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 ...

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

When discussing the dirty side to clean buildings, we are focusing on Material Health and Transparency as it pertains to the practice of architecture

You've heard the phrase “Better, Faster, Cheaper, you can have 2” but is that true? This is really a conversation about quantity, quality, and ultimately value.

Becoming an architect is hard - You go to school for a long time and work and study but upon graduation, you are not an architect … so when does that moment happen? Welcome to episode 68 “Where is the Finish Line”

Should architects date one another? How do you get your first client? Your greatest challenge? We answer your questions today on Ep 067: Ask the Show.

There is a nostalgia associated with architects and sketching but is it still an integral part of the design process anymore?

It takes 5 people to answer 3 questions on this, The Hypothetical Show. Three questions of varying degrees of absurdity are discussed, but all will brighten up your Holiday week.

Answering the question of what exactly does a typical day in the life of an architect look like is nearly impossible - but we are going to give it a go. Typical days for an architect vary wildly and are more often than not a reflection of your role, where you work, the market sector, the size of the firm, and how far along in your career you have journeyed.

It’s that gift-giving time of the year and if you have an architect in your life, you know that getting them a gift is rough since they are sooo particular – but that’s why we’re here. Now in its 11th consecutive year, Life of an Architect is once again putting out the definitive gift guide for architects so you don’t have to figure these things out for yourself.

The phrase "Virtual Office" has a much different ring and connotation to it now than it did just a few months ago. As more and more people work from home (more times than not in a spare bedroom or from the dining room table) what changes will take place within the architectural profession moving forward? Has anyone else noticed that everyone seems to be nesting in their makeshift home offices these days? 

When I say the word “architect” what do you imagine? It seems that most people imagine architects in black clothing, heavy rimmed glasses, and they most-likely possess other-worldly glue skills. We are going to set the record straight regarding the disconnect between the public’s perception and the reality of architects.

It is time for the second and last installment of the Life of an Architect “Ask the Show” episode for 2024. Once again, as is our practice we solicited questions to be submitted through our Instagram channels and selected as many as we thought we could reasonably get through in the time allocated for the show. If there were duplications, that simply made that question more likely to get answered. All this and more on today’s episode as Andrew and I answer your burning questions… Welcome to EP 159: Ask The Show Fall 2024 [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] What are some challenges facing part-time workers? Or for those hiring them? jump to 3:50 Question submitted by Makieliamir Bob: From a management position, I've found that part-time work can be a challenge, especially when it comes to workflow and productivity. We don't have a formal policy for or against part-time workers, but I can't deny that it complicates things—scheduling, coverage, and overall productivity management can become harder to manage. My main issue stems from the impact on the company's bottom line, where part-time employees often receive the same benefits as full-time workers, even though they're working less. Additionally, it affects opportunity distribution within the firm. Part-time workers don't get the same opportunities for leadership and career advancement because those responsibilities are usually added on top of a regular job. When someone is capped at working part-time, I have to be mindful of what I assign to them, and that limits their potential growth. It's a tricky balance, and while part-time workers can be incredibly efficient, there are inherent limitations in what they can accomplish compared to full-time staff. Andrew: From my experience, having many part-time employees in my office, especially students, the key challenge is balancing their workload and availability with the needs of the firm. Setting consistent schedules is important; if someone is always available in the morning or afternoon, that works fine, but it can still be tricky ensuring that all tasks are covered effectively. The major issue is that part-time work might slow career advancement. While it works in smaller firms with proper management, larger firms might struggle with maximizing productivity or providing growth opportunities to part-timers. I believe it's important for part-time workers to find employers who don't have a bias against them and to have conversations about growth, even though it may take longer to climb the career ladder when you're part-time. Finding the right balance is critical, and part-timers should know the potential limitations upfront. What can a new employee in the office do to stand out amongst the seasoned individuals? jump to 9:35 Question submitted by arch_jbrown Bob: This is a question that comes up in my mentor/mentee meetings fairly frequently in my office. Standing out in an office, whether it's a small or large firm, starts with involvement. In a small firm, where everything you do is highly visible, participation is key. You can't just sit back and blend in; you need to actively engage with those around you. Even in larger firms, where you may primarily work with a smaller team, finding ways to connect outside of your immediate circle, such as joining design groups or attending firm-wide meetings, is essential. I’ve seen that new employees who are willing to step out of their comfort zones and get involved across the board are the ones who stand out the most. It’s not about mastering every technical aspect right away but rather showing that you care about your work and are eager to participate in different areas. It's about engaging with colleagues, speaking up, and showing that you're invested in the firm's success. Andrew: I agree that involvement is crucial, but I think another important way to stand out is by actively seeking out opportunities to do more. Don’t just finish your tasks and wait around—if you’ve wrapped up a project early, go out and ask for more work. Show your eagerness to learn and contribute beyond what's expected. Asking questions and showing initiative signals that you're not just looking to fulfill your job duties but are genuinely invested in understanding how things work and improving yourself. This attitude, combined with the willingness to reach out and engage with your superiors and peers, helps you stand out, regardless of the size of the firm. New employees won't have the same experience as the seasoned individuals, but by demonstrating a proactive mindset, you can still make a strong impression. When do I know if I should move to another job? jump to 13:14 Question submitted by private account Bob: I don't think there is an architect on the planet that hasn't asked themselves this question at one time or another. For me, boredom was probably the most common reason I left one job to find another. There were times when I was motivated to develop a different skillset (which I suppose is another way of saying "boredom"). There are times that your personal growth and development leads you to recognize that either what you are doing you don't like, or that your personality and interests are more developed and you know that you want to go do something else. What I am good at now, which really started to present itself in my 30's, wasn't anything worth noting when I graduated, and I didn't do my first residential project until 10+ years after I got my first job. I will also add that I don't recommend that you change jobs just because you don't like someone (unless that person holds your development in their hands) because no matter where you go, there will be someone there you don't like. Now is the time to grow up and face those challenges head on. Andrew: For me, the decision to move on from a job would largely stem from feeling unappreciated. It's not about money or bonuses, but rather the acknowledgment of the effort and dedication you're putting in. If you're working hard, giving your all, but receiving no recognition—whether in the form of a simple "good job" or other signs of appreciation—then it's time to reevaluate your position. In my experience, people often leave jobs not because of dissatisfaction with the work itself but because they feel undervalued. That recognition is vital, and when it's lacking, it may be an indicator that it's time to seek out an environment where your contributions are noticed and appreciated. Ultimately, it’s about feeling valued for the work you do, not just financially but emotionally and professionally. Can you give some general advice for consultants on how to best serve the architect? jump to 17:10 Question submitted by private account Andrew: For me, the most important quality in a consultant is flexibility. I really value consultants who are willing to work collaboratively and make compromises when necessary. It's not about one person being in charge, but about finding solutions together. I’ve worked with consultants who are very rigid, insisting that their way is the only way to solve a problem, and that can be frustrating. I understand that engineers have to meet certain requirements, but there are usually multiple ways to get the job done. Sometimes I feel like there's too much rigidity when what we really need is flexibility. When consultants are open to exploring different options, it makes the whole process much smoother and more efficient. Then, in the end, hopefully it will create a better more successful project. Bob: What I really want from a consultant is proactivity. I absolutely agree with Andrew about the importance of flexibility, but for me, it goes beyond that. I want my consultants to anticipate my needs rather than just reacting to my requests. As an architect, I often push boundaries, and I need consultants who can foresee potential issues and offer solutions before they become problems. It’s not just about avoiding failure; it’s about achieving the bigger goals of the project. If a consultant can be out in front of me, offering guidance and protecting me from mistakes, that’s a level of service that makes all the difference. I believe that proactive behavior leads to better collaboration and ultimately a more successful project. Do you think architects will ever be replaced /outsourced by AI? jump to 27:23 Question submitted by private account Andrew: I don’t believe architects will ever be replaced by AI. While AI will change how we work and shift the tasks we focus on, it won’t eliminate our role. Some aspects of our jobs may become automated, but this will free us to tackle other, more meaningful work. We design for humans, and there will always be a need for human oversight, creativity, and intuition in the process. Even if AI handles the more routine tasks, architects will still be responsible for ensuring designs are safe and meet certain standards. The future of our profession might involve reviewing and refining AI-generated work rather than creating everything from scratch, but it won’t mean the end of our roles. Bob: I largely agree with Andrew but remain a bit more pessimistic. While I don’t think architects will be replaced entirely, I do think AI will take over some types of projects, especially those where creativity and architectural rigor aren't priorities. Look around—there are already plenty of uninspired buildings that could have been done by AI, and this trend might increase. For low-level projects where design isn't as valued, AI might generate the work, with humans stepping in only to review it for safety and compliance. That said, I think we’ll still play a crucial role in the process, though we might focus more on ensuring the quality and safety of AI-generated work rather than designing it ourselves. The profession will change, and architects will need to adapt to new workflows,...

At one point or another, every architecture student or graduate has a portfolio of their work that they have agonized over creating. Portfolios are important, they demonstrate your range of skills and will most likely play a significant role in whether or not you land your dream job … so why are so many of them completely ineffective? Today we are talking about the “Perfect Portfolio” and what that actually means. [Note: If you are reading this via email, click here to access the on-site audio player]  [hoops name="top1"] Depending on the time of the year, about 15% of the emails I receive have something to do with portfolios in some form or fashion. There are a handful of questions that get asked over and over again ... What do they look like? What sort of information do I put in them? What do people want to see? How much information should I put in them? How much text versus graphics? People have questions, and we are going to answer them. So where do you start? Let's start with what a portfolio is and why do we still use them - Portfolios are all about illustrating your proficiency in the various skills of the trade and demonstrating that you know how to think and process information. Sounds pretty simple and considering all the moving parts, it is really simple. Most people still don't seem to understand some very basic considerations that surround the process of building a portfolio. How is it reviewed? What are people like me looking for? jump to 5:00  The key to having a successful portfolio is to think about how it will be viewed, what messages you are sending based on the content you are providing, and to consider how much time someone will actually be looking at your portfolio. I can promise you it won’t even be a fraction of what you think it will be. The work you spent weeks or even months agonizing over and trying to skillfully articulate in the forms of diagrams, plans, perspectives, collages, etc. etc… won’t be looked at for more than a few moments when it crosses my desk. I’m looking for the tone, trying to see how your brain works, how you process information, how you articulate information – not the specifics of the content itself. On my first pass through your portfolio - which could be your only pass - I am not reviewing the quality of your design solutions of the items you are displaying within your portfolio. I am treating your portfolio as a standalone project and what I am reviewing is the actual portfolio. Curate the content jump to   You need to carefully think about which projects, and how many, you want to include in your portfolio – pick only those that are supported with the visuals that tell the story you want to tell. The first time I look at someone’s portfolio, I might spend a maximum of 5 seconds on any given page - that's it - and that's not a lot of time to convey your message. What I do look for from your portfolio is how they are laid out on the page, the balance of positive and negative space, as well as the balance of white space versus the image you are putting on display. example from the portfolio of Prarthan Shah Let Your Images Tell the Story jump to 28:47  You should consider how much text you decide to include in your portfolio … because I probably won’t read it the first time I flip through your pages. This is something that I think about every time I look at a portfolio … or even write one of my blog posts. Most people like to look at the pictures, and if the images are evocative enough to catch someone’s attention, you might get them to go back and read the small bit of text associated with that image. The takeaway here is that you need to rely on your pictures and graphics to draw in the people who are reviewing your portfolio. Reading text comes later - maybe during pass number two or three. You should consider your text as a secondary or tertiary contributor at best. example from the portfolio of Danielle Anderson Demonstrate your Graphic Fluency jump to 31:02  Unless this is the first time you’ve ever read an article on my site, you already know that I am extremely particular in my use of graphics when it comes to drawing. The use of line weight is very important in architectural drawings and I can promise you that if you don’t use it, I’m not going to look at your drawings for very long. In addition, you need to be consistent in your graphics and layouts - there should be a pattern to how your information is displayed across your entire portfolio. Do NOT design a new layout for each project within your portfolio - remember that the people reviewing are looking at your portfolio as a single standalone design task, not a collection of individual designs. The other major consideration is the use of 3D modeling software and how it leads to the creation of unnecessary content. Now that entire projects are modeled 3-dimensionally, it is relatively easy to prepare untold millions of sections and elevations ... but not all of these are worth showing because not all of them align with the story you are trying to tell. More times than not, and I'm a little embarrassed to admit this, whenever I am on a jury and some student has pinned up a million CAD drawings, I think it's a red herring, something done just to throw me off the scent to the fact that they haven't really done everything they needed to but they can easily create a lot of drawings to make it look as if they've done a lot of work. Don't do this! example from the portfolio of Danielle Anderson Models … include at least one jump to 42:45  While it would seem that fewer and fewer students build models these days, I like to see them in any portfolio I am reviewing. Looking at a model that you made does more than just allow me to reminisce about the good old days … it tells me something about your attention to detail, your ability to focus on a fairly mind-numbing task for an extended period of time, and I can look at how your model was built from a craft standpoint – which tells me something about you as an individual. Do you care enough about your work to make sure that things are glued down properly? That all the teeny-tiny elements are properly aligned to one another? What about your decision-making process on how to articulate the materials within your model? Physical models are just another way for me to evaluate your design aesthetic. You have to decide how to present it, what sort of base is it sitting upon, what shape is the footprint of the model? I don’t know if you’ve noticed this, but none of the items I’ve been talking about have anything to do with the actual design. I am not judging your design, I am examining your thought process about how you communicate an idea and demonstrate pride in your work. example from the portfolio of Prarthan Shah Include Something that Isn’t a Building jump to 48:24  It is hard for me to truly evaluate a building design project presented in a portfolio. For all I know, your studio professor made all the hard decisions for you … or maybe you were the weakest member of the team jointly working on a project. For these reasons, I like to see something from your time in school that isn’t a building. Whenever I am presented with a portfolio that contains some sort of demonstration of outside interests and how you've managed to merge multiple interests together, it automatically makes you a more interesting individual to me and as a result, those portfolios almost always stand out. The image above was from a portfolio I review at the end of the 2020 Spring semester - clearly this is not a project this student was assigned in school. Surely you can look at the image above and come to the same conclusions I did that makes this particular candidate more interesting. Attention to detail, passion about execution, personal exploration and growth are all on display. example from the portfolio of Danielle Anderson Include Something You Made by Hand jump to 49:40  This is definitely old school, but for me, I really want to see something that you did without using a computer. There seems to be a disconnect these days between modern architectural educations and the idea of the Architect as a “Master Craftsman”. One of the most important sections you can include is something that you did or created, that didn’t involve clicking some buttons and moving a mouse around. Show me some sketches, maybe you built a kayak, restored an old car, maybe you take and develop your own pictures (I know, who develops pictures anymore?…) This is the one area of your portfolio that can be used to tell me something about who you are, and the things that interest you, that go beyond the courses you took in college. If someone included a picture of a handmade Stormtrooper costume that they made, it would interest me. example from the super-old portfolio of Bob Borson Portfolio Format jump to 51:42  You should have one printed out version of your portfolio that you can bring with you on your job interviews. Once you get your first job, that portfolio will most likely be relegated to a shelf in your apartment for all eternity because nobody cares what you did in college once you are a few years removed from graduating. You should have your portfolio available for viewing digitally online somewhere. Danielle’s portfolio was 154MB in size and I’d be really irritated if someone tried to email me a portfolio that size. You could make it a shared file on your Google Drive, or you could establish an account at sites like Issuu that can house your online portfolio. So to wrap up our chat about portfolios … Yes, your portfolio is important and you will use it at various points during school and your early career to leverage it into something you want. Just realize that at some point in the early future, you will be embarrassed that you thought your work was so great when it clearly isn’t as great as you probably think....

Do you have architectural visualization skills? Maybe you’re asking yourself “what does even mean?” Well, you are in luck because today on the Life of an Architect Podcast we are dedicated to discussing all things related to architectural visualization and graphics and we have the perfect guest, Alex Hogrefe.

Understanding the physical behavior of the building as a system and how it impacts the energy efficiency, durability, comfort, and indoor air quality is pivotal in the creation of high-performance buildings. This means we are talking Building Science Fight Club with Christine Williamson.

Leaving your mark on the place where you live is built into the DNA of most architects and designers. This can manifest itself in many different ways but for many of us, working on the place where we live is the most obvious choice. Today we are talking about Renovating your House – the good, the bad, and (hopefully not) the ugly.

If you’ve ever dreamed of starting your own design firm, maybe you’ve just graduated from school, perhaps you’ve worked for another firm and seen first-hand what not to do and decided it’s time to go out on your own, today is the show for you because today’s topic is “Starting a Design Firm”.

How does scale factor into the practice of architecture? For any architect, scale and proportion are two skills that appear to be the most challenging to master.

Ep. 054 dives into what makes a great architectural leader, exploring communication, responsibility, and the impact of leadership styles.

Do you have a design culture in your office? Why is it that some firms have it and others don’t? A culture of design isn’t something that just happens, there has to be a plan, it needs to be cultivated, and even then, without the right sort of people in place, you might be fighting an uphill battle.

When an architect goes to work … what happens? Do they pull out a pen and sketch paper? Maybe they power up some hardware – quite possibly a bit of both. Ask and architect what they need to do their job and they’ll all give you different answers but we’ll give you the real scope on today’s episode … Architectural Tools

We are all familiar with the phrase “style over substance” but those words might mean something else to architects. Is this considered a negative concept in every circumstance? We discuss those notions in this episode.

For architects, todays post is a analysis of why you want to use an iPad and what applications are worth your consideration and money.

We have special guest Marlon Blackwell, FAIA on the podcast today and if you are not intimately familiar with his work, I am excited to be in a position to share it with you. Marlon and I go back a long way and it seemed only fitting that we should finally ask him to be on the podcast.

For every architect and designer, there are objects out there that resonate for them in a profound manner and can even shape their design philosophies. These can be buildings, products – even materials – but no matter what you call them, they are "Objects of Design".

Today we are talking about the design process and how different that process is between residential projects and commercial projects. While you might think that this is a conversation about scale, budgets, and complexities, it's really about something quite different.

Architects are using technology more and more and with each passing day, more of this technology is available from the comforts of your cellphone or smart tablet. This list has been curated and categorized to provide the best mobile apps for architects.

A lot can happen in just a few weeks. Due to COVID-19 pandemic, business as usual is anything but … and Andrew and I felt like we should interrupt our regularly scheduled podcast to take some time and talk about working from home – something that we all are going to have to deal with for the foreseeable future. Since so many of the people we listen to this podcast are single or small office practitioners, we thought that instead of running our scheduled (and completed - DOH!) podcast episode – which was titled “A Culture of Design” and will be released a bit later in the year - that we should take this moment in time and talk a little bit about how the current climate is impacting our daily routines, our jobs, the basic stuff that for the vast majority of us, are the givens that help ground us. A bit of this is purely selfish on my part because I wanted to make a record of sorts of this particular moment in time - talk about what is happening to our daily lives in what is unquestionably unprecedented activities. We will also be talking about working from home – what that actually looks like – home office setups, multiple people all working from home, teaching classes remotely, thinking about what that might be like from both the teacher and the student side of things, along with some more mundane realities that we are having to deal with. I will go on record and say that I am not really a "work-from-home" fan. As an employer, I will concede that I don't think that the vast majority of people really do their best work when left completely to their own devices, a big part of that is based on my own behavior, but as an employee, I really feed off the energy and conversations that take place within the work environment. [Note: If you are reading this via email, click here to access the on-site audio player]  Traveling and Going to the Grocery Store [ 4:36 mark] Just about every part of our daily routines is being affected in ways that still don't make a great deal of sense to me. I'm not sure if it's hoarding behavior taking place, or something along the supply chain has been impacted (across the entire planet) but I don't know why it's so difficult to get your hands on some toilet paper. I was out of town for the week when most of the craziness took place where I live. I was in Northern California spending the week at a rental house in Sea Ranch (if you're not familiar with this landmark project, I've written about it in detail previously here: Sea Ranch, California) and from afar I watched more and more things close down and become unavailable. Friends were telling me about how everything in the grocery stores was gone and that by the time I get back into town all that will be left will be canned asparagus and potted meat. Luckily it wasn't that bad but there were limits put in place on the number of specific items you could purchase. Luckily, my wife and I do not exhibit hoarding personalities and most of the things on this restriction list were not an issue for us. Working from Home [ 15:12 mark] I would be interested to hear from people how their work from home situation is shaping up. Andrew and I recorded this episode on Sunday, March 22nd, and I have now spent 1 week working from home ... and my opinions on the matter have been profoundly impacted by this single week. I will say that my dogs LOVE having all of us at home all day. In the beginning, it was a bit overbearing - they wanted to be around me all the time and for them, they wanted me to pet them, throw the ball and play fetch, even a game of tug-of-war was not out of the question. On day one, I thought "Okay, I'll do some of this so you will leave me alone ..." They still aren't leaving me alone. Hopefully, they will start to tone down their neediness of my attention because I honestly don't have the time to pay attention to them. I was very surprised by just how much time I spent working last week. I'm not sure I was very efficient with my efforts on Monday and part of Tuesday, but I finally broke down and set up a "proper" workspace late Tuesday night because sitting on the couch and standing at the bar counter was not working for me. We have two viable workspaces in my house - there is a proper office at one end of the house which is the domain of my wife. Since she already works from home from time to time, not to mention that she runs the household finances, she rightfully claimed this space when we bought this house a few years ago. My daughter has a built-in desk in her bedroom because she basically has 4 hours of homework every night and has needed a proper workspace since she started the 7th grade 4 years ago. And then there's me ... I have nothing. Here is a look at the "temporary" workspace I am throwing down. I am set up in my bedroom in front of the sliding glass door, and while it looks terrible, so far it's functioning fairly well. I can open the sliding glass door - which I do every day - to get fresh air, the view is pretty nice, and the surface area is pretty large and can accommodate all the computers and papers that I put on here. However ... I might need to do something about my chair. It's unquestionably the coolest part of this setup and is remarkably comfortable for long periods of time, but the issue is that it is about 1" lower (or the table is 1" higher) than what I need and by the end of the day, this disconnect results in sore and achy shoulders from being hunched up all day. This is my (Andrew's) current setup. I am working on my dining room table. While this is 100% temporary, it is working well enough. Obviously I need more desk real-estate. I have been spending some of this isolation time to work on my future home office space, but it has been going a bit slower than I hoped. That is mainly due to the amount of actual work I have been doing during spring break and now isolation. I hope to have my permanent home office completed in the month of April. It will be my new home for professional practice, teaching, podcasting, and blogging. A real HQ! At the moment we are in sheetrock repair and paint mode. Teleconferencing - The New Normal [ 21:10 mark] I am a little shocked to admit that I have participated in more teleconferences over the last two weeks than I have in the first 25 years of my career. At my last job, I participated in a grand total of three in a 6-year window whereas at my current position at BOKA Powell, I might do 6 a week! I did a screen grab during one of my meetings last week when we had 10 people on the call. We are working through a masterplan study and I am part of a 4-person team within my office. On this particular call, we were presenting our progress to the clients with the intent to receive their input and feedback as we move forward on this project. While this was the presentation meeting, I bet the members of this team jumped onto a teleconference call either using GoTo Meeting or the conferencing feature within the Teams feature offered by Microsoft 365. So we wanted to provide a small list of teleconferencing/remote working applications during this time. While there are dozens of services, the list I have compiled below is based on those services that I personally know someone who is using them. A few of them, to be honest, I had never even heard of before, but as it turns out, they are fairly popular. If you look up a “Top 10” list, these will most likely be there. GoTo Meeting This one has been around for a while. They have 2 standard plans ($14-$16/month) that you can choose. The ‘professional’ plan has limited features and the business plan would most likely be the one used by AEC. This is mainly due to the drawing tools feature that is not available on the basic professional version. They both allow a large number of participants (25+ HD video) and have the standard features of most applications. GoTo has a good mobile interface for Android and iOS and it seems to have some good features as well. But you cannot use the draw tools on mobile or web interface; you are required to install the desktop app for that feature. Skype Skype is almost a household name in the video calling arena. It is a free service from Microsoft. It has a messaging component, screen sharing, call recording, mobile interface, and other typical features. You can have up to 50 people per call via various methods including phone call only. Sending files and sharing content within Skype is fairly easy and the messaging is active and stored long term. Skype also works with Alexa (the video one) and also Xbox. This is touted as mainly a personal service. It used to have a business component, but now that is part of Microsoft Teams.   Zoom This service includes video and chat features in one package. This is the one that I am using for my teaching, granted I did not choose, but it has been good to use. Zoom allows up to 49 persons on a single video conference. Meetings can be saved locally or to the cloud, has audio transcription, file sharing and calendar integration for meetings with outlook, google, and iCal. There is a free version of this that allows group meeting of 40 minutes and most of the other features of the application. This has the ability to share screens, remote control screens, and annotate. Paid versions begin at $15/month and add features. Cisco Webex WebEx has been in the video conferencing realm for a long time. They are one of the original players in the market. Although I mentioned this as being an expensive product in the podcast, it seems that that might be only for the enterprise type usage. They now have a free version that has some strong basic features. They modified the options on the free version due to the current situation. Now you can have unlimited length meetings and up to 100 participants. Also, Webex has a mobile interface that allows screen sharing, whiteboards, messaging, screen sharing and file sharing....

The process of preparing construction drawings has evolved from “What do we need to do to “What can’t we do?” Today we are going talking about construction drawing best practices in what is essentially creating the graphic instruction manual of constructing a building.

Architectural Technology is changing how architects work and what’s in today might be irrelevant and out of date by next week, but ignore these developments at your own peril. For even your average run-of-the-mill architect, technology is a way of life … but despite knowing this information, I am frequently amazed by just how amazing technology actually is and the role it plays daily in my work and my office.

So you’ve graduated from architecture school and received a university degree in architecture - so what happens next? What exactly does an architect do? What if you don’t want to be a designer, maybe you have interests in how buildings are detailed and built, the selection of materials and finishes, firm management … so many directions you could go and today we are going to talk about a bunch of them and take you Inside the Firm!

Finding the right sort of person who can help guide you through various stages of your career can be incredibly valuable and beneficial. Today we are talking about mentorship and what that means, what can make it great, why it doesn’t necessarily work, what you can do so that you might actually benefit from the experience, and what sort of relationship can make a mentor a great fit for you.

Today we are introducing a new series we are rolling out for the 2020 season of episodes titled “Talking Shop with __________” and we will do around four of these sorts of episodes this year and we decided to come out the gate strong with our first guest - Canadian Architect and Emerging Voice in the architectural community - as well as my friend - Omar Gandhi.

You sit down at your desk, you turn your computer on, maybe you sharpen your pencils, you lay out your rolls of trace and your sharpie pens – whatever your creative process - and you are about to start work solving the problems at hand … But where do you start? Sitting before you are all the normal tools and a big fat blank piece of paper. This is a moment where you have to make a make a decision on what happens next. Where do you start? How do you set the priorities to the issues you will be addressing? Andrew and I are going to discuss the process of when you start, what happens next. Welcome to Episode 157: Blank Page versus Project Constraints. [Note: If you are reading this via email, click here to access the on-site audio player] [hoops name="top1"] The word "constraints" often carries a negative connotation, as if they are problems we have to deal with. When starting a new project and hearing about constraints, it can feel like they are already limiting our ability to pursue our passion and creativity. However, I believe that constraints are not something to complain about. They help us make decisions, prioritize, and move forward. Constraints are like rules that guide us, almost like a how-to book. Andrew and I both agree that having complete freedom might actually freeze us. Too many options can be overwhelming, and without any limits or rules, it’s hard to know which direction to take. Even with the same constraints, different architects can come up with multiple solutions because we all have different values and priorities. Constraints shape our creativity and force us to think critically. Budget jump to 7:00 Scope Limitation: A tight budget can limit the overall scope of the project, potentially necessitating compromises on materials, finishes, and features. Quality Compromises: Lower budget constraints might force the selection of cheaper, less durable materials, which could affect the building's longevity and performance. Design Adjustments: Innovative design solutions might be required to meet budget constraints, which can lead to creative outcomes but also might limit some design aspirations. Project Delays: Insufficient budget can lead to delays if additional funds need to be sourced or if cost overruns occur. In my conversation with Andrew, we spent a fair amount of time talking about budget as possibly the most critical constraint that owners and architect have to address. Many architects, myself included, fantasize about the ideal scenario where there is unlimited time, budget, and creative freedom. However, I have come to realize that this notion is neither realistic nor desirable. Constraints are essential and beneficial, as they provide a necessary framework that guides the design process and helps prioritize decisions. At first glance, constraints might seem limiting, but they actually facilitate creativity and problem-solving. Constraints can include budget limitations, client requirements, existing structures, and site conditions. Andrew was of the opinion that having too much freedom could be paralyzing, with endless possibilities leading to indecision. I used residential projects to illustrate how constraints function - mostly because it is easier to explain because residential projects typically have fewer constraints. Building a new house on an empty lot might seem closer to having a blank page, but it still comes with constraints like zoning laws and environmental regulations. On the other hand, renovations and additions have more obvious constraints due to the existing structure. However, these constraints help narrow down options and inform design choices. Time jump to 27:14 Accelerated Schedule: Tight deadlines might require an accelerated construction schedule, which can increase costs and potentially affect the quality of workmanship. Limited Design Development: Insufficient time can limit the design development phase, potentially resulting in less thorough planning and detailing. Coordination Challenges: Quick timelines can lead to coordination challenges among various stakeholders, including contractors, suppliers, and consultants. Stress on Resources: Rushed timelines can strain both human and material resources, possibly leading to mistakes and rework. Time is an essential factor that can dramatically influence both budgets and the overall quality of our work. We touched upon the challenges of accelerated schedules, which often require us to make quick decisions, limiting our ability to thoroughly solve problems. This rushed environment can constrain our solutions, forcing us to adapt existing structures rather than crafting optimal designs from scratch. One of the primary issues we face with accelerated schedules is the impact on budgets. Clients often have to pay premiums to speed up the process, which isn't surprising, but the rush can also degrade the quality of workmanship. High-quality vendors might not be available on such short notice, compelling us to opt for less experienced ones who can meet the tight deadlines but may not deliver the same standard of work. Furthermore, these time constraints heavily restrict our design development phase. We find ourselves making decisions based on narratives and descriptions rather than detailed plans. This approach, while necessary to meet deadlines, can lead to significant decisions being made with incomplete information, affecting the final outcome. The pressure to deliver quickly also hampers our creativity. I often find myself in the difficult position of having to rein in my team's innovative designs to ensure they align with budget constraints. It's frustrating because I know the potential of my team, but the reality of time constraints means we have to be pragmatic. We end up working on designs that fit within the client's budget and timeline, even if it means sacrificing some of the creativity and uniqueness that we could have achieved with more time. Codes and Zoning jump to 40:20 Compliance Costs: Ensuring compliance with building codes can add to project costs, particularly if changes are needed to meet requirements. Design Restrictions: Building codes impose specific design restrictions that can limit architectural freedom and require adjustments to the initial design concept. Use Limitations: Zoning regulations dictate permissible uses for the site, which can restrict certain project elements or intended uses. Density and Height Restrictions: Zoning laws often include limits on building height and density, which can impact the project's scale and design. Setback Requirements: Zoning often mandates specific setbacks from property lines, which can affect the building footprint and overall site layout. Rezoning Challenges: If a project requires rezoning, the process can be lengthy and complex, with no guarantee of approval, potentially stalling the project. From my perspective, building codes, while sometimes complex, are relatively straightforward to navigate. They provide clear guidelines and requirements, such as stair pressurization, which we can easily interpret and implement with the help of MEP engineers. However, these codes undeniably impose limitations on our designs, especially in commercial projects where parameters like building height and floor count need to be determined early on. One of the key challenges we face is the differing interpretations between us and the building permitting departments. This discrepancy often complicates our work, as their interpretations tend to be more restrictive. Fire marshals, in particular, pose significant hurdles with their stringent requirements. They can mandate specific placements for fire command rooms and other equipment, which can sometimes be impractical and costly for the project. Zoning, on the other hand, though seemingly straightforward, can at times be a major pain point, especially in residential projects. Zoning codes dictate everything above ground, from setbacks to primary and secondary allowable uses and each municipality has its unique regulations, making it essential for us to investigate and comply with local rules for every project. Andrew pointed out that in residential projects, we also contend with homeowners' association (HOA) overlays, adding another layer of complexity. These design requirements can be just as demanding as municipal codes. The cumulative effect of these constraints, whether from building codes, zoning regulations, or HOAs, requires us to meticulously plan and navigate through every stage of the project to ensure compliance and manage client expectations effectively. Owner Decisions jump to 49:54 Design Revisions: Indecision can lead to multiple design revisions, increasing time and costs associated with redesign work. Project Delays: Frequent changes or delays in decision-making can stall the project timeline, impacting the overall schedule. Budget Overruns: Indecisiveness can lead to scope changes that cause budget overruns due to unplanned alterations or additions. Stakeholder Coordination: Indecision can create coordination challenges among the project team, leading to confusion and miscommunication. One of the primary constraints we often face is owner indecision. It frequently results in design revisions, which, while sometimes manageable on paper, become costly when changes are requested during construction. Andrew shared a story about a project where the owner decided to enclose a two-story space to create more room on the second floor, after the steel frame was already up. This change required a complete redesign, additional structural support, and ultimately delayed the project and increased costs. Indecision or changes mid-project not only cause delays but also lead to budget overruns. For instance, when owners pause a project to secure new funding or change their minds about key features,...

Changing jobs is exciting and terrifying at the same time – particularly if you are making a drastic change wither in the type of work or the size of the firm. Today we are talking about “Changing Jobs” a topic that seems somewhat fitting given that it is the first podcast episode of 2020 and both Andrew and me have changed jobs.

Andrew and I really enjoy answering hypothetical questions as part of each Life of an Architect podcast episode. In our final recording of the year, we are happy to present to you the "Director's Cut" on three of our most favorite Hypothetical questions from 2019, as well as two new questions as our way of saying Thanks for listening to the show this year.

Buying gifts for Architects can be tough for some people because architects are very specific about the sorts of things they want. This is the 10th consecutive year of "What to Get an Architect for Christmas" and there is something here for every sort of architect.

What music do you listen to? What’s your design process? What is your favorite building and why? What do you eat for breakfast? All this and more today as Andrew and I answer your burning questions where almost nothing is off-limits.

Architecture and skilled craft go hand in hand, but you may not be aware that the number of skilled individuals that are required to bring an architect’s ideas to reality and in today's episode, Andrew and I are talking about the state of skilled labor in the construction industry. 

If you ever thought about being an architect but thought you couldn’t handle the math, you aren’t alone. At parties across the land, as soon as someone finds out there is an architect in the crowd, there is a story being told about how they wanted to be an architect but since they couldn’t draw or weren’t very good at math, they decided to do something else.

Architectural models are clearly within the architect's domain but are you within the "physical models are better" or "digital models are better" camp? Physical models have a bigger impact on the space when people can interact with them, but digital models are a more powerful tool for the act of creating architecture.

Taking the architectural registration exam is a crucial step in the process of becoming an architect. The test is long, difficult, and stressful, but it is an absolute necessity if you want to be an architect. Graduating from school is not our finish line, becoming licensed is. IF you find yourself in a position where you need to take the registration exam and you are nervous ... don't be. You can do it, all it takes is the same sort of effort you've already demonstrated you are capable of, evidenced by the fact you went to and graduated from, architecture school. 

Your college architecture projects will be silly because they are designed to make you think outside what you already know. They are also supposed to force you to evaluate your own belief system, your own understanding of how spaces work, and the things that shape your ideas.

Do Architects have obsessive personalities? I tend to think so, and only partially based on my own behavior. I should throw out the caveat that I don’t think you should have to explain why you obsess over something. Isn’t that the nature of any obsession – that there is some level of irrationality associated behind it? Of course, people seem to typically feel that their logic is flawless and that they are completely justified in their behavior and if you can’t see the wisdom in their position, the fault lies with you.

We are discussing residential projects that focus on incorporating high value building science techniques with guest Steven Baczek.

Is It the dream of every architect to start their own architecture firm? Most architects think about it at one point or another and Austin Architect Michael Hsu sits down to talk about how he started his own firm.

If you are a young architect or plan on becoming an architect one day, I think the best advice I can give you is to find your way onto a construction site – even if that construction site is your own. I can’t help but think how working on my own houses over the years has fundamentally shaped how I think as an architect when I walk onto a job site. As a result of all the time I spent trying to get things right when I’m the one swinging the hammer, I have a deeper appreciation for the craftsmanship I am hopefully observing and a better understanding of the effort it takes to create the desired result.

In order for social media to have an impact, you first have to decide on what you want to achieve and from there, you actually have to put yourself out there as an individual because social media only functions when you are social - which means there has to be a 1st person narrative. I should point out that this doesn't necessarily mean talking about yourself, it means talking about things from your perspective.