s self-preservation. Architecture deadlines rarely move in your favor, and waiting until the eleventh hour is a guaranteed way to spend your Thursday night ordering bad pizza and hating your life. By setting mini-deadlines earlier in the process, you create a buffer for the inevitable “oh, we forgot about that” moment. Eliminate the Easy Distractions jump to 35:28 Most of us don’t procrastinate by taking a nap - we procrastinate by doing things that feel like work. Checking emails, reorganizing CAD layers, or hunting down the “perfect” precedent photo is just a form of procrastination. To combat it, shut down the browser tabs, turn off email notifications, and admit that scrolling LinkedIn isn’t research. Architects are good at justifying busywork, but being busy and being productive are not the same thing. We covered a lot of ground in Ep 178: Under Pressure, where Andrew and I unpacked how stress impacts both our process and our priorities. One of the things that came up again and again was how distractions multiply when deadlines get tight. Every email suddenly feels urgent, every notification pulls you off course, and before long you’ve lost an hour to things that don’t matter. Managing those distractions is less about discipline and more about survival when the pressure is on. Use Time Blocks Instead of “Free Time” Free time isn’t free - it’s where procrastination sets up camp. Instead of telling yourself, “I’ll work on this after lunch,” carve out a specific window: “1:30 to 3:00 is wall section time.” Time blocking creates structure, and structure is what architects live on. Treat your own calendar like a construction schedule: nobody pours concrete with “sometime Thursday” as the milestone. Start Ugly, Fix Later jump to 39:09 Perfectionism is procrastination in a tuxedo. The sooner you admit your first draft will be a little ugly, the sooner you’ll get it out of your head and onto paper. Architects are notorious for obsessing over line weights before the design even makes sense. Resist that urge. Start with the messy version, then clean it up later - that’s why trace paper and revisions exist. If you’ve been around here long enough, you might remember my post on 10 Mistakes Architecture Students Should Avoid, where I admitted that architects are practically trained to procrastinate. That early conditioning often comes from the pursuit of perfection - the idea that you shouldn’t show your work until it’s flawless. But the truth is, progress comes from putting something down and then improving it. Waiting for the “perfect” first draft is just procrastination in a bow tie. (for those of you that are interested in seeing the stone drawing I mentioned where I procrastinated by adding the individual stone pieces on an outdoor shower, you can find it here) Prioritize the Hard Thing First jump to 42:08 We’ve all got one task that looms larger than the rest. Get it out of the way before the day gets away from you. Knock out that painful code review in the morning instead of circling it all day like a nervous cat. The reward is twofold: you get a boost from having done the hardest thing, and suddenly everything else on your list feels easier by comparison. Architects are professional plate-spinners, so it’s critical to keep the heaviest one from crashing first. Set Public Commitments jump to 43:09 Accountability works wonders when procrastination is whispering in your ear. If you promise your project manager you’ll have the drawings on their desk tomorrow morning, you’ve just raised the stakes....

The Architect as Brand explores how personal reputation and firm identity collide, coexist, and shape modern architectural practice.

Architectural career tips meet life lessons in a conversation about balancing professional success with being a genuinely good person. This is Tips for being an Architect and a Good Person.

Discover how AI tools are transforming architecture, from design and research to workflow efficiency, and shaping the future of practice.

How leadership behavior shapes culture, trust, and growth - why people mirror what leaders model, and how influence is built through everyday actions.

The phrase “it’s just a small project” has probably caused more confusion, blown more budgets, and strained more relationships than we’d care to admit. It sounds harmless, maybe even charming - the architectural equivalent of a quick favor. But that phrase carries weight. Because behind every modest addition, bathroom remodel, or garage conversion is the same professional rigor we apply to larger work … just without the benefit of scale. Whether it’s fees that don’t shrink as expected, construction costs that defy logic, or clients caught off guard by the number of decisions they’ll need to make, these projects demand clarity, patience, and experience. So today, we’re talking about what architects need to communicate, anticipate, and prepare for when the work is small but the expectations are not. Welcome to Episode 180: Size Doesn't Matter.  [Note: If you are reading this via email, click here to access the on-site audio player]  Architectural Fees Don't Scale jump to 3:50 One of the most misunderstood aspects of residential design is how architectural fees are determined. Many clients assume that a smaller project should result in a proportionally smaller fee. But architectural fees don’t scale like that. A 400-square-foot addition still requires site measurements, code research, zoning analysis, (possibly) consultant coordination, and detailed documentation. Whether the project is 400 or 4,000 square feet, many of the baseline efforts remain the same. You still need floor plans, reflected ceiling plans, building sections, wall sections, electrical layouts, and coordination with structural engineers or energy consultants. And while the documentation may be shorter, the care and precision required to make a small project work can sometimes take even more time. For example, a kitchen renovation might involve more detail and coordination per square foot than an entire house. The AIA has published guidance on fee structures in the "Architect's Handbook of Professional Practice," (this is a book that I highly recommend) which notes that project complexity and risk should be used to help determine compensation, not just size. As architects, we must be clear in helping clients understand that fees represent time and expertise, not floor area. If you charge a fixed fee or percentage of construction cost, be sure to explain what that covers and what it doesn’t. Helping clients see the value in pre-design services, permitting assistance, and construction observation can prevent misunderstandings later. Saving the best for last, just because it’s a small project doesn’t mean the liability is small. Professional risk remains, which means the time spent to get it right matters, regardless of scale. the post that I referenced in our discussions was this one ...*the penalty of drawing too much -  Excessive or Essential? The Entire Timeline jump to 9:43 Clients often think the timeline for a small project will be quick. And to be fair, the design phase might be shorter than that of a ground-up custom home. But that’s only one piece of the puzzle. Permitting can take anywhere from a few weeks to several months, depending on the jurisdiction. In some cities, small additions are routed through full plan review just like new homes. And once the project is permitted, the construction timeline is subject to the availability of contractors and materials, site conditions, and even weather. It’s our responsibility to help clients understand the full arc of the process. According to a 2023 survey from Houzz, the average design-to-completion timeline for a kitchen remodel is around 8-12 months, even when the construction itself only takes 2-3. Why the gap? Because there are lags built into the process. Design review boards, HOA approvals, contractor bidding windows, and permit review times all add up. When you add in backorders on appliances or materials, things can shift quickly. That’s why it’s so important to map out the process at the beginning and set realistic milestones. Being transparent about what’s in your control and what isn’t will help keep trust intact when things inevitably shift. Having a clear design schedule, a list of deliverables, and contingency plans for delays is part of being a professional. And the smaller the project, the more noticeable even short delays can be. Finding the Right Contractor is Hard jump to 14:36 For small residential projects, contractor selection isn’t just about qualifications — it’s about willingness. Many reputable general contractors are booked with larger, more profitable jobs and simply won’t entertain small additions or renovations. Others might agree to the work but assign it to their most junior staff, resulting in delays, poor communication, or inconsistent execution. As an architect, you often find yourself acting as a matchmaker, helping the client find someone who is both capable and available. But it’s not always easy. In many cases, the best choice is a smaller GC who specializes in remodels or residential work. These contractors understand the quirks of working in occupied homes, phasing construction, and dealing with tight site conditions.   But availability is limited, and their schedules can be unpredictable. Some clients consider acting as their own GC, which can work in rare cases, but often results in schedule overruns and missed coordination. According to the National Association of Home Builders, over 70% of remodeling jobs in 2022 were handled by contractors who also reported being overbooked for more than 3 months at a time. That means the contractor search should begin early in the process, not after the drawings are complete. Make sure you and your client have the same definition of "qualified." You’re not just looking for someone who can build; you’re looking for someone who can communicate, coordinate, and collaborate. It’s also a good idea to review prior projects and talk to past clients. Help your client understand that the relationship with the contractor is as important as the specs on the plans — maybe even more so. After all, they’ll be living with the results. Constructions Costs Are Not Linear jump to 20:37 It’s one of the first hurdles in almost every small residential project: explaining why a seemingly simple renovation costs so much. Homeowners often have a mental equation that says "less space = less money." but in reality, costs per square foot often go up as projects get smaller. That’s because certain trades are still required regardless of scale, and the overhead doesn’t vanish just because there are fewer square feet to the project. Let's take a look at kitchens and bathrooms as an example. These are among the most expensive spaces to build because they require plumbing, electrical, ventilation, millwork, tile, and appliances or fixtures. According to the Journal of Light Construction's 2024 Cost vs. Value Report, a midrange kitchen remodel in the U.S. averages over $79,000. That’s not a custom kitchen, and that’s not a big kitchen. The cost per square foot for an upscale bath room (that is not the main bathroom) can easily exceed that of a new living room or bedroom addition, averaging just below $80,000. Clients need to know this before they get too far into the wish list phase. We also have to educate clients on hidden costs: mobilization, demolition, temporary protection, permit fees, utility upgrades, and finish upgrades. When a contractor is asked to come in for a small job, their fixed costs don’t change much — and that means those costs get distributed over fewer square feet. As the architect, it’s important to tie cost discussions back to decisions: complexity, quality of finishes, number of trades involved, and construction logistics all impact the final budget. Help your client align their expectations with reality, and be prepared to guide them through prioritization if scope and budget don’t match. Cost estimating tools, even rough ones, can be valuable here. A good faith effort at outlining potential costs early in the process often leads to smoother approvals and fewer surprises later. Squeezed Out by Larger Projects jump to 25:45 One of the hardest things to explain without sounding dismissive is that small projects don’t always get the same attention as large ones - from either the architect or the contractor. It’s not because we don’t care. It’s because all offices, regardless of size, operate on a limited pool of time and resources. When you have a 5,000-square-foot custom home under construction and a 500-square-foot porch addition in design, you’re naturally going to have to triage your attention. Same goes for most general contractors - although I highly doubt that the same contractor that would build a 5k new home would even look at a porch addition. This isn’t a justification for dropping the ball - far from it. It’s a prompt to plan ahead. You need to be honest with your client about what your involvement will look like week-to-week. Can you review shop drawings within 48 hours? Are you attending site meetings? Is someone else in your office taking the lead? These aren’t just internal staffing decisions; they’re part of the client experience. Likewise, make sure the builder isn’t stretched too thin. If they’re juggling five job sites and only showing up for an hour a day, progress will crawl. It helps to set expectations with a communications plan. Weekly email updates, pre-scheduled check-ins, and clearly defined response timelines can reduce client anxiety and keep everyone aligned. If the project requires a sprint of focus to meet a milestone, carve out the time and communicate that commitment. When you’re transparent about how resources are allocated, clients are usually more understanding and you can avoid the frustration of unspoken assumptions and unmet expectations. Doing More with Less of Everything jump to 33:03 ...

Architectural influencers on social media can bring real insight to the table while others blur the line between experience and performance, you should evaluate what you’re seeing, questioning why it was shared, and learn how to tell the difference between helpful guidance and a well-lit shortcut.

What happens when architects face extreme pressure? Ep. 178 explores how stress reveals character, process, and priorities in practice.

There’s a moment in almost every architect’s career where the idea first surfaces—quietly at first, then louder over time: What if I started my own firm? Maybe it’s the itch for creative freedom, maybe it’s frustration with someone else’s decisions, or maybe it’s just the instinct to build something of your own. I’ve had this conversation more times than I can count—at desks, on job sites, over drinks after a long day. It’s a topic that stirs up excitement, fear, pride, and possibility all at once. Today, we’re stepping into that mindset—the leap, the hustle, the vision behind doing your own thing. Welcome to Episode 177: Hanging Out Your Shingle [Note: If you are reading this via email, click here to access the on-site audio player]  We have a special guest to assist us with discussing today’s topic. Joining us is Daniel Istrate, AIA — a licensed architect and co-founder of Kontexture, a Phoenix-based architecture firm with a growing international presence. Originally from Romania, Daniel moved to the United States as a teenager and went on to earn his architecture degree from the University of Arizona, with studies that also included Italian, Literature, and a minor in studio arts. He began his career at a small local firm, later navigating the challenges of the 2008 recession while gaining experience at a large national practice. But like many of us, he felt the pull toward something more personal, and in 2013, he made the leap, leaving a stable job to start his firm with longtime friend and collaborator Jorge Toscano. Since then, Kontexture has grown to include two offices - one in Phoenix and another in Hermosillo, Mexico - and in 2018, they expanded into construction by launching a design-build company. Daniel is joining us today to discuss betting on yourself, building with intention, and creating a firm from the ground up - all themes at the heart of today’s topic. Let’s start at the moment just before you decided to launch your own firm - what pushed that decision from a long-time idea into something real?  The first time I played with the idea of opening a firm with another colleague from the first firm I was working at was in 2007 right before the recession.  We quickly realized that was not good timing so we decided against it.  Looking back that was a really good thing, I was only two years out of school and still very green.  After weathering the recession at Smithgroup and getting licensed while there, I started taking on some side work.  I got an offer from another firm to move there as the principal was thinking of retiring soon and was looking to have someone take over.  After being there for a year, on a Friday night at 1:00 am while still at the office I decided that this is the time.  I already had a steady stream of clients and projects that I was doing on the side (moonlighting)  Binkowitz Residence - Kontexture You didn’t start Kontexture alone - can you talk a bit about that partnership and how you and Jorge divided up the early responsibilities?  I started Kontexture with Jorge whom I met while we were both in first year at the U of A.  We always talked about starting a firm together, even while in college.  Early on we were each responsible for our own projects, from early meetings with clients, to design, construction documents, Construction Administration, etc.  But we have identified early what each of our strengths were and we worked off of that.  Jorge is a stronger designer and I am more technical.   Marigold Dispensary - Kontexture When you first opened your doors - how did you find work? Did you chase the kind of projects you wanted, or take what came?  We started the firm with about 20 small projects that we were both working on, on the side.  Once we started the phone kept ringing and we kept getting work based on recommendations from engineers we were collaborating with, contractors and most important, the clients we had were recommending us.  We did not have to chase any projects, but we were not being selective either, we took everything that came our way.   Tica Residence - Kontexture What were some of the most unexpected early challenges - not design or technical ones, but the business side: contracts, accounting, finding your first hire?  Funny you mention that.  Contracts were the biggest challenge.  Neither Jorge or I had any experience at the previous firms putting proposals together, we were not in the positions where we had access to that information.  It was that difficult for residential work, but for commercial, we were using google to find out how to charge for projects, so between price per square foot and percentage of construction costs, we were either really high and not get the project, or too low as the client couldn’t sign the contracts fast enough.  So that was challenging, even 12 years in we still sometimes run into that.  The first official hire was this guy Michael that I knew back in Tucson, and he was moving from New York to Phoenix to be with his girlfriend, so it was someone I knew personally.  All the other people we hire were people we know, or worked with, or were recommended which made it a bit easier.   Oerlikon India - Kontexture You’ve described your office as deliberately diverse and people-focused. How early on did that vision shape your hiring, and how do you sustain it in practice?  Every office I worked in after graduating I observed how my bosses were and how they operated.  I would make mental notes on things I thought they did well and if I were to ever have a firm to emulate that or when I saw things that I thought were wrong to never do that as a boss.  I had a college professor that told us the importance of working for a firm where you feel appreciated, and that it should weigh more than the salary and title.  I did not give it much thought at the time, but while working at the second firm after graduating, Anca (my wife) gave birth to our second son, and my boss told me I could not leave to pick-up Anca as she was being discharged from the hospital because we had some meeting to go to.  I had to ask my dad to go and pick up my wife.  I quit that job two weeks later even though we were in the middle of the recession.  I was fortunate enough to find another job in 2009 when most firms were laying people off or even closing their doors.  With that in mind, I told myself that I would never want to have people working for me that dreaded coming into the office, because I experienced that feeling myself.  We are a pretty diverse group with people from all backgrounds.   Budure Residence - Kontexture What were some pivotal decisions or moments that allowed your firm to grow—not just in size, but in identity? If this was a scientific experiment, in order for the theory to become law it would have to be duplicated by other people.  What I mean by this is, I am not sure this would work for other firms but it has for us.  As we started getting more projects or even bigger projects, we still got calls for smaller projects (small remodels, additions, or small TI’s), not the type of projects you would brag about at a cocktail party.  But I can’t tell you how many times taking on those projects ended up leading to a lot more substantial work.  One example was when I got a call from a civil engineer we did a lot of work with.  He asked if I was interested in doing a TI for a marijuana dispensary.  and I said sure.  So the engineer passed my number to the client who called and basically said that they already had the project designed, they just needed someone to draft it and I was willing to do it.  It was just as marijuana became legal in Arizona and there were a lot of regulations on it, which I did not know at the time.  The client educated me in all the regulations, we did the project, and then asked if I were interested in doing some grow facilities to which I said, sure.  That started a long string of projects in the cannabis industry that otherwise I would have never had the opportunity to do.  A lot of firms were competing for those projects early on and we were fortunate enough to be one of the first firms to do those types of projects.  So a long answer to say, don’t be afraid of the unknown or to say yes and most of all don’t ever think you are above a certain type of project because you now “made it”.  As a follow-up, do you have a final/ideal firm size in mind? Or what is your growth mindset or strategy for the firm? When did you develop this? Has it evolved over time?  When we first started we never set out to grow to 24 people.  We are not set up like a corporation where we sit down at the beginning of the year to set goals or targets for growth.  We have grown organically and what felt natural to us.  It might not be the right approach for everyone but it has worked for us.  Even though we have 24 people we run the practice like a small firm and as of now we have no plans of expanding any further, but with that being said, I don’t know what the future holds.  I just don’t see myself being a principal at a large firm of 100+ people.  just the thought gives me anxiety. Rogers Residence - Kontexture You’ve taken some less-traveled roads to build and sustain your practice—what’s something you did that might surprise people?  As mentioned earlier, we took on just about every type of project that came our way (even if we did not have experience doing those types of projects), we tried to hire just friends or friends of friends.  We took on hires that Kontexture was their first job in the US and that paid off, we took a chance on them and they became very good and loyal employees.  One such example is Carmen, who started as a drafter six years ago and she is now one of the principals.  Same with Denisa who started as a front desk secretary and now is the director of operations and principal.  Opening the second office in Mexico was something that was less conventional....

We’ve all stared at the calendar, convinced there’s a hidden twenty-fifth hour—plenty of room to redline that section, nudge the model, and squeeze in just one more detail. “We’ll sort it during bidding,” we promise ourselves, and the optimism buys another day of breathing room. Architects thrive on this kind of self-talk; some versions are harmless, others lurk like change-order booby traps. Today Andrew and I are spotlighting the greatest hits—the stories we repeat, the messes they create, and the habits that can stop the cycle before it snaps back on us. Grab your favorite red Sharpie ... Welcome to Episode EP 176: Little White Lies. [Note: If you are reading this via email, click here to access the on-site audio player]  I've Got Plenty of Time jump to 4:24 This may be the single most prevalent lie we tell ourselves the most during our career. We always are telling ourselves we have the time. Time to finish. Time to do just one more thing. Time to get enough sleep. Time to make it work. Time to meet that deadline and have all the details complete. I’m not saying all architects do this, but there is a large number. I think it’s our underlying optimism in our abilities and skills. Maybe that’s ego, but whatever the reason, it happens. A lot. We'll Deal with it During Construction jump to 8:13 Another beauty. This is one we tell ourselves as well quite often. We have a looming deadline and we need, no we MUST, publish a set of drawings and meet the deadline. We know we have left some things to deal with later. Sometimes, in the good cases, we make it back to those elements and finish our task in the manner we intended. Often, we deal with the element, but not always in the same manner and care we might have during the design phase. Then, there are those times when we just don’t ever make it back to that and the contractors solve those issues for us. Whether that is how we wanted to not is a different story. I'll Just do a Little Work Tonight jump to 11:38 Some architects are most assuredly better at this than others. The best of us never even tempt the fates and do work “at night.” Others can actually do just a task or two and then close up shop and move one. Then there is that group that sits down for a few small tasks and doesn’t realize until 4 hours later that they are still working. We knew we should have not sat down at the desk at all. But once it starts, sometimes it’s just too tough to stop. I'll Do a Little Conceptual Work to Show Them jump to 15:56 This one costs us the most. Not just as an individual, but as a profession. Don’t get me wrong, I have said this one to myself many times. If I just can show them my ideas, surely that will convince them to give me the project. My ideas are so outstanding, how can they not! But more often than not, they like the ideas, don’t hire me for the project, and probably take some of my ideas to the team they did hire. Again, this one hurts. But it also hurts all of the profession for us to give away any work at any time. It devalues our skills and knowledge to those who hire us. I’m not saying it’s easy to avoid that temptation, but for the benefit of all, we most definitely should. You Can Never Draw Too Much jump to 19:53 This one has manifested itself more and more in our digitally produced documentation world. The easier the software has become to operate and generate drawings, the more drawings we seem to WANT to make. Here the fallacy of just adding more drawings is a lie that gives us comfort that we have done enough and that we have proven our value. More sheets. Larger CD sets. On and on. I think is a way that we choose to compensate for being undervalued in general. It’s like we are the kindergartener that is showing everyone all the drawings they can make with a blue crayon. I can throw out this judgement because I too have fallen victim to this seemingly harmless lie. At Least We Got this One Detail in the Project jump to 27:53 This one is a tough one. Clients, budgets, economies, all can wreak havoc on our grand ideas and concepts for projects. We like to console ourselves with the notion that “at least we kept this or that”. I cannot say that I haven’t been here too. Of course I have with a career in public projects. But I think that almost every architect has fallen victim to have a project not go how we had hoped and in the end we lay claim to that one minor victory. But hey!, it is a victory and sometimes that means more than it seems. Many projects can be a struggle to get from conception to construction to occupation and we should not feel bad for laying claim to the bright spots we can gather. But sometimes, it is still just a little treat to east the more looming pain. That's Totally Clear - it's Obvious jump to 32:30 An architect’s thought process is not one that is typically understood by those on the outside of the profession. This little lie is one that we say quite often. We know it makes perfect sense and how could anyone not get it or understand. Unfortunately, not ever one can read the drawings, images, plans, sketches or even words as we truly mean them. Many times we find ourselves re-telling the story or having to explain our quite obvious intentions. I don’t think this is a good or bad occurrence, I think it’s just a reality of the profession. We all have the ability to see our ideas so clearly in our own minds, we often are mystified that others cannot see them the same way we do. This will Survive VE jump to 34:48 This one goes well with the previous entry. It’s one we tell ourselves during some of the worst times of the project process. Value Engineering is never really our friend. Some architects will say that it can be good for a project, but I think they are definitely kidding themselves. The lie of thinking that our big idea our grand gesture will survive the VE process is certainly a lie. Here is the trick. IF we are good enough to maintain the project budget and integrate the big idea, then the VE part is never even on the table and out project gets to stay intact! Of course, there are economic times that make this task extremely difficult, but with more skill we can make it almost impossible to separate the concept form the project with any amount of Value engineering. Then again, sometimes the budget monster just eats it all. Nobody will Ever See It jump to 39:16   These are both of the same genres. The notion that we can put a little less effort in on something that may not be as visible is quite common. Not just for architects, but in the AEC as an industry I would say. But I find that I can think this way during design, maybe in construction, but NEVER after it’s completed. On the contrary, I swear it’s the first thing and maybe even the ONLY thing I see when I am at that project. Or it will be the one element that is now 100% visible from multiple locations that you never even though about. So now EVEYRONE can see this poorly contrived element. UGH! This one can come back and bite you so hard. I will say this one has my favorite colloquialism to accompany the sentiment… “I will never see it from my desk.” While not a good attitude, it always makes me chuckle. BIM Will Cut Our Hours in Half jump to 44:06 The sales pitch for BIM glitters: clash detection, automated schedules, intelligent objects—project delivery sliced like a sushi roll. The unadvertised footnote? Those efficiencies arrive only after robust standards, component libraries, hardware horsepower, and staff training soak up early budgets. Over time, yes, ROI materializes—especially in complex work—but the first few cycles often add hours as teams wrestle templates and workflows. This lie deserves scrutiny because it breeds mismatched expectations: principals shave fee, staff sprint, and quality stumbles. Better framing: BIM reallocates hours, shifting coordination upstream, reducing construction chaos downstream. Communicate that redistribution, and clients will grasp why design may take longer while CA shortens. Invest in BIM like infrastructure—consistent naming conventions, version control, and periodic “model audits” keep the promise honest. When you walk a jobsite peppered with iPads instead of RFIs, you’ll see the payoff. But call BIM a magic time reducer and you’ll watch morale dip as fast as the RAM usage climbs. We Can Drop our Fee and Make It Back Later jump to 47:31 Discounting design service is the professional version of payday loans: cash today, compounded pain tomorrow. The myth survives because hope springs eternal—scope creep, change orders, or a future project will reimburse the sacrifice. In practice, clients anchor to the lowest price they’ve ever paid, and extras require the same negotiation energy as the original contract—only now from a weaker position. This lie warrants attention because it corrodes firm culture: staff race to hit unrealistic hours, quality slides, burnout spikes, and the spiral begins. The strategic alternative is value engineering the fee itself. Reduce deliverables commensurate with cost savings or stage the project in phases with clear gates. That reframes discounting as scope management, not desperation. If cash flow is the driver, explore milestone billing or retainer structures that protect margin. Some relationships may genuinely merit a break—non-profits, strategic clients—but document that generosity and set an expiration date. Over the arc of a career, pricing integrity builds trust and allows reinvestment in technology, research, and talent. Lowering fees as a default gambit is a race to the bottom no one wins, especially not the profession. Plan Reviewers Won't Catch That jump to 50:45 Picture the harried plans examiner sipping cold coffee behind a fortress of permit sets—surely they’ll overlook your forgotten guardrail note or the ADA stall that’s one inch shy. Yet experience proves they wield an almost supernatural radar

Nobody wants to be the person who asks a question that causes everyone else within ear shot to turn and look at them. We spend the early part of our careers trying to prove we deserve a seat at the table, hoping we sound competent, sharp, with just the right amount of confidence. But architecture isn’t a field you get good at by pretending. It’s a craft you grow into by doing, which ultimately leads to asking questions early, often, and sometimes awkwardly. We are going to embrace that process. We’re digging into how architects keep learning after school, what a real internship should feel like, and how long it really takes to get good at what we do. Welcome to EP 175: Stupid Questions. [Note: If you are reading this via email, click here to access the on-site audio player]  Today, Andrew and I are going to be talking about why becoming an architect takes a long time, that this process involves doing a lot of different things, and how "stupid" questions play an important role in the education process of everyone in this profession. Just to get this out of the way, I am admitting here and now that I ask stupid questions all the time – maybe not as often as I used to, but they’re still there. The Myth of Knowing Everything jump to 3:51 Architecture school is a beginning, not an ending — a place where students are exposed to broad ideas, creative problem-solving, and the early language of the built environment. But the idea that graduation signals readiness for professional practice is a myth. Schools tend to focus heavily on conceptual design, theoretical frameworks, and academic critiques, with far less emphasis on the realities of technical documentation, consultant coordination, regulatory compliance, or contract administration. According to the National Architectural Accrediting Board (NAAB), while accredited programs must address professional competencies, mastery of technical skills is not expected upon graduation. The gap between academia and practice isn’t a flaw — it’s an acknowledgment that architecture is too vast to teach all at once. True expertise comes from layering education with experience, not from assuming a degree makes you "complete." Understanding this myth matters because it reframes early career experiences from imposter syndrome into opportunity. If graduates expect to know everything, they’ll view asking questions as a failure; if they expect to still be learning, questions become the most important tool they have. According to a survey by the American Institute of Architects (AIA) Emerging Professionals Committee, 78% of young architects reported feeling “unprepared” for the technical and managerial aspects of practice upon graduation. Yet, firms consistently report that curiosity, not technical perfection, predicts long-term success. Accepting that you won’t know it all — and that you're not supposed to — builds the humility and resilience needed to become a great architect. The myth is persistent, but the truth is far more empowering. It turns out that the real measure of growth isn’t how many answers you can recite, but the kinds of questions you’re willing to ask. "Judge a man by his questions rather than by his answers." — Voltaire This quote emphasizes the point that questions are more important than knowing all the answers — a perfect fit for reframing graduation not as mastery, but as the start of real learning. It aligns with breaking the myth that you're supposed to "know it all" after school. Learning on the Job: Interns jump to 13:46 Internships are often misunderstood by both students and firms. They aren’t simply about cheap labor or task delegation; they are an essential stage in transforming theoretical knowledge into applied skill. A well-structured internship fosters structured exposure to different phases of work: schematic design, construction documentation, consultant coordination, site visits, and client meetings. In 2021, the NCARB "By the Numbers" report highlighted that interns typically need exposure across 96 key tasks to qualify for licensure — spanning everything from code research to managing project budgets. Internships that invite "stupid questions" and allow young architects to see how drawings become buildings accelerate their growth exponentially. Learning happens fastest when interns feel safe asking what they don't understand without fear of looking foolish. This matters because architecture is a practical discipline built on experience, not just intellect. Good interns aren’t those who magically know everything; they’re the ones who know how to close the gaps between what they know and what they need to know. Mentorship and guided experience are what make the difference. A study published in The Journal of Architectural Education found that interns who were encouraged to ask questions and engage directly with project architects reported a 34% faster gain in job competencies compared to peers in more hierarchical, closed environments. Firms that treat interns as active learners — not passive drafters — not only invest in future talent but also improve project outcomes today by encouraging curiosity-driven quality control. When you’re early in your career, asking what feels like a 'stupid' question might sting for a moment, but staying silent guarantees you miss the chance to learn. "He who asks a question is a fool for a moment; he who does not ask remains a fool forever." — Confucius This quote speaks directly to the momentary discomfort of asking "stupid questions" during internships — but makes it clear that not asking is a far worse long-term mistake. It naturally fits into the section about embracing questions as part of on-the-job growth. https://www.lifeofanarchitect.com/are-college-grads-ready-for-the-working-world/ The Long Game jump to 25:24 There’s a brutal but liberating truth about architecture: it takes 5–10 years of full-time practice to get good. Not “good at SketchUp,” not “good at detailing” — but good in the holistic sense of being able to juggle design, documentation, consultant management, permitting, and construction issues simultaneously. Malcolm Gladwell’s famous "10,000-Hour Rule," introduced in Outliers, popularized the idea that mastery of complex skills typically demands a decade of focused practice. In architecture, these 10,000 hours come not from repetition alone but from layering projects, teams, and lessons learned across many different building types and scales. There’s no shortcut: skill is compounded experience. Recognizing this time horizon matters because it changes expectations and encourages persistence. The early years of an architecture career can feel overwhelming, marked by unfamiliar situations and daily mistakes. But viewed through the lens of a long journey rather than immediate proficiency, those mistakes become the raw material of growth. According to an NCARB 2023 study, architects who reported higher job satisfaction also reported having longer mentorship relationships and more diverse project exposure early in their careers — reinforcing the idea that sticking with it matters. Understanding the long game helps frame "stupid questions" not as signs of incompetence, but as natural milestones on the road to real expertise. Getting good at architecture isn’t about memorizing facts — it’s about building a mindset where asking better questions becomes a lifelong habit. "The art and science of asking questions is the source of all knowledge." — Thomas Berger Since this section emphasizes that it takes years (and ongoing questioning) to truly get good, Berger’s quote about questioning being the source of all knowledge reinforces the long view — that mastering architecture is built on continuous inquiry over time. https://www.lifeofanarchitect.com/architecture-and-the-art-of-getting-it-wrong/ Collaborative Work jump to 34:48 Architecture is collaborative by nature, involving a matrix of disciplines that no single individual can fully master. Structural engineers, civil engineers, MEP consultants, contractors, landscape architects, interior designers — each brings critical expertise to the project, and successful architects must integrate and coordinate it all. A McKinsey Global Institute report on construction industry productivity found that collaborative, multi-disciplinary teams outperform siloed teams by 25–30% in project quality and delivery time. Architects who accept that they cannot and should not know everything open the door to better projects through better questions. Collaboration isn’t a sign of weakness — it’s a strategy for excellence. This matters profoundly because architecture isn’t a test of individual genius; it’s a team sport that demands humility, clarity, and communication. Pretending to know answers you don't have — or being too proud to ask — often leads to critical errors. Conversely, asking “stupid questions” during coordination meetings can save millions in change orders and delays. According to a 2022 Dodge Data & Analytics SmartMarket Report, early collaboration among disciplines is directly linked to a  17% reduction in major field rework. Questions aren’t interruptions to the process; they are the process. The sooner architects normalize asking and listening across specialties, the stronger and more successful their projects will be. When working with others, the real mistake isn’t asking a naïve question — it’s pretending to know something and missing the chance to get it right. "The only real mistake is the one from which we learn nothing." — Henry Ford This quote fits perfectly because collaboration in architecture is all about continuous learning — not pretending you know everything. When architects or teams hide gaps, mistakes compound; when they ask questions, they improve. Ford’s insight highlights that mistakes aren't the problem — refusing to learn from them (by staying silent or avoiding questions) is the real failure

There are bits of advice that one collects over a 30 year career and when given the chance, some are worth passing on to those who care to listen. While this could have been a lessons from my father sort of episode, we decided to keep things focused on those of us who either are, or want to be, architects, and we are going to pass along a handful of things that we wish we had known at the start of our careers. Welcome to Episode 174: Dear Future Architects. [Note: If you are reading this via email, click here to access the on-site audio player]  Partial Results from an Instagram Poll asking the question what "Future Architects" should know ... click to enlarge Today we are going to be talking about those interesting considerations and bits of advice that have been shared with us during our career. While they might not be applicable to everyone, I feel pretty confident that all the items we will be discussing today are of value. This will be the first “Dear Future Architects post as there are too many items to work through in a single episode. These are in the order than they came to mind and I didn’t want to presume a specific priority to them and set them in order of value. I also want to throw in there that a few of these are pretty hot and I fully expect people to think I am full of s%!t … but I am here to bring the pain. 01 Dear Future Architects ... jump to 04:55 Choose your firm based on the skills you want to build. Residential firms often hone your soft skills—communication, empathy, and negotiation—while commercial firms emphasize technical depth, systems coordination, and documentation. Source: https://www.lifeofanarchitect.com/big-or-small-whats-the-right-sized-firm-for-you/ In reflecting on my career, I’ve come to realize that the size of the firm you work for can shape the skills you develop, especially early in your career. If you’re just starting out, a small firm offers the opportunity to develop soft skills like communication, empathy, and negotiation because you're often thrown into situations where you're the point of contact with clients, contractors, and team members. You're more involved with every aspect of a project, and that experience helps you build your confidence. On the other hand, in larger firms, you get more exposure to complex projects that require technical proficiency, systems management, and understanding of legalities. While big firms can make you a better architect in that sense, they may not provide as many opportunities to hone those soft skills until you reach a higher level in the company. Personally, I’ve found that small firms, while sometimes lacking in technical depth, gave me the chance to sharpen my communication skills and gain a more intimate understanding of how a project works from start to finish. This has served me well as I’ve moved up in my career. But the reality is, each environment teaches you something different, and depending on what you want to learn, one might be a better fit for you than the other. 02 Dear Future Architects ... jump to 11:58 Start small if you plan to go solo. Working in a small firm exposes you to every aspect of running a practice—from contracts and client meetings to redlines and billing—which is invaluable if owning your own firm is in your future. Source:  https://www.lifeofanarchitect.com/architectural-job-starter-kit/ Looking at the question of whether to start in a small firm if you plan to eventually go solo, I believe it’s the best way to prepare. In a small firm, you’re exposed to everything: you write proposals, manage clients, and get a feel for what it really takes to run an office. When I switched from a small firm to a larger one, I found that my skills didn’t always align with what was expected. In a larger firm, tasks like proposal writing are handled by specialists, not generalists like I had been in a small firm. That experience made me realize that if you want to open your own office one day, you’ll be far ahead if you start in a small firm where you’re more likely to gain that well-rounded exposure. However, there’s also value in gaining experience at the size of firm you want to eventually own. If your goal is to have a larger firm, you should work at one first to understand the management dynamics involved. It’s critical to know how to manage a team and the business side of things before you step out on your own. Ultimately, a small firm gives you the foundational skills to run your own business, but exposure to larger firms can offer valuable insights into scaling up and managing larger teams and projects. 03 Dear Future Architects ... jump to 14:44 Learn to speak the language of money. Understanding financial modeling, forecasting, and project profitability is just as critical as knowing how to draft or design. Go beyond basic accounting—your career and your future firm will benefit. Source:  https://www.lifeofanarchitect.com/then-and-now-architectural-design-or-accounting/ One key piece of advice I’ve learned over the years is to learn to speak the language of money. Understanding financial modeling, forecasting, and project profitability is crucial, especially if you want to run your own firm. But even if you’re not planning on that, it’s just as important as learning to design. Most architects don’t learn these things, and they should. Accounting basics are fine, but understanding how to manage money long-term is key. Over the past year, I’ve spent a lot of time diving into finances at my firm in ways I never did before. It’s been a painful but essential learning process, helping me think beyond just surviving the next few months to making long-term financial decisions. The financial lessons I’ve learned are not just for business—they apply to personal finances as well. Recently, I set up an IRA and other accounts for my daughter, which made me reflect on how I wish someone had taught me this when I was 20. Financial literacy is something I believe more people should focus on at a young age—it makes a huge difference in your 50s and 60s. Back to the profession, financial knowledge is essential for understanding how projects and firms operate. From billing to managing people, the sooner you understand the financial side of the profession, the better. While students might initially resist this, learning these concepts is crucial. As I always say, knowledge is power—understanding where your money goes and how to plan for the future is what will give you the upper hand in your career and life. 04 Dear Future Architects ... jump to 27:44 Design for others, not yourself. Being a good designer means listening first. Your job is to translate someone else’s hopes and needs into a space that works, not impose your own tastes at their expense. Source:  https://www.lifeofanarchitect.com/designing-for-others/ One of the most important lessons I’ve learned as a architect and designer is to design for others, not yourself. I’ve had conversations with younger designers who aren’t listening well or pushing their own design ideas onto the project. The reality of being a good designer is understanding that your job is to translate someone else’s needs and goals into a design. It’s about listening first, understanding the client’s perspective, and delivering what they need—even if it’s not what you would personally choose. In the real world, you’re not designing for yourself. You’re designing for the client, and sometimes that means protecting the client from their own ideas, especially when they want something that might not be the best choice. This idea is tough for students to grasp because they are used to designing for themselves in school. But once they get into the real world, they often find themselves working with clients who don’t understand design the way they do. That’s when they realize that being a good designer isn’t about creating your perfect design—it’s about creating something that works for the client, even if it’s not your taste. I’ve learned that the goal of any project isn’t just to meet design expectations; it’s to make sure the project gets built within the constraints of budget, space, and practicality. In this profession, we have to find a balance between creativity and the hard realities of the project. We must deliver designs that work for the client, not just for ourselves. That’s what makes us professionals. Hobbyists design how they would like things to be, pro’s can design anything. 05 Dear Future Architects ... jump to 34:42 Understand that architecture requires commitment and desire. Becoming an architect isn't about thinking it sounds cool or liking to draw; it's a calling that demands dedication. Source: https://www.lifeofanarchitect.com/do-you-want-to-be-an-architect/ One of the key aspects of being successful in architecture is understanding that it requires commitment and desire. Architecture isn’t just about sketching cool designs or playing the role of a "tortured artist." It’s a job that requires time, effort, and a deep understanding of yourself so you can design in a productive and fulfilling way without feeling like a sellout. Balancing the artist's role with the demands of working for someone else is part of the job, but the truth is, if you have the dedication and put in the time, it’s a career that rewards that effort. The workaholic mentality is something that I recognize in myself, and while I don’t like downtime, I also know that the work I’ve done—volunteering, blogging, and more—has profoundly changed my career trajectory. Commitment and effort are critical, not just for personal satisfaction but because architecture is an industry full of people with that level of dedication. If you don’t have that same level of commitment, you’re up against people who do. While it’s not always healthy, that’s the reality of this profession. The people who succeed in architecture are those who are willing to put in the time and dedication

Mentorship turns confusion into clarity, builds confidence, and connects you with people who help you grow faster than you ever could alone.

Most people have no idea what I do for a living, and to be honest, most of how I spend my time doesn’t look like the things I did when I was in college. Have things gone terribly wrong for me? What about Andrew? I’m pretty confident that his role as an architect is different than how he imagined it to be … and I think that this is all okay. It should be an interesting conversation, and possibly a mandatory exercise, to find out how architects actually spend their time. Chances are better than likely that the day to day experience for every single architect is unique with only a small bit of overlap … and that is what we are here to talk about. Welcome to EP 172: A Week in the Life of an Architect [Note: If you are reading this via email, click here to access the on-site audio player]  Today we are going to be talking about how we spend our time. I have answered this question as “A Day in the Life of an Architect” exactly 4 time previously on this website. https://www.lifeofanarchitect.com/an-actual-day-in-the-life/ The  very first "day in the life" sort of post that I ever wrote back on March 10, 2010. At this point, the website was barely 2 months old and I was with a firm that specialized in residential work. Since this was the first time I decided to talk about "a day in the life" I literally went minute by minute through my entire day, starting at 5:50am. https://www.lifeofanarchitect.com/a-day-in-the-life-of-an-architect/ Fast forward over 4 years to December 1, 2014 ... by this point I had changed jobs and was now working at a company where I had my name on the door, which suggests that I had some control over how I worked and spent my time. In this post, rather than going minute through minute along the tasks of my day, I broke into big chunks based on tasks ... one of which was making a margarita. https://www.lifeofanarchitect.com/ep-064-a-day-in-the-life-of-an-architect/ Time for some more changes - on to job number 3 since I started the website. This particular day was the first to be immortalized into a podcast episode  that went live on December 6, 2020. Andrew was struggling with Covid at the time of this recording so I had frequent guest and neighbor/architect Lane Acree on to discuss our particular days as it related to how we go about our business in the capacity of Principals at our firm. In an attempt to keep things somewhat fresh, beyond having another person's perspective being added to the mix, we simply broke down our days into early morning, morning, lunch afternoon, and evening. In each of these episodes, I typically choose a pretty interesting day  – mostly because I wanted to look cool and that my job was exciting. I also think it is interesting to go back through these “day in the life” snapshots to see how my typical day changed as I changed firms and as I changed responsibilities. So rather than simply looking at a singular day that  was selected because it was a “cool” day, we are going to change it up and actually look at a week of time so that we can avoid the possibility of selecting a singularly fabulous day. Monday jump to 7:58 a look at my work calendar for the week we are discussing today Bob I can’t stand Monday … it is easily the worst day of the week. All the meetings associated with preparing everyone for the work to be done that week, as well as all the in-house obligations – meaning, I don’t actually get a lot of work done on Mondays but yet my day is always full and I start the week off behind every single time. While the "Staffing Meeting" isn't the first thing I do on a Monday morning, it is typically the first meeting I have. Since I have Project Manager responsibilities in the office, that means I have some dominion over who is working where and on what. This meeting is generally about making sure that people are all keep busy, but not overly so. Almost immediately upon the completion of this first meeting, I have a Marketing and Digital strategy meeting. There are about 4 of us that routinely attend this meeting and since I have some digital strategy experience, I was originally brought in to leverage my knowledge and past experiences. Now that I am a principal phasing into a larger role, more and more marketing responsibilities are falling on me. Next up is a Principal's meeting (at least this week, once a month this would be a financial meeting). This is a Monday lunch meeting (brown bag) and the topics can vary wildly. Most of the time we discuss strategies that could have an impact on all 4 of our offices (which mean's firm policies and the like) but sometimes they can get a little Dallas office centric since Dallas is the largest office and most of the people (as well as Principals) are in this office. In the early afternoon, I was excited to work on a residential project we have in the office. It is something that I thoroughly enjoy - mostly because I am good at it - but the real treat is that it feels like I am actually doing something pure. There aren't a lot of moving parts on these residential projects and I have come to appreciate the complexities in their directness. After getting to work on this for a bit, I had to put either my Project Manager or my Principal hat on, I'm not entirely sure which, and check in with some co-workers that are developing a test fit for a student housing  project we are proving up in Austin, Texas ... but this is top secret stuff so I can't get into any specifics. My evening was pretty nice as I a had a Business Development dinner from 7:30 till 9:30pm. These are hit and miss on how enjoyable they are, but this one was a good time and while I was hoping to eat a better meal than I would have made for myself ... I didn't. As a side bar comment, I don't think sous vide steaks are all that great - it is a volume production process and produces a predictable yet unremarkable product, but this is a conversation we can have offline if you are interested. Employee Check ins = 1 7:15am till 10:00pm door to door This is a look at Andrew's week as discussed. Andrew This week happened to be the week of terminal reviews for the Master of Architecture program here at my program. As I am a studio instructor for the final year of the M.Arch program, I had to be involved in this process all week. What this entails is the student’s final project presentation after about eight months of work. The students begin their Final Study Project in August and this week is the final full presentation of that effort to their M. Arch committee. Each committee consists of three members who must “sign-off” on the work of the student. As the studio professor for this process, during this week I act as a type of “proctor” to keep the reviews running, making sure the committees know their roles, and recording the process as the studio professor. I participate in the review a small amount, but it is mostly the Committee that provides commentary and I am recording some of that while keep this all on schedule. Today, I have about 5/6 of these one hour session. For lunch I sat in a presentation by an interviewing faculty candidate as part of the hiring process. Then in the afternoon I go back to the reviews. There was also an AIAS meeting that evening. As I am the Faculty advisor, I had to stop by for a moment to make sure all was well. Today I did not stay for the entirety of the organizations meeting as it was already a long day. Home by about 7:30pm. I have some dinner and then do some work to prepare for tomorrow’s teaching. Maybe only an hour or two of work this evening. Tuesday jump to 15:19 redlines and plan concepts sketched out for the "Z House" Bob First day of real work – at least the kind that is typically billable. This week I spent time working on a residential project for one of commercial clients. I’m not sure just what our obligations are but he brought a pre-existing plan in and I told him that I would make some adjustments to where he started and we could have some follow up conversations. This basically means that I am going to redo a ton of stuff. The image that I am showing above is the "redlines" that I put together for this residential project. Half of these marks represent teachable moments, and the other half are reflecting that actual direction or solution that I want to take on this project. In addition to being a project designer, I am also a Project Manager on a few jobs, and it turns out that I might be pretty good in that role. I think all the years I spent doing nothing but high-end residential projects prepared me well to have conversations with people in a constructive manner. I am also pretty good with money and so without even knowing it, I stepped into a PM role and as a result, I spent time on this day working on PM stuff. We had a 5-storey tilt-wall office building project get to the 90% complete state a few years ago and our client – who I personally like – ran into some financial difficulties and the project essentially died. As a result of the reasons why it died, he didn’t pay his last invoice and since I am a good PM, I filed a lien on his property so that I could force a conversation about negotiating some sort of payment plan. Well, that got resolved about 11.5 months ago. Presumably because it was handled gracefully and with some tact, the owner called me back up 11.5 months later (which was about 2 weeks ago) and said his financing is now in place and he would like to resurrect the project. Since there were some "you didn't pay your full invoice last time" conversations, we have some issues to work through, and this means I spent about an hour of my day talking with the consultants on this job, explaining the situation, and asking them to dust off their pencils and give me some new fees to pick the project back up again. This is also the day that Andrew and I try and record the podcast episodes. Prepping for these episodes is normally spread out across a few days leading

Being an Architect is difficult and there is plenty of evidence that this is not a vocation that is suitable for everyone. The coursework you will take in college is all over the place – from the drawing and design classes to physics and upper level math requirements, you seem to have to be both an artist and a scientist to go down this path. This begs the question, Just how smart do you need to be in order to become an architect? Welcome to Episode 171: The IQ of an Architect [Note: If you are reading this via email, click here to access the on-site audio player]  Today Andrew and I are going to be talking about intelligence quotient and architects. This was a topic that I tackled with the 3rd blog post I ever wrote (titled IQ's and Jobs), and for years, it was a foundational blog post in the development of my website because so many people read that article. I just checked and it currently has 92 comments, and almost amusingly, there are some angry people out there and they are vocalizing their discontent. When I was younger, probably between the ages of 8 and 12, I bet I took 20 of them. My mother was a school teacher and all of her schoolteacher friends Would use me and my sisters as practice subjects as they were pursuing diagnostician licenses. I am going to confess right now that this is a nerdy episode because there is a lot of data that needs to be presented and digested in order for us to have a fruitful conversation. The History jump to 8:21 The origins of the IQ test can be traced back to early-20th-century France. In 1904, the French Ministry of Education commissioned psychologist Alfred Binet and his colleague Théodore Simon to develop a method to identify children who required special educational assistance. The result was the first practical intelligence test, known as the Binet-Simon Scale (published in 1905). The French government needed a systematic way to distinguish students whose learning challenges were not being met in the regular classroom. The aim was to provide extra support, not to label them pejoratively or permanently, but to help tailor education to their needs. Binet and Simon introduced the concept of a “mental age.” The test included a series of tasks grouped by age level (e.g., tasks that an average 7-year-old could handle, an average 8-year-old could handle, etc.). A child’s performance on age-relevant tasks indicated their “mental age”—a reflection of cognitive performance relative to age-based norms. Memory: Recalling digits or sentences Problem-Solving: Completing puzzles or analogies Verbal Skills: Defining words, understanding analogies Attention & Comprehension: Following instructions, basic reasoning The tasks grew progressively more complex. If a child could perform the tasks that most 8-year-olds could but not those of a typical 9-year-old, the test would assign that child a “mental age” of 8. Although Binet did not explicitly define IQ as a single number, the later concept of IQ was directly inspired by the idea of mental age. Psychologist William Stern (1912) introduced the term Intelligenzquotient (Intelligence Quotient) as a ratio. Not long after Binet and Simon released their scale, Lewis Terman at Stanford University adapted and expanded their test. The resulting Stanford-Binet Intelligence Scales (first published in 1916) formalized the IQ concept for the English-speaking world and continued to refine “mental age” benchmarks. Terman’s goal was to make Binet’s test more suitable for the American population by adjusting questions, norms, and scoring based on data from U.S. schoolchildren. He also introduced the now-familiar numeric scale with an average (mean) of 100 and a set standard deviation—initially, each standard deviation was 15–16 IQ points. Terman’s (Circa 1916) Stanford-Binet Categories Although the exact cutoff points and names varied slightly in different editions, a typical early Terman classification looked like this: Modern Stanford-Binet (Fifth Edition) uses categories more aligned with contemporary language, for example: The Stanford-Binet Intelligence Scales IQ test can be administered from an age of 30 months through adulthood. This test is popular because some clinicians appreciate that you can use this test for a wide spectrum of ages without switching instruments. There is another way to measure intelligence quotient and that is the Wechsler Intelligence scale which was originally developed in 1939 and there are three versions of this test – each based on a particular age range. WPPSI (Wechsler Preschool and Primary Scale of Intelligence), for ages 2½–7 WISC (Wechsler Intelligence Scale for Children), for ages 6–16 WAIS (Wechsler Adult Intelligence Scale), for ages 16+ This test was broken up into 4 Index Scores: Verbal Comprehension Perceptual Reasoning (sometimes called Visual Spatial/Fluid Reasoning in child versions) Working Memory Processing Speed The Wechsler and Stanford-Binet tests both measure intelligence but differ in structure, age coverage, factor organization, and certain administrative details. The Wechsler scales dominate in many clinical settings (with separate versions for preschoolers, children, and adults), while the Stanford-Binet offers a single test covering a wide age range and emphasizes five core factors assessed both verbally and nonverbally. Both are well-respected, thoroughly researched, and yield broadly comparable IQ scores. Measuring Potential jump to 23:42 So what happens when we look to translate an IQ score into potential? First let’s talk about what an IQ measures: Cognitive Abilities (g-factor) IQ tests typically measure a broad cognitive ability which can be understood as general intelligence or the shared component underlying various mental tasks (e.g., problem-solving, reasoning, memory, verbal comprehension). A higher IQ score often reflects stronger performance across these tasks—especially under standardized, controlled conditions. Academic Aptitude IQ scores correlate with academic performance and can be helpful in predicting how easily a person might grasp school subjects, especially in the short term. However, motivation, quality of instruction, interest in the subject, and many socioemotional factors also play large roles. Problem-Solving & Reasoning People with higher IQ scores often demonstrate stronger abstract reasoning, which can be seen as “raw material” for more advanced or creative problem-solving. This can translate into success in fields that heavily rely on logical thinking, strategy, or conceptual knowledge. What is Missed? jump to 26:20 Personality Traits & Non-Cognitive Skills Traits such as perseverance (grit), emotional regulation, resilience, and social skills are crucial for long-term success but are not directly measured by traditional IQ tests. Someone with a moderate IQ but high motivation and self-discipline might outperform someone with a higher IQ but poor work habits. Environmental Influences Access to education, socioeconomic status, quality of schooling, health/nutrition, and support systems all profoundly impact academic and career outcomes. IQ tests do not account directly for these environmental factors, even though they can shape how a person’s intelligence is expressed and developed. Specific Talents or Creativity IQ tests generally do not measure creativity, artistic skill, leadership capacity, or other domain-specific talents. Creativity, for example, involves divergent thinking and other complex processes that are not always captured by standard IQ test subscales. Changes Over Time While IQ is relatively stable past early adolescence, life experiences—like education, training, or sustained intellectual engagement—can still influence cognitive performance to some extent. Neuroplasticity research suggests that certain forms of ongoing learning or structured interventions (e.g., early childhood education, cognitive training) can produce small to moderate changes in measured cognitive ability or related skills. So how does your IQ score relate to potential? Predictive Validity High IQ is statistically associated with greater ease in learning complex material, higher scores on standardized tests, and (on average) better performance in certain careers requiring advanced analytical or problem-solving skills. However, these are broad, population-level correlations. At the individual level, correlations are not guarantees. Baseline Cognitive Capacity A higher IQ can be interpreted as a strong cognitive baseline—a sort of “toolkit” that can make it easier for the individual to process new information, think abstractly, and adapt to challenging tasks, but realizing potential also requires motivation, resources, opportunities, and support. Okay … for this next part, I am going to try and avoid being offensive or condescending which is a tall order for this next bit. Based on the comments in that original post, this part is the prickly bit and also explains why I went to all the trouble of identifying what IQ tests don’t fully capture. Mapping out how linking specific vocations to IQ might be seen outdated since the measure of a person’s IQ isn’t the sole factor in determining potential vocational paths. IQ is only one factor among many – such as motivation, personality, environment, physical abilities, opportunity, socio-economic resources, etc. that influence career success. Individuals with the same IQ can thrive in vastly different careers, and people from every IQ range may succeed in a wide variety of fields. This breakdown is not prescriptive or definitive; it’s simply a general illustration based on common educational or cognitive demands of certain jobs. Jobs and IQs jump to 33:11 IQ 130 and Above (“Very Superior” or “Gifted”) Individuals with IQs in this range often demonstrate advan

There is a moment of realization that occurs when you get your first real job in an architectural office that maybe architecture school and what is now going to be expected from you are a little out of phase with one another. Are you prepared, do the differences matter, and what happens when you come to the conclusion that your job and almost everything you have experienced so far based on your time in college, seem so different. Have you made a terrible mistake, or are things about to get amazing? Welcome to Episode 170: Studio versus Real Life [Note: If you are reading this via email, click here to access the on-site audio player]  today we are going to be talking about the differences between the studio experience of architecture students versus the realities of an actual job. There are a handful of emails that I routinely receive and in almost all cases, I would write a blog post with my normal response so that rather than rewriting my answer to the same question over and over again, I could simply point them towards the blog post on the matter. 01 The Pace is Different jump to 3:49 I’ve noticed that once you transition from school to professional practice, the pace of architectural work changes drastically. In school, you might have an entire semester to refine every last detail, but in a firm, every hour is assigned a dollar value (that might be an overly dramatic way of saying it but not entirely inaccurate). As your experience (and billing rate) grows, so do expectations for quicker, more efficient problem-solving. It can be just as cost-effective to pay a higher-rate veteran for one hour as it is to hire a newcomer for five. That dynamic pushes me to rely on my familiarity with codes, circulation, and design principles without having to look everything up or explore countless dead-ends. At professional architectural offices, this emphasis on speed is front and center. We frequently prepare proof-of-concept studies before contracts are even signed, compressing weeks of design into just a day or two. Recently, another colleague and I modeled a 160+ key hotel with retail, a parking garage, and amenities—complete with a commercial kitchen—in roughly a day and a half. Though not entirely final, it was accurate enough to move forward with confidence. This accelerated process can be stressful, but it also highlights how crucial experience is in making fast, informed decisions Speed and stress 02 Project Typology jump to 9:24 I’ve been thinking about project typology—the kinds of buildings we design in school versus the kinds we actually end up designing in the real world. In my own college experience, I worked on three or four museum projects, but I’ve never once designed a museum in my professional career. Instead, everyday architecture often involves strip centers and anchor stores, which are obviously less flashy. Yet someone has to design them, and that’s where many of us find ourselves in practice. It doesn’t mean there’s no pride in such work; in fact, the hotel project I’m involved with now is shaping up beautifully, with plenty of room for creativity and thoughtful design moves. Still, there’s an undeniable difference between the conceptual exercises we tackle in school and the real-world projects we take on later. My theory is that academic assignments are intentionally fantastical because professors want to teach you how to think rather than lean on preconceived notions. In school, you might end up designing a space for traveling poets and butterfly researchers—something so unusual that you can’t rely on a cookie-cutter approach. My colleague suggests that projects like museums and interpretive centers also have simpler programs, which keeps students from being overwhelmed by logistics and allows them to remain creative. Whatever the reasoning, I’ve come to realize that those outlandish academic projects serve a valuable purpose: they stretch your imagination and push you to develop a rigorous thought process, even if you never actually design a museum once you enter the workforce. 03 The Technical Aspects jump to 12:42 Always believed that student projects covered plenty of technical ground, but real-world constraints quickly showed they barely skim the surface. Dealing with mundane realities—like how a janitor moves trash or how cities regulate dumpsters—forces problem-solving before aesthetics can truly shine. At first, everything revolves around intricate technical demands, and only after grasping them can I circle back to making the design look great. Colleagues like Lane Acree, who have mastered these complexities, seamlessly incorporate them into the creative process, proving that once the fundamentals become second nature, the focus returns to the art of design. Never expected to watch someone struggle so much with a simple CMU house until a coworker overlooked basic requirements like pilasters and conduit for electrical. Walking him through those details underscored just how much the technical side drives aesthetic decisions. Mastering these elements early means fewer surprises down the road, avoiding a scenario where each new discovery upends the entire design. Progressing from school’s aesthetic-first mindset to a place where technical expertise is second nature marks the real evolution in professional practice. 04 Drawings are NOT the End all Be all jump to 20:18 Seems like there’s more to architecture than just producing drawings. Putting together specifications, managing budgets, meeting with clients and contractors, and handling contracts can be just as significant as the design itself. Serving as a de facto project manager brings unexpected tasks, such as running OAC meetings every week, taking minutes, and aligning everyone’s efforts before a construction set ever gets issued. Turns out the “end-all be-all” label often assigned to architectural drawings doesn’t hold true in practice. Drawings stand as a crucial piece, yet they only represent one facet of a larger machine. The actual work involves constant coordination, financial oversight, code compliance, and a lot of communication to ensure a project can be built smoothly and legally. These responsibilities highlight the multifaceted nature of modern architectural practice beyond what’s taught in studio. 05 Design is Not the Only Path jump to 0:00 Seems clear that pursuing architecture doesn’t mean everyone becomes a designer. School programs tend to suggest otherwise by focusing almost exclusively on design, causing some students to feel inadequate. Yet countless other roles—project management, business development, specifications, and more—are essential to running a successful practice. Gaining exposure to these possibilities early could save many from quitting simply because they don’t see themselves as star designers. Education could benefit from a broader, Bauhaus-inspired framework that introduces multiple paths before students commit to specializing. Skills like communication, financial oversight, and marketing can be just as vital as producing beautiful drawings. Many paths exist, and tapping into each person’s unique talent makes for a healthier, more resilient profession. 06 There are No Solo Tasks jump to 0:00 Working in architecture means continually collaborating with a wide range of professionals. In school, group work felt rare, but in practice, every project features numerous players—colleagues in your own firm, specialized consultants, and sometimes even separate design teams. An ambitious courtyard concept for a hotel might start with an internal blueprint, yet the final shape reflects input from landscape architects, structural engineers, and other experts who each have a say. Staying flexible is crucial because the best solutions often emerge from diverse perspectives. Sometimes it’s tough to watch another team alter your design, but handing off tasks to the right specialists results in a stronger overall project. Even when disagreements arise, respecting others’ expertise leads to projects that function well and satisfy clients, proving that architecture is far from a solo endeavor. 07 It is Not Your Work jump to 0:00 Fulfilling a client’s vision under real-world limitations defines professional practice. Preferences, budgets, and consultant input often override personal design ideals, reinforcing the reality that architects serve as facilitators. The ability to work in any style, even one that doesn’t resonate personally, distinguishes a professional from a hobbyist who only produces what they personally admire. A recent hotel project highlights this dynamic. Installing a dumbwaiter to move food from a ground-floor kitchen to a rooftop bar sounded ideal, but high costs threatened to eliminate it. The final decision preserved the dumbwaiter by reallocating funds elsewhere, illustrating the balance between design goals and client constraints. In the end, the project belongs to the client, so every choice—from materials to overall style—reflects their tastes and priorities. 08 School Juries vs. Client Meetings jump to 0:00 Encountering a school jury can be a draining experience. Standing alone in front of critics while they dissect every perceived shortcoming leaves many students feeling personally attacked. That environment often contrasts sharply with client meetings, where feedback is more constructive. Clients may disapprove of a direction but generally remain focused on collaboration and solutions rather than harsh criticism. Observing this difference makes it clear that real-world practice has a different energy. Clients are typically excited about seeing their projects come to life, so even criticisms come with a sense of forward momentum. The school environment aims to push students to learn quickly but can feel negative in its intensity. While both experiences offer valuable lessons, client meetings show how genuine collaboration and shared goals crea

The act of creating architecture is a fairly unique process and the manner in which you learn how to think both creatively and technically is a skill that requires certain training and nurturing to develop. When young and eager architects in training head off to college, this development will take place in the architecture studio. This is a topic that – shockingly - we haven’t pointedly discussed on the podcast before and today, that is going to change. Welcome to Episode 169: Architecture Studio [Note: If you are reading this via email, click here to access the on-site audio player]  I’m excited to dive into a conversation that centers on the architecture studio—a pivotal experience in any architecture student’s life. I get a lot of questions about how studio differs from traditional classes like structures or history, and how it transitions into the real world of practice. In the upcoming discussion, Andrew and I will explore how studio life shapes a student’s creative mindset, sets the tone for collaboration (and sometimes competition), and can either inspire a lifelong passion or push someone to walk away entirely. Drawing on my own experiences and numerous inquiries I’ve received over the years, I want to shine a light on the essential lessons and challenges that make studio the heart of an architect’s education—and, ultimately, guide how we thrive once we leave the academic environment. All-Nighters jump to 04:26 When we started discussing the concept of all-nighters in architecture school, I was reminded of just how universal that experience is - or at least was when we were in college. Whether you’re pulling your very first late night as a new architecture student, or reminiscing about it decades later, the all-nighter stands out as singularly stupid rite of passage—one that I believe can (and should) be avoided. Not because I don’t value hard work, but because I don’t think anyone produces their best ideas at 3:00 am, most likely just a continuing marathon session in the studio that started hours previously. Time management, especially for younger students, is often a serious challenge. We’re learning how to generate designs, how to collaborate, and how to gauge how long things will take. That last part trips up almost everyone (but to be fair, this is something that takes YEARS to get a grip on...) Still, part of the appeal—and the chaos—of studio is that it’s a highly social place. I remember plenty of late nights where conversation drifted from design critiques to philosophical debates about architecture and back again. Those interactions were frequently more illuminating than formal lectures, because there’s an energy in a room full of tired, passionate, slightly delirious architecture students. Unfortunately, that reality today is different. Technology has enabled students to work wherever they want, which is more convenient, but it also fragments the collaborative spirit that was once a hallmark of studio culture. While I have never been on the all-nighter bandwagon, I feel like there is something missing when students pack up their tools (or in most cases, fold their computers closed) and retreat to their dorms and apartments to complete their assignments Last Minute Changes jump to 13:05 I strongly believe that last-minute changes often create “negative work”- which is effort that doesn’t actually help you finish your project. It’s tempting to keep designing if that’s your passion, but in school (and in the professional world), you need to set realistic deadlines and work backward to decide how much time to devote to each phase. If you don’t leave enough time for making models or preparing drawings, you’ll end up with amazing ideas that you can’t effectively present. I’ve seen students come to critiques with almost nothing pinned up, talking about what they intended to do, and as someone sitting there looking at your finger pointing at some scribbles telling me what you were going to do, I can assure you that nobody cares and you are wasting everyone's time. In a real work environment, you simply wouldn’t get away with that, so it’s best to practice being prepared now. We spent some time discussing that a bad presentation alone won’t sink your entire grade. Your professors have seen your work and know the effort you’ve put in throughout the semester, and reviewers like me are only seeing a small snapshot. If you forget to mention something or someone on the panel doesn’t like your concept, it doesn’t erase everything you’ve done. What truly matters is that you have tangible deliverables to show, back up your design decisions, and demonstrate that you respect everyone’s time by being ready. That professionalism will serve you well long after you leave school. Jury Reviews jump to 20:17 Many architecture students have the wrong idea about jury reviews. They usually see them as a chance to show off their designs and soak up a few pearls of "wisdom" from guest jurors. In reality, the real benefit is the chance to practice your communication skills under pressure. Standing in front of a group of people—faculty, visitors, guest jurors, and classmates - and presenting yourself as the expert on your own project is an essential experience. You need to know how to speak with confidence, explain your objectives and strategies, and persuade the room that what you’ve created is both purposeful and well thought out. In my own career, I wish I’d learned sooner that the ability to communicate effectively often outweighs raw design talent in professional settings. Another thing I’ve noticed is that many aspiring architects believe that “good design sells itself.” That just isn’t the case. Clients usually aren’t architects and they need concepts broken down in a way that’s easy to understand and relate to. Mastering that skill—framing design decisions around a client’s priorities, illustrating how different solutions address different needs, and avoiding academic jargon - can make the difference between a brilliant idea that never gets built and a successful project. Ultimately, the jury review isn’t just about receiving criticism or praise; it’s about refining your ability to convey why your work matters. That skill will keep you at the table, land you more opportunities, and set you up for lasting success in the field. Portfolio Lifespan jump to 27:14 Architecture portfolios have a finite lifespan—about three years for most people. When you’re still in school preparing to graduate, or within the first couple of years of working, you rely heavily on your portfolio to help you find meaningful employment. It showcases your academic projects and convinces employers you have the basic skills to function in a professional environment. But once you’ve been out of school for around five years, a portfolio full of old class assignments loses its credibility. Employers want to see real-world experience by that point, and they’ll question why you’re still showcasing studio projects. In my own practice, I see it as a red flag when someone with years of experience only has schoolwork to share. Another issue I’ve noticed is that students often misunderstand what people like me look for in a portfolio. Many schools have their students work on identical or team-based projects, so reviewers end up seeing the same design brief interpreted by multiple candidates. If all your work is team-based, I can’t know if you did the renderings, the diagrams, or came up with the concept. What I can evaluate is how you designed the pages of your portfolio—your layout choices, typography, and how you’ve organized the information. That’s why I stress that students think carefully about the entire presentation. In the end, if your early-career portfolio captures your ability to communicate visually and you retire it once you’ve gained real work experience, you’ll be in good shape. The role of an architectural portfolio is critical to help formulate a path for students, and as a result, this is a topic that has been touched on a few times here. A dedicated podcast Episode 60: The Perfect Portfolio which touches on the aspects of a portfolio, and then there was the systematic breakdown of one of my favorite portfolios of all time from former employee and current all-star Danielle Anderson which can be found here: http://lifeofanarchitect.com/architectural-portfolios/ Hard Work is Easy to See jump to 31:48 I believe that you can spot genuine hard work a mile away. In my experience, there’s a world of difference between someone who’s actually putting in the hours—growing, learning, improving—and someone who’s just trying to appear busy. The truth emerges when it’s time to present or pin work on the wall. Suddenly, all those superficial efforts collapse, and you can tell who’s really committed to their craft. It’s not about pulling all-nighters or loudly proclaiming how much you “live and breathe architecture.” If you’re sleeping in class and bragging about how you never stop, it won’t take long for everyone—your professors, your peers, even future employers—to see through it. I often share a personal anecdote about my daughter, who is currently preparing for grad school. She’s extremely intelligent, but what I want her to remember is that hard work will always trump raw talent. My father used to say he’d rather have a diligent worker than a supposed superstar, and it’s something I’ve carried with me my whole life. You can be the smartest person in the room, but if you don’t apply yourself, it won’t matter. That’s why I encourage her with the mantra, “You are better, so be better” - embrace the talents you have and back them up with genuine effort. I’ve seen students who flip the switch from simply doing enough to get by, to pushing themselves to reach their full potential. That’s when real growth happens, and that’s when your work ethic becomes unmistakable. The Big Idea jump to 35:57 ...

Building upon our last episode when we discussed the path we have taken to get where we are, how unpredictable and in some cases, how circuitous that path can take, what we didn’t really talk about was if the journey was what we wanted. It’s all fine and dandy to look back and make lemonade from lemons, but now that we are decades into our careers as architect, there is another question we want to ask … Episode 168: Architectural Career – Is It Worth It? [Note: If you are reading this via email, click here to access the on-site audio player]  I am going to start by defining, at least or me, what “it” might mean to help shape this conversation. It starts right out of the gate with quality of life – which I would presume is the case for most people. I don’t need to be rich and I have been fortunate enough that money for the most part does not influence the decisions I’ve made in my life. The most important thing for me is that I want to be a part of something. I want what I do to matter – which admittedly, “who it matters to” can and has changed. Some things I do matter to me, but as I’ve aged in my career, making things better for other people has worked its way into my motivation. When your activities have an impact on others, there is validation that occurs of your decisions, and your behavior. I do want to address the money consideration for a minute. I said it doesn’t influence me, but that’s really because I make a pretty decent living. I don’t care what other people doing other jobs make – good for them. Money simply represents freedom to make certain decisions and to present options. http://lifeofanarchitect.com/golden-handcuffs-a-lesson-learned/ For those of you who might be new here, or just stumbled on to this article, I shared the post I wrote a long time ago about “Golden Handcuffs” and an experience I had at the beginning of my career (when I wasn’t actually making very much money) where I learned the lesson that money does not bring fulfillment and if you can learn what you need to exist, you can stop the process of chasing a paycheck and focus on being the best version of yourself … which will typically bring with it that larger paycheck. Now that some baselines are in place, let’s get into the first section ... The Realities of the Architectural Dream jump to 10:19 When I look back on my career in architecture, I remember how I started out with some enthusiasm. I was convinced I would spend my days doing creative work, designing amazing spaces, and leaving my mark on the world. Now, over three decades later, I can see how that vision of my career evolved in ways I never predicted. The essence of that passion is still there—I love what I do—but the daily realities are far more nuanced than what I imagined as a student. Architecture turned out to be about more than just design; it involves project management, mentorship, business considerations, and sometimes grappling with budgets and fees that don’t always reflect the effort we put in. Despite these challenges, I still believe it’s worth it. One topic I’ve discussed a lot with Andrew, and with the mentees in my firm, is how the “dream” compares to the “reality.” In architecture school, we’re immersed in design theory and creative exercises; it’s easy to believe that’s your entire future. But then you join a firm, and someone hands you a stack of construction documents or code research spreadsheets. It can feel jarring—I’ve seen many young professionals struggle with the gap between what they thought they’d do and what they actually end up doing. At the same time, that early shock is often what expands your skill set the most. As you handle real-world challenges, your perspective grows, and you start to see the broader impact of architecture beyond just the initial creative spark. Part of the dream is also about the work having meaning beyond yourself. Architects generally don’t go into this field to make big money; if you truly wanted that, there are probably easier ways to get it. Instead, we’re motivated by the chance to affect how people live, work, and interact with buildings. It’s about being able to point to something and say, “I helped make that.” It’s that deeper fulfillment that often keeps us going even when the pay or day-to-day tasks aren’t everything we hoped. We have that drive to keep pushing forward, to refine our craft, and to keep learning. Andrew spends some time talking about how important it is to remain flexible. You might go into school thinking you’ll specialize in healthcare, or hospitality, or some other focus, only to discover the reality of that niche isn’t what you imagined. It’s not a failure to pivot to something else; it’s part of the discovery process. My role now includes mentoring younger architects, helping them navigate these twists and turns. Seeing them work through those early realizations—often the same ones I had long ago—reminds me that architecture is a lifelong journey. It’s a journey that involves both practical adaptation and rekindling the passion that brought us here in the first place. Stories from the Trenches jump to 26:21 I recently ran a poll on my Instagram to get a reality check on whether people think a career in architecture is worth it. It turned out 318 people responded, and about three-quarters said “yes,” while one-quarter said “no.” That ratio initially surprised me—I didn’t expect a quarter of respondents to feel it wasn’t worth their time - I expected that number to be a little higher. Most of the “no” votes came from people in the early stages of their careers, which makes some sense. You might struggle with the transition from school to the working world, or be discouraged by the starting pay and you never get to the point where you find your place. Following up on the first question, I asked folks to explain their “yes” or “no.” I was heartened that a lot of them see architecture as a fulfilling, creative endeavor that engages both the left and right sides of the brain. People mentioned how every day is different, how there’s a unique joy in seeing a design come to life in the built environment, and how there’s always something new to learn. Some also pointed out that it’s not always sunshine and roses: the work can be demanding, the hours can be long, and the pay isn’t necessarily stellar when you’re just starting out. Yet, even those who said they wished they earned more still found the work deeply rewarding. Another factor that came up often was the sense of purpose. Whether it’s designing schools that impact hundreds of students daily or tackling projects aimed at creating a better community space, there’s a clear altruistic aspect that resonates with many architects. That ties into the idea that if you see your work as making a positive difference, you won’t focus as much on the financial side. I totally get that. I’ve been around long enough to see how this kind of passion can sustain those of us who stay in the profession for the long run. I also noticed that architects who stick with it beyond, say, the first ten years tend to do quite well professionally. You reach a point where you’re not just surviving; you’re thriving. And the best part is that the work doesn’t get old. You’re constantly learning about new tools, new methods, new design challenges. You never feel stagnant. That’s probably why architects often stay in the profession for as long as they can—some even joke that architects don’t retire, they simply “stop breathing.” With so much variety and the chance to leave a real mark in the world, it’s hard to walk away once you’re in it. I thought it would be interesting to share some of what the 88 people who took the time to tell me why they responded yes or no – here is a very small sample to get us started (and I threw some disenfranchised people in here to keep the list honest). - No, architects have given away control to the contractors & others in a fee race to the bottom. - It took me forever to answer. It is such a frustratingly rewarding profession. - Shared perspectives of the beauty in life, both built and natural. - People I've worked with, breadth of roles available in the field. - It's challenging but very rewarding to see a concept or design come to life. - Because people in the industry are awesome. - Always at the mercy of someone else's whims. - Science and art, tangible making of things, always learning. Beauty. - The gift of creating. - No. Not worth it financially. - Extremely rewarding work. Very Creative but technical as well. Work on some cool projects. Well paid. - You make it what you want it to be. The sky is the limit. There is a common thread to most of these comments, that despite the roles and responsibilities varying so much, the reasons people join, remain motivated, and continue to work in this profession are very similar. Measuring Worth jump to 35:21 When Andrew and I got to the part where we discussed the idea of measuring worth, I knew it would be a complicated conversation. After all, my definition of “worth” has shifted drastically over the course of my career, so why wouldn’t this be true for everyone? Early on, I was primarily concerned with proving myself, honing my design skills, and making sure I was financially stable enough to support my family’s needs. At one point, I was bringing in enough fees on residential projects to think seriously about going out on my own. The money might have worked out fine, but the idea of giving up the daily camaraderie and collaboration I enjoy so much was a deal-breaker. That connection is critical for me, and I realized I wasn’t willing to sacrifice it—even if I could potentially make more running a small firm by myself. Moreover, my family’s well-being played a huge role in my decisions. My daughter started a college preparatory school in seventh grade, which essentially meant paying for college-level tuition starting when she was onl

It is the start of a New Year, everything still smells fresh and most things looking forward are theoretically in place for an amazing year … at least I think so. Since it is first podcast episode of 2025, today’s conversation is more of an introspective look into a career and just how bad or good things have gone over the last 30+ years. While this is not a look into my own personal diary, it should provide you with a framework when you decide to look at whatever it is you’ve got going on as well. Welcome to Episode 167: How Did We Get Here? [Note: If you are reading this via email, click here to access the on-site audio player] I have a guest on today’s episode as my typical co-host Andrew Hawkins, who was supposed to be in Japan during the time we needed to record, fell sick enough that he had to cancel this trip and is currently recovering at home. To that end, I have another good friend of mine sitting in to play point/counterpoint in today’s conversation. I have asked friend, neighbor, and just like me, a Principal and Senior Project Designer at BOKA Powell, and 3-time participant on the podcast Lane Acree to sit in and hopefully not point out just how dumb I am. Given today’s topic, I thought it would be interesting to see how two people who didn’t even know each other a few years ago both ended up in the same place, despite the reasons behind the journey being completely different. Bob Borson one fateful Christmas morning ... The Beginning jump to 05:06 When I reflect on how I got started in architecture, it all goes back to the moment my dad gave me a drawing table at age five. From that day on, I knew I wanted to be an architect (he might have been angling for engineer but that's on him for not being more specific). I never questioned whether I would go to college—it was a given in my house—but I did face doubts that the profession that I had decided on might not be the right fit for me once I actually started my freshman year. I wasn’t as driven as my classmates, and I began to worry that I wasn’t cut out for architecture after all. Looking back, it wasn’t that I lacked ability; I just wasn’t putting in the same level of commitment. My parents had been strict, so when I got to Austin, I had all this freedom and indulged in everything the city had to offer. Eventually, I hit crisis point at the end of my freshman year and and took a year off from design studio during my sophomore year. I continued my other classes, but I needed that break to figure out what I truly wanted. When my junior year began, something clicked. I realized I wasn’t actually bad at design—I just needed to put in the work. That realization changed everything. It was a lesson in prioritizing my goals, a skill that still matters to me to this day. Meanwhile, Lane took a different path. He discovered architecture at a young age—around sixth grade—when he witnessed the process of designing his family’s home with a draftsman. From that point on, he immersed himself in art classes and drafting throughout high school and then once in college, he ended up landing a job at a small architecture office where he spent every summer and holiday break. That real-world experience gave him a big advantage over classmates who never set foot in a firm until after graduation. I find Lane’s background intriguing because he gravitated towards the use of computers, even when some of his professors believed technology stifled creativity. He taught himself tools like 3D Studio Max and came out of school with cutting-edge skills at a time when most people were still using the drafting board. By contrast, we didn't even have the option to use computer software while I was in college (despite only being only 10 years older than Lane). My focus was never on starting my own firm ... I just had 3 goals for myself once I graduated. I wanted to make a good living (which meant a yearly salary of $100,000), see one of my buildings get published in a history book, and—believe it or not—buy a jet ski. I don't know a jet ski made the list considering that I had never ridden one at that time and here I am 30+ years later and I have still never ridden one! Lane Acree with his wife Mary, and Daughters Ella and Anna Making Decisions jump to 28:54 When I look back on the phase of my life where the considerations of other, as well as non-architecture related life goals start coming up, it’s all about coming to terms with the reality that not everything I planned. In school, I thought I’d jump right into groundbreaking design work and immediately start checking off my life goals. Instead, I found myself in a small firm, meeting with clients on my own and cobbling together entire sets of drawings from old files. I felt simultaneously exhilarated by how fast my responsibilities were growing and completely out of my depth because I didn’t have a clue how to do half of what was suddenly on my plate. During this period, life decisions started colliding with my career path. I got married, dreamed of buying a house, and suddenly realized that a steady, decent salary mattered a lot more to me than I expected. I jumped from job to job, chasing raises and opportunities, only to discover that money alone couldn’t make me feel fulfilled. By the time I was 30, I’d handled design work, billing, contract writing—you name it. Ironically, having learned those higher-level tasks so early sometimes worked against me when I looked for new opportunities. Employers wanted someone to knock out construction drawings; they already had people for contracts and business operations and these skills that I had unintentionally being developing were not valued, at least not in the marketplace of those looking to hire a 30-something architect. Meanwhile, Lane was going through a big life shift of his own. He graduated, married his wife, and had his first daughter in quick succession. He took a good offer from a small firm that recognized his value, but ultimately decided to move to Dallas for bigger project opportunities. We both realized that while architecture school might give you broad aspirations—maybe you want to do skyscrapers or iconic museums—what you actually end up doing can be shaped by where you land and the life choices you make in the meantime. Looking back, I see how easy it is to get swept up in dreams of “grand design” or high-profile projects. It’s also easy to dismiss residential or small-scale work until you realize how much you can learn about every facet of architecture by rolling up your sleeves in a tiny office. Ultimately, all these experiences taught me that there isn’t a single right way to build a career in architecture—there are countless paths, each full of twists you rarely see coming. And sometimes, even goals that at the time seemed incredibly important (like buying that jet ski) take a back seat while you figure out how to balance ambition, family, and the next big move life will throw your way. Change in Direction jump to 38:38 The starting point for this phase was the realization that I was ready for a change. I’d worked at a firm I respected, but I wanted more: more responsibility, more leadership responsibilities, and a say in how the business was run. Ultimately, I went back to work with a long-time employer, and in some ways conspirator, where I was exposed to more of the ins and outs of running a small firm—from billing to design to overall business strategy. Eventually, that situation began to wear on me because I began to disagree fundamentally with some of the choices being made. For the record, and since I am the one writing this post, I am completely aware of how this makes me appear ... demanding, uncooperative, and possibly demanding in a way that I hadn't earned. I don't believe any of those things are actually true, I just hadn't found the right place where my thoughts on the things that were starting to matter to me aligned with other people in a leadership/ownership position. I eventually reached out to Andrew Bennett—one of the owners at BOKA Powell, where I now work. Despite Andrew and I both going to the same college, we never met in school and he reached out to me because of this website. He and I had connected a few times by this point and with the questions I was asking myself, I reached out to him to get some advice on how to make a change. I wasn’t sure if my wide-ranging small-firm experience would translate to a larger operation. Much to my surprise, Andrew told me I was a good fit for a bigger firm like BOKA Powell, and I started to see how my skill set could be an asset rather than a liability. By this time, I had started to recognize that what mattered most to me wasn’t just designing buildings (although I love it still); it was figuring out how to shape a practice that treats its people well and fosters a culture of growth. Over time, I’d discovered that I actually love the management and mentorship side of architecture. It’s thrilling to pop into a design charrette and help move a project forward, but it’s equally fulfilling to set up policies, refine processes, and ensure employees thrive. I believe that these thoughts and aspirations are a direct result of the years of time I spent writing blog posts for this site. The development of communication skills, while learning that I experience great satisfaction from helping others, lead to a fundamental shift - or maybe a recognition - in how I wanted to start spending more and more of my time. Lane was on a parallel track, transitioning from being a pure “maker” to a leader who guides others. We both recognized how much bigger the goals become once you shift your focus from my success to our success. Rather than obsess over individual projects, I now see them as milestones in the evolution of the entire firm. At this stage, I’m less concerned with my own design ego and more interested in how we can collectively become greater than the sum of our parts. ...

December 2024, and Andrew and I find ourselves in front of the microphone for the final time until 2025 – from my perspective a mere 28 days away. It is the annual state of the state address where we look back at all the interesting bits and pieces covered over the last 12 months while providing a sneak peak at the adventures to come in 2025. . …  Welcome to EP 166: 2024 Yearapalooza. [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] Today we are wrapping up the 2024 podcast season. I don’t know about you but I am ready for a break. Any part of wrapping up should include some sort of reflection but we will also be spending a portion of the show – presumably towards the end – of looking forward, what do we think we are doing and what might we be talking about. I built todays conversation based on a similar format to how we wrapped up 2023 – a pulling back of the curtain to talk about what matters – at least where this website and podcast are concerned, and what we are thinking for next year. In an effort to look forward, I am a believer that you have to look back, take a look at what work – and what didn’t – so that you can modify behavior in a way that is beneficial and meaningful to all those involved (us as creators, you the listener as participants.) impossible to read but even at this size, this is only 4 of the 8 years worth of downloads By the Numbers jump to 6:56 I will admit that I used to be obsessed with the numbers associated with the blog site - and eventually the podcast - but the reality is that I don't care so much anymore. That doesn't meant that I don't ever look, but my reasons for looking have less to do with how the show or site is performing and more about what topics and discussion are of interest to the people who visit this site and listen to the podcast. While I still end up choosing topics that represent my current activities and interests, it's interesting to know what people think is worth their attention. Since there is a lot of secrecy surrounding the true metrics of how podcasts perform, most of the benchmarks I refer to are fairly generic and all are free to access. The gold standard to determine how a podcast is performing is how many downloads an episode has at the 30 day mark, and according to data commonly cited by platforms like Libsyn and Buzzsprout, this is where ALL podcast (regardless of genre or topics) fall based on that standard: Podcast Performance by Percentile Top 50%: ~30 downloads per episode in 30 days. Explanation: This is the median—half of all podcasts achieve fewer than 30 downloads within 30 days. Top 25%: ~100 downloads per episode in 30 days. Explanation: Podcasts in this range are doing better than 75% of shows and likely have a niche audience with consistent engagement. Top 10%: ~400-500 downloads per episode in 30 days. Explanation: These podcasts are often well-established and attract a steady audience, making them appealing to niche advertisers or sponsors. Top 5%: ~1,000 downloads per episode in 30 days. Explanation: At this level, a podcast is highly successful in its niche, with a strong following and the potential for premium sponsorships or monetization. Top 3%: ~3,000 downloads per episode in 30 days. Explanation: These podcasts are industry leaders within their category and are often approaching mainstream popularity. Top 1%: ~5,000+ downloads per episode in 30 days. Explanation: These podcasts are typically professional productions with large budgets or significant marketing reach. They often attract substantial sponsorship deals and are highly recognized within the industry. For the 2024 season, the Life of an Architect podcast averaged 4,847 downloads per episode at the 30 day mark ...which puts us just shy of hitting the Top 1% of all podcasts. Andrew and I are obviously proud of this accomplishment but the reality is that neither one of us can properly explain how this came to be. We work hard, we try to keep things sounding professional (at least in terms of audio quality) and we are constantly reevaluating what we do so that we don't a) become stagnant in what we do, and b) cover topics that are current and relevant to the people in this industry that do the exact same things and most likely have similar experiences and questions that we have. The Blog jump to 28:33 One of the questions that I have, and I would be surprised if any one else had this question, is how many people are aware of the podcast but AREN'T aware of the blog site (and vice-versa). I know there is some percentage that falls into this category but I can't help but wonder how much value the written version of these podcast episodes bring to the mix. As an example, Andrew and I finished recording today's podcast episode 12 days ago, but then we recorded the sponsor spot just 5 days ago, but the entire thing was assembled and completed before the start of the weekend. For the record, it is Sunday morning at 11:10am CST and this is the second day in a row that I have spent a few hours making the graphics and writing this blog post. If there was no blog post, this episode would have been done ages ago. I often ask myself the question if these blog posts are worth the time and if more than a handful of people read them. To that end, and maybe to help reinforce my point, the 27 blog posts that were prepared this year had 63,606 total words. To put that in perspective, last years blog post word count was 57,977 words, a difference of 5,629 words … apparently I am wordier this year. Here is a list of classic novels that I could have written (if I was actually one of the great novelists of our time) at least in word count: "The Scarlet Letter" by Nathaniel Hawthorne – Approximately 63,000 words. A classic piece of American literature. "Lord of the Flies" by William Golding – Approximately 60,000 words. A powerful allegory and essential reading in schools. "Fight Club" by Chuck Palahniuk – Approximately 61,000 words. A modern cult classic. "Flowers for Algernon" by Daniel Keyes – Approximately 60,000 words. A moving tale of intelligence and humanity. "The Perks of Being a Wallflower" by Stephen Chbosky – Approximately 62,000 words. A deeply personal and resonant novel. "The Catcher in the Rye" by J.D. Salinger – Approximately 61,000 words. An iconic coming-of-age novel. "Ender's Game" by Orson Scott Card – Approximately 63,000 words. A classic in science fiction. For fun, here are the two blog posts with the most extreme word counts  - from most to least: http://lifeofanarchitect.com/ep-163-architectural-wanderlust/ Most Words: 4,542 - Ep 163: Architectural Wanderlust http://lifeofanarchitect.com/ep-155-optimism/ Least Words: 1,543 - Ep 155: Optimism Sadly, I don't think that word count equates to effort - some topics are just more difficult to write about than others. The Graphics jump to 31:15 For the 2024 season, we ended up making 176 custom made graphics ... of which 54 (just over 30%) were created using AI generated graphics. Andrew and I both have some mixed feelings about using platforms like MidJourney to create supporting images for the site - most of the time it isn't anywhere near as quick and easy as you might think. I will confess that it is almost always fun since trying to beat the program to have it generate exactly the sort of image you want, at time, can be hilarious. The results are frequently ridiculous ... but I still have a deadline and an objective to accomplish and half the time I don't want to spend 2 hours trying to get an image of futuristic robots facing off in a pool while riding inflatable flamingoes. Fun - yes. Constructive? Most of the time it is not. How Do We Chose Our Topics jump to 34:32 It's not as complicated as you might think (or maybe it should be a little more complicated than we make it ...) but mostly it’s based on the work we are currently undertaking. I take the workload I am currently tackling and try and make those efforts work for what I need for the podcast. Since the show is literally based on what it is like to be an architect (and work with one) sharing what we do on a day-to-day basis seems fundamental to our objectives. What do we want to accomplish? More guesstimating on the show … but here’s the problem with guests … Topics that we (Andrew and myself) care about. Writing the blog post is considerably harder Coordinating schedules (since we record off work hours) Avoiding someone else’s agenda aka, one big advert Andrew and I are going to make an effort to expand our prejudices on having guests on the show - we are committed to making this happen. - BUT - if you are some media person looking to place your client on the show to advance their accomplishments or talk about how amazing they are ... please don't contact me. I will still be trying to follow the 4 items listed just above. Would You Rather / Hypothetical / What's The Rank ... jump to 46:23 The question is "Do we keep doing these questions?" ... Andrew and I would like some feedback, even though I will most likely reach out through Instagram to get a poll started, to help us determine if these end of show questions are worth doing. We can tell that the people who listen to this show fall into two distinct categories: Those that listen to the entire episode, and Those that exit the podcast once we get to the question portion. I will admit that I like doing them, despite the challenges of coming up with the question for each episode. As an academic pursuit, I can see that through practice (and attempting to foil Andrew's attempt at finding the loophole in the question) that this is a good exercise in process-oriented thinking. Even if we do end up removing them from the show, I will most likely look for a different avenue offline to continue to practic

We’re going to explore some of the most common myths about architects and peel back the layers to reveal what this profession is really about.

It’s almost that gift-giving time of the year and if you have an architect in your life, you know that getting them a gift is possibly among the most agonizing experiences possible – but that’s why we’re here. Now in its 15th consecutive year, Life of an Architect is putting out the increasingly difficult yet still definitive gift guide for architects so that you don’t have to figure these things out completely by yourself. Welcome to Episode 164 Holiday Gift Guide for Architects 2024 [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] Disclosure: We only recommend products that we would use ourselves and all opinions expressed here are our own. This post may contain affiliate links that add no additional cost to you and a small commission may be earned. These commissions go towards paying the operational costs associated with 'Life of an Architect'. Please consider using them as a way of supporting the content on this site. This disclosure is in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.” Like last year, Andrew and I had the same categories to select a gift. For some of the items selected for this year's list, they were extremely easy additions, whereas others were extremely difficult. I will also go on record – right at the beginning of the show – that I either already have these things (and therefore Bob verified and approved) or I want them … which means if you buy them, we are both at some risk. Am I going to tell you which one is which? Maybe We are going to do the big reveal to one another and then talk about them – we are going to take turns, and Andrew is going to kick things off with: Best Gift for your Bar jump to 7:10 Whiskey Peaks Rocks Glasses  Andrew's Selection -$38 I recently wanted some new whiskey type glasses or low balls. So, I took a mountain biking trip a summer or two ago and when I started looking I came across these glasses and they resonated with me for that reason. These glasses are a typical low ball glass, but have a “special feature” in the bottom of the glass. There is a topographical 3D form of a mountain range in the bottom. There are several different mountain ranges to choose from depending on your preference. While these are not anything extremely fancy or extravagant, I don’t think they are a unique and cool item. As mentioned they do not work well with iced drinks or on the rocks, unless you have pebble ice. But you can also put any mixed or shaken drink in them that is already cold. Higonokami VG10 Folding Knife Bob's Selection - $80 Coming up with just a single gift selection for your bar was probably the most difficult choice I had to make on this list. I make my fair share of craft cocktails, and more times than not there are people watching me at work. I was gifted a handmade knife a few years ago by Joshua Hiett and it has been AMAZING ... but it is showing the effects of a lot of use (don't judge me) and I need to send it back to him for some repairs to the edge. As a result, I have been on the hunt for another cool knife that I can use in my bar and I stumbled onto this Higonokami knife. The issue with this particular knife is that you can't get it yet. If you follow the link provided, there are all sorts of other knives you can choose from if you aren't willing (or capable) of waiting. You can also join the waiting list like me. Best Gift for your Desk jump to 12:02 Dual Monitor Stand Bob's Selection - $125 Is a monitor stand an exciting gift? Yes - if it is someone who spends a lot of time at their desk and appreciates the freedom of moving their monitors wherever they want while enjoying the luxury of reclaiming the entirety of their work surface. I spent a fair amount of time looking for these (which I do not own but currently want ... badly) because of two very important details. First, I can attach very large monitors to this stand - 35", and secondly, I can move each monitor independently IN ALL DIRECTIONS! The stand I currently have does not allow me to move my monitors independently in the vertical axis. Do not underestimate the freedom that comes with this level of control. Logitech Vertical Mouse Andrew's Selection - $70 After years of “things” for your desk I decided to go with a more pragmatic gift for your desk. Something that you use every day and that you most definitely need. This mouse is just a rotation of the typical mouse. But I have used this one a few times and it is very comfortable. It is better for your wrist while still maintaining almost the same feeling. The buttons are still used by the same fingers and the operation is still normal. While it is a rather expensive mouse, I think it is worth the cost. I do not own this one yet, but it is in my cart. It will most likely be my gift to myself this year. Best Gift for your Kitchen jump to 17:06 CAROTE Cookware Set Andrew's Selection -$135 I needed to replace my cookware this year. I had been eye-balling this set for a while and finally purchased in the summer. This is an affordable set of non-stick cookware that works fantastically. I enjoy cooking with these pots and pans. I think the only drawback is that they cannot go from stovetop to oven as some of my cooking requires. But other than that, this set is awesome. It is free from all the bad non-stick chemicals and has a nice finish and look. It does come in a few other “granite-like” finishes. Electric Mason Jar Vacuum Sealer Bob's Selection - $24 Speaking of exciting gifts ... this is a cool gift that most people don't even realize they would use. I have this exact sealer and I like using it so much that I find that I am vacuum sealing stuff I don't need to! Since Ball jars are relatively inexpensive, anything that I would store in a ziplock bag has been going into a jar where I can now seal and reseal over and over and over again so I am not concerned about the length of time in which I am storing things. I just like having my stuff fresh ... as you should. Best Gift Under $20 jump to 30:41 OXO Brew Twisting Tea Ball Infuser Bob's Selection - $11 I drink a lot of tea - at least in terms of quantity. While I have enjoyed the occasional hot tea, over the last 18 months I have gotten to the point where I have tea every single day. At home, I have a kettle and a teapot and I brew a huge travel mug first thing. The problem started in the early afternoon when I am ready for a refill and I don't have all my gear - that's where this tea infuser wand comes into play. Simple, easy to use, easier to clean and I can manage to make my tea without and sort of challenges or fussiness. Since I mentioned posting the link in the podcast episode, this is the tea that I use (here) and at less that $1.00 per ounce for excellent loose tea, this is a good deal and excellent for both seasoned and people new to drinking tea. Hot Chili Oil Sauces Andrew's Selection - $10+ I bought this originally due to a ramen recipe I found online. But now I use this sauce for a touch of added spice on many other dishes. But it is just a nice culinary addition. I have included two of them that I like and they are my go to chili oil. One I can get locally, the other I only get through amazon. Your luck may vary. If you are not a fan of spicy foods, these may not be for you. If you want spicier, they both have an “extra spicy” version that you can find that kicks up the heat a notch. I have tried those and while I like them, they are not my standard choice. Hot Crispy Oil + Fly by Jing Best Tech Gift jump to 37:39 Toshiba Canvio 2TB External Hard Drive Andrew's Selection -$70-80 Now I know this may be a bit more of an “old school” idea, but I have recently found a need to utilize this type of storage due to a few workings of my devices. Also this type of technology has gotten much less expensive in recent years. So I use this portable drive as a way to transport files that I work on constantly between my home and office. The main issue that predicated that is my need to constantly download and upload files from the cloud to work on them and then update them. If I accidently forgot to upload the file to the cloud while I was at work, then I could not work on it at home. This is mainly used for larger files that I cannot work on through the cloud without some seriously lag issues or just flat out unable to work. At 2TB I can have a large portion of my cloud drive on here, at least all the truly important files. Hatch Restore 2 Sunrise Clock Bob's Selection - $170 This exact alarm is what my junior-in-college daughter uses every day and she SWEARS by this thing. To put some perspective on it, she is a typical college kid (and we all know what that means) in terms of how her sleep scheduled goes (chaos) but she has a full course class load, has a position at her sorority, AND she has a full time job. What makes this even more bananas, is that she is a trainer for the University of Connecticut football team and she has to report to work around 5:00 am so getting up early despite going to be late is a regular occurrence. Since switching to this sunrise alarm clock (which slowly gets brighter and brighter and then eventually will start playing sounds) wakes you up peacefully and as a result, you don't feel like you were punched in the gut the moment your alarm klaxon goes off. This clock will do more than wake you up in a beautifully peaceful manner, it can also help you go to sleep. You set everything up using your phone so there is a high level of control and specificity you can program into this clock and it comes Kate Borson approved. Best Gift for a Young Architect jump to 44:08 Le Chateau Wine Decanter Bob's Selection - $48 While this gift might seem odd for a young architect, hear me out. For my purposes,...

One of the most enjoyable activities is traveling on vacation – at least for most people, but it takes a special sort of individual who actually loves to plan the activities when it comes to traveling. I know I don’t love it, but I am also willing to admit that I have opinions on where to go and what to see. Today we are going to have a conversation where wanted interest and unwanted responsibility intersect. …  Welcome to EP 163: Architectural Wanderlust. [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] Today Andrew and I are going to talk about traveling for architects and how certain technologies have emerged that have made the process of planning excursions and itineraries a joy. Gone is the laborious process of buying travel books, searching the various “activities” based websites, where you are hoping that the comment and review from Frank from when he visited Bilboa last September actually is in some alignment with your own perceptions (or even values … is Frank an Architect?) The premise for today's post and conversation are simple ... what happens when you use Artificial Intelligence to plan a vacation for you? What does the problem solving process look like, what sort of questions should you ask, and finally, a look about the sort of returns you get in response. Question #1 jump to 6:02 Prompt Entered: You are an architect going on vacation with the goal of selecting a place that is rich in its architectural culture as well as the opportunities to visit and experience significant architectural projects and properties. Once we have completed this exercise, I will ask you to put together a daily itinerary of things to see and places to visit. We will start this exercise by having you recommend 10 potential destinations for me to visit, but I want you to ask me a series of questions to make sure that you have the information and guidance you need to make an appropriate recommendation. The Response: To recommend the perfect architectural destination for your vacation, I’ll need to ask you a few questions to better tailor the suggestions to your preferences: Style of Architecture: Do you have a specific architectural style you're most interested in (e.g., modernism, classical, vernacular, sustainable design, etc.)? Cultural Experience: Would you like to immerse yourself in a place with a deep historical architectural legacy, or do you prefer contemporary and cutting-edge architecture? Travel Comfort: Are you comfortable with long-distance travel, or do you prefer something closer (considering travel time as part of the week)? Interests Beyond Architecture: Would you like a mix of architectural exploration with other cultural experiences, such as museums, cuisine, or natural landscapes? Activity Level: Do you prefer a more relaxed trip with guided tours and time to reflect on the buildings, or are you looking for an immersive, on-the-go experience? Sustainability: Would you like to visit places known for sustainable architecture and environmentally conscious design, or is this not a priority for you? The prompt above was a good starting place to begin this exercise. To better understand your holiday objectives, getting the program to engage with about what you hope to accomplish is a great place to start. You could get as specific as you want here, adding in all sorts of parameters, but for my process, I wanted to keep this fairly high level in order to potentially discover some place I should be visiting that I might not be considering. Question #2 jump to 13:10 I asked ChatGPT to prepare a World map indicating the locations that were selected ... this was a completely failed experiment. This image is the result of 11 attempts. Prompt Entered: For each of these cities, can you rate how safe they are for tourists on a scale from 1-10 based on the US State department travel announcements? The Response: Barcelona, Spain Safety Rating: 7/10 The advisory for Spain is at Level 2: Exercise Increased Caution due to terrorism and civil unrest​. Rome, Italy Safety Rating: 8/10 Italy has a Level 2 advisory, recommending caution due to potential risks from terrorism, but it is generally considered safe for tourists​. Kyoto, Japan Safety Rating: 10/10 Japan, including Kyoto, is at Level 1: Exercise Normal Precautions, making it one of the safest destinations on the list​. Chicago, USA Safety Rating: 6/10 While popular with tourists, Chicago does experience elevated crime in certain areas. It is important to stay in well-traveled areas​. Berlin, Germany Safety Rating: 9/10 Berlin is under Level 1: Exercise Normal Precautions. It is generally safe with occasional demonstrations, but tourists are usually unaffected​. Paris, France Safety Rating: 7/10 France has a Level 2 advisory due to the potential for terrorism and civil unrest, particularly in large urban areas like Paris​. Copenhagen, Denmark Safety Rating: 10/10 Denmark is considered very safe with a Level 1 advisory, making it a top choice for travelers looking for security​. Vienna, Austria Safety Rating: 10/10 Austria is under Level 1: Exercise Normal Precautions, and Vienna is known for being very safe for tourists​. Lisbon, Portugal Safety Rating: 9/10 Portugal is generally safe with a Level 1 advisory, although petty crime like pickpocketing can occur in tourist-heavy areas​. Mexico City, Mexico Safety Rating: 5/10 Mexico has a Level 2 advisory due to elevated crime in certain areas, though central areas of Mexico City are safer than other regions​. While asking about the relative safety of the places you are potentially traveling might not be a priority for you, I was curious not only to see how the system would rank these cities, but the criteria used for this evaluation. In the end, I didn't get much value from this step other than generating a few raised eyebrow moments and the occasional "....... really?" Question #3 jump to 2:30 Prompt Entered: Compare and contrast the pro's and con's for traveling to each of these destinations and rank them on all previously evaluated criteria from worst to best. The Response: Mexico City, Mexico Pros: Mexico City is home to a rich blend of pre-Colombian, colonial, and modern architecture, including iconic works by Luis Barragán and the stunning Soumaya Museum. Its vibrant culture, cuisine, and art scenes add immense value. Cons: Mexico City suffers from a higher crime rate, and while central areas are generally safe, there are parts of the city tourists should avoid​. Rank: The combination of safety concerns and the need for vigilance in certain areas brings it lower on the list. Rating: 6/10 Chicago, USA Pros: A birthplace of modern architecture, with famous skyscrapers, the Chicago Riverwalk, and the legacy of Frank Lloyd Wright. Culturally, it offers great museums and music scenes. Cons: Like Mexico City, crime can be an issue in specific areas, though central tourist locations remain relatively safe. Weather can also be unpredictable, especially in winter​. Rank: Amazing architecture but somewhat affected by safety concerns. Rating: 6.5/10 Lisbon, Portugal Pros: Lisbon offers a charming mix of Gothic, Baroque, and modern architecture, with highlights like the Belém Tower and MAAT Museum. The city’s hills, viewpoints, and rich history make it attractive to visitors. Cons: Petty crimes like pickpocketing can be an issue in busy tourist spots​. The city can also be physically challenging to navigate due to its steep hills. Rank: Rich in culture and architecture, but lower due to minor safety and logistical issues. Rating: 7/10 Barcelona, Spain Pros: Iconic works by Antoni Gaudí, such as the Sagrada Familia and Park Güell, make Barcelona an architectural gem. The blend of Gothic and modernist architecture is captivating, and the city has a vibrant cultural and culinary scene. Cons: Barcelona faces challenges with petty crime, particularly pickpocketing, and can be crowded with tourists, which detracts from the experience​. Rank: Spectacular architecture but ranked lower due to safety and crowd issues. Rating: 7.5/10 Rome, Italy Pros: Few cities in the world can rival Rome’s historical depth, with iconic landmarks such as the Colosseum, the Pantheon, and Vatican City. It offers an incredible blend of ancient and Renaissance architecture. Cons: Rome can be overwhelming due to large crowds and the challenge of navigating its busy streets. Petty theft is also an issue in tourist areas​. Rank: While Rome’s historical significance is unmatched, the challenges posed by crowds and tourist scams bring it down slightly. Rating: 8/10 Berlin, Germany Pros: A city steeped in history, Berlin offers a unique blend of neoclassical, brutalist, and contemporary architecture. Highlights include the Brandenburg Gate, Reichstag, and Bauhaus Archive. The city is also known for its vibrant arts and cultural scenes. Cons: Berlin can feel a bit sprawling and less walkable compared to other European cities, though public transport is excellent​. Rank: Historically rich and culturally vibrant, but slightly less accessible due to its size. Rating: 8.5/10 Paris, France Pros: Paris is an architectural paradise, offering centuries of landmarks such as the Eiffel Tower, Notre-Dame, and the Louvre. It also boasts modern architectural marvels like the Centre Pompidou. Cons: Paris can be expensive, and it faces challenges with pickpockets and large tourist crowds​. Rank: Paris’s unparalleled blend of historical and modern architecture makes it a top destination, but practical travel issues bring it down slightly. Rating: 9/10 Copenhagen, Denmark Pros: Known for modern, sustainable design, Copenhagen is a hub of contemporary architecture, featuring works by Bjarke Ingels and others. It’s also one of the most walkable and bike-friendly cities in the world, with a relaxed,...

It happens on every project – sometimes you know exactly what it is because you had a hand in bring it into existence. Other times, you might be visiting the work of another architect, or really, you could just be going to a nice restaurant … but if you look around, you can always find that something special that seemed to get just a little more attention than the rest of the project. Andrew and I are going to dive into this idea a bit today Welcome to EP 161: Wow Moments [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] Andrew and I are going to be talking about wow moments in architecture. This is really about their existence and if possible, I wanted to use this conversation to like to look for some sort of pattern in my own thinking – whether or not it obviously presents itself. The reason today’s topic came into existence is that I taught a professional practice class last week and the professor asked me to discuss a pretty wide range of topics as part of that presentation. Most of the discussed topics were not really related to one another so I was challenged a little more than normal to develop a way to move from one topic to the next in a way that made sense … at least, that was the goal so I settled in on trying to make it interesting and to hold the attention of these college seniors for a 2-hour lecture. It's All in the Details jump to 5:55 I’ve always thought the front door of a house holds a lot of potential as a "wow moment." In fact, the first time I wrote about it was back in October 2010, not long after I started my website, and that article in particular was about a spec house I designed for a developer - which means that there was no specific client in mind. When you're designing for a client who's really the developer and not the end user—it changes how you think. There’s a certain amount of "lowest common denominator" thinking involved, not in terms of cheap materials, but in the sense that the house needs to appeal to a broad audience. You don’t want one person to love it; you want a lot of people to like it. In the example above, we concluded that this special moment should be one of the very first architectural items you encounter ... the front door. To make things even more interesting, we added an exterior  skylight just above the entry door. I believe that the front door "experience" can do a lot of heavy lifting. It's the porch, the steps leading up to it, the space around it—it all plays a role. I wanted to do something different for this spec house, so we decided to add a skylight right at the entrance. You’re still outside, but you get this incredible natural light coming through, which makes the whole area feel open and welcoming. And on top of that, we built in a strip light fixture so even at night, or on a cloudy day, the space feels bright and inviting—not like you’re walking into a dark tunnel. It turned out great. The detail worked exactly how I envisioned it. I think that’s when it really hit me—if you’re going to create a wow moment in a house, make it something most people are going to experience. Almost everyone who visits is going to come through the front door. That’s why I focus on that space. You’re not going to get the same reaction by putting all your effort into something like the kitchen pulls, which not everyone will even notice. So apparently, as a result of the first front door experience, a seed was planted in my brain that this entry experience should be something special on all projects. The drawing above was a custom steel and wood infill door that really read more as a wall than the front door. Measuring in at 5'-7 1/2" wide, this was not a normal door and we wanted everyone who it to experience just how special this moment was - from the act of walking up to it, as well as the manner in which is swung open, revealing the passageway into the main social area of the house. Steel Trellis jump to 15:26 This steel trellis is included since it is really an extension of the large front door I just highlighted. The addition of this element - which was on the front of the house and is actually the first architectural element you experience (you can see more in this really awesome post on "floating sidewalk pads"). There is actually an entire post dedicated to the design, fabrication, and installation of this trellis (Modern Steel Trellis) and I go into a lot more detail on why AND how this moment was created. The version Andrew and I discuss on the podcast today had to do with complimenting the front door experience with an entire entry sequence - focusing as much on the journey to the front door and the door itself. WORK214 Stairs jump to 18:01 The "wow" moment we created in a project WORK 214, was centered around solving an interesting design challenge. It was a generic 1970s office building, elevated with parking underneath, and my clients wanted to turn it into a co-working space. One of the moments we focused on was the entry experience - which at this point should be obvious that I value this first walk-up moment to a project. We had to deal with code requirements like fire-rated stairwells, but we didn’t want the experience of entering the building to feel sterile or utilitarian. Instead, we aimed to create a moment experience by designing a monumental three-story stairway as the focal point of the space. Since we couldn’t add any square footage due to code and zoning restrictions, we had to place an open-air stair on the front of the building—something that could have looked unremarkable but instead became a design highlight. We went all out with the design: a cast-in-place concrete wall with cool windows, metal stairs, and a plastic wall illuminated with changing colors for different occasions. We had to be mindful of the budget, so we focused all of our extra resources on making this entryway impactful. Even though it meant cutting back on some other ideas, we decided to invest in this moment because it was what would truly define the building’s character. I often find that monumental stairs become the natural focus of "wow" moments in commercial projects, and this was no exception. Despite the challenges, we created something that made a lasting impression. The Entry Experience - Hill Häus jump to 25:58 One of the projects I worked on that had an amazing moment was a residential project that I still think about, especially since it didn’t come to fruition. This project feel into a handful of residential projects that I have come to call "the Covid Era Project". Unfortunately, due to the pandemic and all the associated challenges with contractor availability, supply-chain issues, not to mention that everybody was trying to improve their house and contractors decided to charge exorbitant rates for their services ... the project died after we completed construction drawings. What should have been a relatively affordable house ended up ballooning in price because contractors were scarce, and materials were insanely expensive—plywood alone was going for about $79 a sheet at the time. We had trouble finding anyone willing to take on the job, and the few contractors who did were quoting astronomical prices, some as high as $680 per square foot. The house was on a hilly site, and we designed a unique entry experience that I thought would create a special moment for the owners and their arriving guests. As you approached the house, you’d walk across the entire front, with the site sloping down, so by the time you reached the front door, you were about five feet above ground. We thought, why not put a fish pond under the walkway, spanning across the front of the house? The idea was to have the sidewalk stretch over the pond, and as you approached the living room, the pond would even extend underneath the room itself, giving you the feeling of floating above the water when you stood at the window. The husband loved it, calling it his "James Bond villain" entry, which really captured the cool, sophisticated vibe we were going for. The whole thing was relatively affordable in the context of the overall budget—around $60-75k—and I thought it was a perfect investment to create a memorable, standout feature in an otherwise simple, efficient design. But despite all the planning and excitement, the project didn’t happen the way we envisioned, and it still hurts me that this amazing idea never saw the light of day. I often think that a house doesn’t need to be "wow" all over; instead, it’s about having one or two standout moments that really make an impact. This entryway could have been one of those moments, and it’s one of the missed opportunities I regret the most. Oculus jump to 31:36 There was a phase in my career where I became really fascinated with the idea of incorporating an oculus into a project, and I found myself incorporating them into a two different projects in a small window of time. The first time I did this was for the KHouse, (this project was featured heavily here on the website - look here for all sorts of information regarding this project) a project that wasn’t actually mine—it was my partner’s. He didn’t draw, so I, along with another colleague, took on the responsibility of detailing everything. The house itself was very modern, and we had to be meticulous with the brick sizing to avoid any cuts around windows. It was one of those projects where everything had to align perfectly, and the client, who was a really interesting guy, wanted the design to be functional and thoughtful. But one of the design challenges we faced was the large covered patio between the main house and the back structure. It was about 25 feet deep and 20 feet wide, and being so far under the roof, it was going to be dark and uninviting. So, I decided to just go ahead and draw in an oculus. I hadn’t asked anyone for permission; it just seemed like the right move....

Ep. 160 explores how architects define, communicate, and prove their value—to clients, collaborators, and themselves.