#488 - WHAT IS MODERN ARCHITECTURE?
SUMMARY
This week, David and Marina of FAME Architecture & Design answer the question, "What is modern architecture?" They discuss the history of modern architecture, misconceptions about modern architecture, contemporary vs modern styles, why architecture styles are confusing, search for authenticity in architecture, ornamentation in architecture, and more. Enjoy!
TIMESTAMPS
(00:00) History of Modern Architecture.
(11:19) Contemporary vs modern architecture meaning.
“Modernism and the modern mentality is more important than the form it produces. What it means to be a modernist, is to think about the contemporary setting that you are in, to analyze it, digest it, and then channel that into the work, but also think about where we want to go as a society. All of us who are practicing and designing the built environment, that's actually what we're thinking about. What makes sense to have something, a sculpture and a structure, that's an expression of our principles and our belief system, and where we want to be going. I think that futurist mentality is very much what it means to be a modern architect. ” (13:21)
(21:23) Search for authenticity in architecture.
“The urge for creation and the idea that you could discover something super great that could potentially change how people live, change how other architects think about architecture. Designing for the people of your time. Any major building that was done in the past was modern for its time, because they were trying to push things in a new direction or forward. In a way, I do think if you are an architect, you kind of have to do that. It’s our responsibility.” (27:07)
“This is how architects think. When we produce something, it has to be forward looking because what are we doing otherwise? Buildings last for such a long time, especially when we talk about larger structures, we cannot afford to look backward. We are putting a permanent giant work of structure that costs a lot of money, that is now part of the city. It has to be appropriate and positive. It can't be backward looking. It's the wrong thing to do in my book if you are not pushing and evolving, because every building that we do is a drop in the bucket for where we're going as a species.” (28:21)
(29:36) Misconception about Modern Architecture.
“The misconception of the word ‘Modern Architecture’ is because the meaning of it has been associated with what it was when it first came out. When it first started, modern architecture was maybe cold and minimal. But architecture has evolved, and modern architecture can be many things. The thing that's not really being explained to people today is that modern architecture can take any shape or form. (31:11)
(35:03) Buildings with no style.
(39:35) Communicating architecture to clients without using styles.
(44:43) Right architect and client pairing.
“Balancing the parameters which guide and provide boundaries to what you can do as an architect. Balancing that with freedom is a really interesting problem that's always something that we are continually trying to work on because it's not easy. Oftentimes every project has a new client, new site, new place, so it's always a new context. The client have a goal in mind and we're hired to achieve that goal. But it's also our job to deviate from it slightly, to make sure that we can propose something that's even better than what the client already has in their preconceived notions. But not so much to where it's like, “Well, dude, you just blew my budget. This has nothing to do with the program.” We don't want to go so far outside of that path. But we do want to have wiggle room to venture off of that a little bit, to produce something that actually has meaning and is going to bring a great value to the client and to the property.” (57:51)
(59:55) Ornamentation & Modern Architecture.
(01:03:56) How to make sure architecture has meaning.
“How do you know if what you're drawing makes sense? In a project, you're driven by a lot of things like the site, the client, the program, the budget, etc. But they are not actually enough to make a final decision of where this wall should go or what shape that wall should be. There's an unlimited number of design options, so what is the right solution? Where does it come from? For our office, this really comes down to the concept. It is all about the concept behind the house. Another way to describe concepts could be the artistic statement behind the project. It is the narrative or the thesis behind the work.” (01:04:08)
(01:10:27) Ideal projects & clients for FAME Architects.
“Once you find the story of the project, the concept of the architecture, it kind of starts to write and draw itself. You end up almost simply being this conduit between the concepts and what's being put on paper. Your job is just to be a good conduit. You can sense naturally, once you get enough experience, when you draw something that you're screwing it up. It feels dishonest. It doesn't belong there. Or we need to add something, but you can feel when it's not right. It's almost like what's guiding the hand is not me. It's the story. It's the concept.There's always a moment in the project where that happens and things start to lock into place, and it becomes very clear as to what the design should and should not be.” (01:06:20)
(01:16:04) Summary.
“For clients who are listening to this, stop focusing so much on the labels [or styles] and focus more on the approach and what you're looking for as a client. Are you looking for a very prescribed creation that you're dictating in a way, or are you looking for a more loose process that's a bit more open ended? Try to understand the architect you're looking to hire. What is their approach {and design philosophy?]” (01:16:22)
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#487 - THOMAS ROWNTREE, Architect & Founder of Tomrowstudios
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Thomas Rowntree, architect & founder of Tomrowstudios. The three discussed how Thomas got into architecture, advice to prepare for architecture school, experience of architecture school & avoiding burnout, why Thomas started posting on social media, architecture marketing & social media presence, career timeline, Thomas’ book “Architectural Influence", why architecture profession is misunderstood, and more. Enjoy!
ABOUT THOMAS
Thomas Rowntree is an architect and the founder of tomrowstudios, and one of the first and largest architecture-focused personal brands on social media. He has produced viral content that has reached millions of views, using digital platforms to inspire, educate, and guide designers around the globe. Thomas is also the author of Architectural Influence, a strategic guide to building an effective online profile and communicating the value of architectural work in the digital age.
TIMESTAMPS
(00:00) How Thomas got into architecture.
“I went into architecture with no preconceived ideas. I could go into it fully open-minded and think with a clean slate, with no one telling me this is how it normally works in practice, this is how we design buildings. I went into it fully clean and not really knowing what I was getting into. In so many ways, it benefited me, and it made me want to be curious about the profession and curious about what architecture even is. I still ask that question to this day. What is architecture? What is the role of the architect? That is a real purpose to the work that I do, which is that I'm still trying to question that.” (05:36)
(07:20) First year of architecture school.
(12:47) Advice to prepare for architecture.
(18:30) Architecture school experience.
“In the first few months of architecture school, I developed insomnia. I'd struggled to sleep for about three months because I put so much pressure on myself to do well and to be successful. But also, I'd got so caught up in the whole machine of all-nighters and everyone spending time in the studio until really late in the morning. You want to spend time with people, and in the studio, you want to be a part of that culture. But I realised pretty quickly that I couldn't sustain it. I couldn't finish my degree and go into a master's degree with this kind of mentality and way of working. I realised that I'm going to have to start building some systems and routines for me to start studying at certain times of the day to make sure that I can get my work done, so I'm not working late. So literally after the first year of university, I didn't do a late night after 2 a.m. for the rest of my architecture career.” (20:52)
(24:27) Avoiding burnout in architecture school.
(32:40) Why Thomas started posting on social media.
(40:51) Architecture marketing & social media.
“Practices that are more developed and mature, they have their own ways of getting clients on board. They're used to doing that, they understand that process, and it works for them. But they could be doing so much more with the opportunity of a free tool like social media. You can reach almost anyone anywhere in the globe in an instant. Obviously, it's huge; there's billions and billions of active users on social media. But for some reason, practices don't necessarily lean into it to build their clientele and to build their portfolio. Instead, they almost use it as a portfolio piece and a repurposing of website content. They just publish images, rather than leaning into it as, we can show you our value and the service that we can offer you. What is your unique selling proposition is as a practice?” (41:36)
“Confidentiality. When I've been working in practice, they've been very careful not to show the process. We can't necessarily show the behind-the-scenes because this is a confidential project. They don't want to give away the secrets to what makes their projects unique. You almost have to do the content after the fact. So once the process and the project is done, you then go back in time and then you talk through the process and document the process. I do think it's a massive shame. You are confining something that is useful for a client to see and understand how you work and your processes. By building a brand identity and a brand reputation, what it does is it gives you not only exposure to your brand and to grow your brand, but also to encourage potential employees to work with you. So it can attract talent as well.” (46:06)
(49:30) Social media presence & working in a practice.
(54:15) Thomas' career timeline, social media vs practice.
(01:03:57) Thomas' book ‘Architectural Influence’.
(01:12:27) Lessons learnt from writing the book.
(01:16:09) Architecture profession being misunderstood.
“There is a real opportunity for the general public to have an interest in architecture and generally understand how buildings are, how they work, and how they impact people. Then you have architects who are struggling to communicate it. I find that sometimes it's about simplifying it and just putting it down to the bare bones of the process, how you would build something. For an individual who was trying to build their practice, if they stood in front of a construction site and talked through the process of how it was actually being built and certain elements of the design, the general public would understand and be interested in that. Then it gives them exposure and it shows their expertise and also proof that they're actually building something.” (01:19:51)
(01:22:48) Thomas' favorite building.
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#486 -WHINEY PEOPLE AND AFFORDABLE HOUSING
SUMMARY
This week, David and Marina have a casual chat about eating at Gladstone's, ways to make housing more affordable, whiney people, (un)reasonable demands of car drivers, airplane stories, and more. Enjoy!
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#485 - KIRK LAUTERBACH AND CHRISTINE KEGEL, COO and CEO of Blue Alpine Builders
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Kirk Lauterbach and Christine Kegel, COO and CEO of Blue Alpine Builders. The four discussed Kirk & Christine’s background, how they met, working with your partner, good contractor & customer service, contractors & architects working relationships, ideal client, architect and contractor relationship, understanding everyone’s needs & communications, advice for clients working with contractors, favorite place in Tahoe and more. Enjoy!
ABOUT KIRK & CHRISTINE
Blue Alpine Builders builds custom homes that blend intentional design with expert construction. Led by CEO Christine Kegel and COO Kirk Lauterbach, two professionals united by a belief that great homes should feel grounded, purposeful, and deeply personal. Christine shapes client experiences and design vision with creativity and strategic insight, while Kirk anchors projects with operational excellence and building science expertise. Together, they deliver custom homes that feel beautiful, and enduring — spaces where life unfolds with intention.
Kirk Lauterbach is the COO of Blue Alpine Builders, where he leads construction excellence, operational execution, and technical delivery. A second‑generation builder, Kirk’s journey in construction began in the foothills outside Yosemite, apprenticing under his General Contractor father and learning the craft firsthand amid the rugged beauty of the Sierra Nevada.
After working across Colorado, Washington, and Utah, Kirk returned to the Sierras in 2020 to build custom homes that reflect both place and purpose. When he’s not on a jobsite, you’ll find him making music or exploring the outdoors with his partner and their pups, continually inspired by the landscapes that shaped his path.
Christine Kegel is the CEO and Head of Design + Client Experience of Blue Alpine Builders, where she leads the creative vision, client partnerships, and overall business strategy. With roots in graphic design and brand strategy, Christine believes that thoughtful design builds trust, enhances daily life, and creates environments where people feel truly at home. She guides clients through the build process with clarity, care, and open communication, ensuring that every home reflects both function and personal meaning. When she’s not on a jobsite, you’ll find her hanging from aerial silks or swimming at the river with her 2 pups and Kirk in tow.
TIMESTAMPS
(00:00) Kirk & Christine's background.
(13:37) How Kirk and Christine met.
(17:25) Working with your partners & roles.
“Homeowners have a busy life. They don't really care about all the nitty-gritty stuff. So I'm giving them the TLDR about what’s important. This is a multi-year relationship where you're building something together. It's inherently a collaborative process; it just doesn't work if people don't approach it that way. There needs to be someone who sees all the moving parts and knows how to distill that and communicate that effectively so that not everybody has to see the bird's eye view, but they do need relevant information. Subcontractors and designers need to coordinate with each other for it to be a truly cohesive project and not a house where all the rooms just feel off.” (26:42)
(30:39) Good contractor & customer service.
“Everybody has a different idea of what a General Contractor is or does. We've certainly interviewed clients before where they've hired us because they want to be in control of the job, they want labor, and somebody who can do it all. I've had to explain that's not what we do as a GC. If you want a framer, you can hire a framer. But the reason you would hire us is to oversee and manage the job. If we clarify that early on in the project, then I find there's less assumptions being made, and fewer of an ego battle where people are upset that we're charging them for a service that they are trying to do themselves because they don't understand what our role is.” (34:10)
“Being a good carpenter does not mean being a good business owner. I knew they were separate. I think there are a lot of very talented carpenters and farmers out there, but maybe they don't have a website [or other forms of formal contact]. I bet that a lot of the communication that the client wants is not going to happen. They're going to say, “Well, I don't have a website. I don't do computer stuff.” I'm hyper aware of how much money these projects cost when people are spending hundreds of thousands, millions of dollars. I think it's fair that they get updates and communication.” (39:04)
(42:30) Contractors & architects working relationship.
(49:20) Ideal client, architect, and contractor relationship.
“There’s a natural scope creep that happens when you get excited about creating. Specifically, in the last couple of years, it's been hard to nail down pricing just with how volatile the building cost has been. We've experienced before where we've gotten plans from an architect and bid them for a client, and the client's like, “Wow, that was double what I expected to pay. But I really still want to do this job.” We can still get them an update to their house and really figure out why they even want this remodel in the first place. How do we make their money have the most impact, even if we do scale down the scope? I hate to see the standoff where an architect won't compromise on the grand scheme of their vision, and the homeowner is just like, “I told you where my line was, and I'm not crossing it.” Then the project never gets realized, and that's sad.” (55:23)
(01:07:00) Understanding everyone's needs & communications.
(01:12:12) Advice for clients working with contractors.
“It does not matter what day we say the project will be done. The owner will almost always try and move that forward, thinking that we'll just squeeze it in quicker. It doesn't work like that. As soon as you move into that project, then we're getting texts on the weekends like, “When are you coming back to do that?” But you live in the house now. We had three subs in there who were in the middle of finishing, and it was apparently of the utmost importance that you moved in on this date that we never promised. Everybody has pulled their stuff out of the garage. That's not enjoyable for the client. It's not enjoyable for us because you just turned what could be another two weeks if we just had the place into two months. We had full-time work during those two weeks. You remove that, so now we're on another job.” (01:18:10)
(01:20:18) Favorite place in Tahoe.
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#484 - ERAN CHEN, Founding Principal of ODA Architecture
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Eran Chen, Founding Principal of ODA Architecture. The three discussed Eran’s background and education, moving to New York, early career, the business of architecture, establishing ODA, ODA design approach, multidisciplinary architect, exciting projects, maintaining design quality in a large office, his favorite building, and more. Enjoy!
ABOUT ERAN
Since establishing ODA in 2007, Eran Chen has earned a reputation for mold-breaking designs that will deliver a better urban future. Having completed more than 50 buildings in just over a decade, he has become one of the most prolific architects in New York. Chen's work has been widely published around the world and recognized by the AIA, the Society of American Registered Architects and others. In addition to guest lecturing globally, Eran is also an Adjunct Professor at both Columbia University and New York University.
His recent projects include the renovation of the former Postkantoor in Rotterdam, an urban plan in Chicago, and the conversion of a defunct parking garage into a public park and class A office building in Buenos Aires. His writings on architecture have been published in ODA’s book, Unboxing New York.
TIMESTAMPS
(00:00) Eran's childhood & background.
(04:22) Architecture education.
(09:25) Moving to New York.
(12:37) How Eran found success in New York.
“My philosophy is connected to these principles: clear vision and relentless pursuit. You need to have a clear vision and know exactly where you're going. Even if you change paths throughout, every time you change the path, at least you need to convince yourself that you know where you're going, because there's no time for hesitation. You have to have real clarity about your priorities and what’s important because it's so easy to lose focus. Everybody's trying to push you away from your vision. The second thing is pursuit, because a lot of people have that great vision, but they don't actively pursue that vision. The last and most important part of it is to be relentless. You have to be relentless.” (14:22)
(17:43) Early career.
(25:37) Success in the business of architecture.
“We can be great designers, but we can also be good business people. We should be able to look our clients in the eyes and sell our talent. I think our profession has a pretty severe challenge, where we come out of school, and we feel like we're not as convincing as the people who are working in industries of money. We're intimidated by that. We feel that because we care about design, how does that line up with the idea of business? It's a huge mistake. I didn't feel that way. I went to the developer, I looked him in the eye, and I felt equal. That feeling has allowed me to project a certain confidence on their behalf that I can get it done.” (26:39)
“The business part of architecture is not the goal, but it's an essential tool for us to be independent. It's an essential tool for us to stand strong behind our ideas and to be able to pursue them. It's very hard to do all of that if you don't have the backbone of business understanding. It doesn’t matter what you build; they all cost money. Somebody needs to pay for it, and people need to trust you with their money. It doesn't matter if it's institutions of private clients, you have to take them through this, and you've got to have the understanding of where they're coming from in order to be able to be successful.” (32:02)
(32:53) Establishing ODA.
(46:39) ODA design approach.
“We have now made what was intuition into philosophy. The first is that the human experience is the driving force for the design, not the function or the form. Every aspect of a building we design, we're not just thinking about how the building would satisfy the program or the function, but what type of human experiences can it generate that is unique? I call it form follows experience as opposed to form follows function. I think that in the modern world, the function is becoming secondary. You can do anything from anywhere. Right now, cities are not built based on what function they're giving, but the type of experience that it provides to the people who would propel them to go out, to gather, and to meet each other. That's the leading factor. So we ask ourselves, "What is this building going to do to enhance the human experience?”” (48:14)
(51:20) Multidisciplinary architect.
“It would be a mistake to not do it [architecture, interiors & landscape] under one umbrella, because the narrative needs to be one. How many times have you come up with an idea, a narrative, or an ideology for a building, and then they bring in interior designers who come up with totally different ideas? How they live together, to me, is a very weird situation.” (54:48)
(55:23) Projects that Eran is excited about.
(01:01:12) Maintaining design quality in a large office.
(01:03:38) Becoming a developer?.
(01:04:56) Eran's favorite building.
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#483 - COPENHAGEN: Is It Too Perfect?
SUMMARY
This week, David and Marina have a casual chat about their trip to Copenhagen, covering flying with a child car seat, local food, croissants, coffee, transporation systems, people, and more. Part two will cover the architecture of Copenhagen - stay tuned!
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#482 - NOAH ROTH, Founder of Streetcraft
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Noah Roth, Founder of Streetcraft. The three discussed Noah’s background and education, starting Streetcraft, the cause of traffic, types of interchanges, human experience of urban planning, online comments, urban design advocacy & communication, business of Streetcraft, solutions to improve streets & how architects can help, strangest intersection, and more. Enjoy!
ABOUT NOAH
Noah Roth is the founder of Streetcraft, a platform that uses visual storytelling and urban design to explore and improve our built environment. As a leading voice on social media, Noah creates solution-oriented videos that simplify complex urban planning and transportation issues, sparking conversations about change. By combining animation, design, and compelling narratives, his work helps people see how streets and places can be transformed, inspiring audiences to think differently and take action toward creating better places.
TIMESTAMPS
(00:00) Noah's background & education.
(05:04) Starting Streetcraft.
(09:15) What is the cause of traffic?
(11:40) Types of interchanges.
“So much of [engineering] is right or wrong. There's no room for grey areas there. But with traffic engineering, there's the entire human psychology aspect of it. How is it actually going to function when you put people into it? Because everyone sees things differently and responds to things differently. It's really fascinating, but it also makes that type of engineering so much more difficult. How do you get better compliance, and how do you make sure that it is going to do what you want it to actually do?” (23:26)
(24:53) Human experience of urban planning.
(40:29) Online comments.
“Bike lanes seem to always trigger people. [I would say,] “There could be space for bike lanes here.” And people are like, “But I don't own a bike, and I hate biking.” And it’s like, maybe you don't have to use them. It could be for other people. “But what about when it snows?” Then get in the car and drive. Just because a bike lane is built, that doesn’t mean that everyone has to use the bike lane all the time for every trip. It's the all-or-nothing mentality, I guess.” (44:03)
(44:42) Urban design advocacy & communication.
“You're not building a house to sell. You're building public infrastructure that is going to benefit or hurt everyone who uses it. It's a very fine line, and it's something that the public gets involved with. So, you're basically selling to the public and coming up with a way to communicate that to people. The average person is not a traffic engineer. If they don't have an understanding of the why behind the infrastructure solution, I think that scares a lot of people. They might think, “Why are we changing this? It's worked fine forever.” But maybe there’s been a significant number of crashes due to this specific design feature, and by changing it, we expect there to be significantly less accidents. If people can’t understand something, they don't know why they even hate it or love it.” (51:41)
(53:47) Business of Streetcraft.
(55:21) Solutions to improve streets.
“How does architecture actually impact road use? If you make things pedestrian scale versus car scale, it's going to feel more like a pedestrian environment, and it also changes what the designation of the place is. If you have a bunch of pedestrian-scale buildings that are fairly close to the sidewalk, that space is going to feel more like a traditional urban downtown setting, versus if you offset it by a huge parking lot with a strip mall, that place will feel like a commercial corridor. It just continuously reinforces the idea that it's a car space, and I shouldn't see people walking. If you see people walking, you're probably going to be less likely to stop for them or look out for them in general. So, I think some of that really ties back to how the architecture is designed.” (01:01:10)
(59:45) How Architects can improve the streets.
“The reason why it [road design] becomes so subjective is that it all comes down to how people feel and what they want to prioritise when it comes to the built environment. When people are sitting in traffic, that doesn't feel good for them. So they want to do something that will eliminate that feeling, and that might look like adding more lanes. But now someone else feels unsafe walking along it, or the people who live there feel uncomfortable with the level of noise that is produced. It really does come back to how people feel, and it's a competing aspect of how we can make sure that there’s something that feels best for everyone. There's usually never a perfect solution. There's always compromises to be made, for the most part, if there's money and space involved.” (01:08:49)
(01:10:20) What's next for Noah?
(01:12:24) Strangest intersection.
(01:15:11) Noah's favorite place.
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#481 - DESIGN REVIEW: NEW YORK CITY ARCHITECTURE
SUMMARY
This week, David and Marina of FAME Architecture & Design discuss the architecture of New York City. They reviewed the World Trade Centre Plaza, the Oculus, the High Line, Little Island Park, The High Line, The Edge, The Shed, The Vessel, Hudson Yards, and more. Enjoy!
TIMESTAMPS
(00:00) World Trade Centre Plaza.
“One of the most common pitfalls of architects is the negative space they create with their buildings. There’s a lack of sensitivity to creating a space that is programmed, but also feels right. In some of the spaces, there's a program, but it doesn't feel like it was coherently thought about. That's also one of the challenges when you have a big master plan and a bunch of different architects doing completely different types of buildings. [In the World Trade Center Plaza], we have the Oculus, the Snohetta museum, the performing arts structure by REX, and a bunch of towers. There are a lot of different things happening. I've always felt like in this area and other areas like it, it's hard to make the space between those very different structures feel like it's intentional. It’s also the question of, ‘Whose responsibility is it to build and design it?’” (02:44)
“What does it mean to preserve a historic site? How do we do that appropriately and productively? Productive in the sense that when we preserve it, we're not just putting this thing in a glass box, but somehow its existence still contributes back to the urban fabric and the urban experience. In a lot of cases, we don't really answer those questions successfully. Is preserving an area or building enough to actually honor what it is, and truly preserve it when it does have an objectively negative impact on the experience of the area?” (09:12)
(11:49) The Oculus at The World Trade Center.
(21:12) How to create a profitable program in a historical site.
(25:53) The High Line.
(28:11) Little Island Park Hudson River.
(42:35) High Line The Edge.
(45:12) Indoor markets authenticity.
“When you have a privately owned area that's meant to feel public, it never feels right because they're trying to make it fit into the brand that they're creating. It's like a gentrified, cleansed space, and therefore it doesn't feel real and open to different things and different types of people.” (50:42)
(51:29) The Shed.
(53:17) The Vessel.
(01:04:54) Importance of circulation spaces.
(01:08:38) Hudson Yards.
“I was reminded and amazed at how much money and time are spent building the buildings in New York. But [looking at] the bigger picture outside of just New York, what does this mean? What’s the value of it, except for the very few who could experience it? [For example, at] The Highline, you still have people living in crappy buildings [on one side], and on the other side you have Zaha Hadid’s swoopy, curvy penthouses. It’s a place where the worlds collide. We’re just putting the two ends of the spectrum next to each other, but we’re not really learning and thinking about what would create a better middle ground.” (01:10:50)
“It just felt like all the architects were given an unlimited credit card to spend at a candy store. That's what the Hudson Yards is. As an architect, I felt like I was a bit let down because it’s still missing the soul. The soul of the place is not there. Do I feel like this place is as rewarding and productive compared to just a classic standard public park? They're different, but is this more of an expression of our current downfall as a society and the inequitable situation we're in? Is it more about that than something to be proud of? I think that's the question.” (01:12:05)
(01:13:27) Conclusion.
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#480 - OMAR GANDHI, Founder and Principal of Omar Gandhi Architects
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Omar Gandhi, founder and principal of Omar Gandhi Architects. The three discussed Omar’s background and education, the architect stereotype, the influence of office location on his architecture practice, establishing his own practice, modern vs traditional architecture, finding the right clients, project variety and firm size, design competitions, the importance of having architects on CA, the office’s structure and design process, and more. Enjoy!
ABOUT OMAR
Omar Gandhi, founder of Omar Gandhi Architects (OG), established his studio in 2010 with offices in Toronto and Halifax, Canada, and most recently in Berlin, Germany. Renowned for its critically acclaimed work, OG has garnered international recognition through a diverse portfolio of projects, including innovative urban infills, large-scale public works, and interventions in historic landscapes. Gandhi and his team are celebrated for their playful and unexpected approach to design, which reinterprets the familiar with bold, site-responsive architecture. The practice’s work is distinguished by meticulously crafted details and a profound engagement with the physical and historical context of each site.
Winner of 25 international awards in 2023-24, including Practice of the Year awards from Architizer, Architects Newspaper Awards, and the Architectural Masterprize, Omar Gandhi Architects continues to earn widespread international praise and academic recognition. Additional accolades include the Canada Council for the Arts Professional Prix de Rome, Architectural Record Magazine’s 2018 Design Vanguard, and the Canadian Governor General’s Medal in Architecture. Founder Omar Gandhi is actively engaged in academia, having served as a Louis I. Kahn Visiting Assistant Professor in Architectural Design at the Yale School of Architecture, and was named among Monocle magazine’s Most Influential Canadians.
TIMESTAMPS
(00:00) Omar's background & education.
(06:55) Not a stereotypical architect.
(10:09) Influence of office location on architecture practice.
“I'm certainly less interested in chasing other people's language, style, and whatever hottest sustainability trend there is. I feel like we're in a great spot where we can just do our thing, and as a result, if you maintain a level of honesty in the work, it's going to be unique.” (17:35)
(18:12) Establishing own practice.
(28:58) Modern vs traditional architecture.
“We all sort of leave school with these grand ideas and realize that not a single soul around us, minus the people we went to school with or people in our field, really understands what we're doing and why we do it. My parents are a good example of that. They're proud of the stuff that we do, but they couldn't think it's weirder.” (34:37)
(35:56) Finding the right clients.
“Bigger budget projects don't necessarily make the project more interesting. There's something about the constraint of limited means, whether it’s the scale of the building, or other parameters you're dealing with, it just makes for slightly more interesting results, even if it's a bit more difficult.” (39:19)
(39:44) Project variety and firm size.
“One thing that I always thought was ridiculous is this idea that you can't enter into an arena of a specific kind of work and not do something exceptional. They're always asking how many of a project type you've done, but no one ever asks how many of those were good. Quantity doesn't mean quality. Whether it was our first restaurant or first art gallery, the approach is the same and design is design. Our own personal experiences weigh into this equation. I really think you can do anything. It's a made-up thing that you have to be specialized in that way. I think design comes down to an interest in these things.” (42:06)
(45:49) Design competitions.
(48:13) Establishing firms internationally.
(55:24) Importance of having architects in construction administration.
“We all know what happens when we're not on site. It's like the kids starting a party when the parents aren't around. So, what was the point of trying to do something special, cohesive, and interesting if it's all just happening on site [without the architect]? It's tough to convince the client of this, probably because a lot of architects just shrug that part of the process [construction administration] off. They may offer that as a service and just say, "We do it up to this point, these are your drawings, good luck with it.” But the difference between a project you're proud of and a project that you're not. is your activity on site, the relationships you build, and the problem-solving that happens with the builder and consultants.” (56:20)
(57:55) Omar Gandhi Architects' office structure & design process.
“The fact of the matter is, I don't really care if it's a story about me or not. It's just not that important. But that is seemingly the most important thing to much of the profession. Certainly, as it goes back generations, this silly idea of ownership it's a joke. It also never existed before, this idea of the divine sketch and all that. There are a lot of people involved in a projec,t and ideas go from the student to the intermediate architect to the structural engineer and back, and things are constantly moving. Sure, maybe the design starts with some sketch I made or someone else made, but that's definitely the least important part of the whole thing. We've actively fought against that kind of idea just because it doesn't matter. It's all about the work.” (01:01:04)
(01:04:43) Publishing architecture work.
(01:07:55) Omar's ideal project type & favorite building.
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#479 - CAREER ADVICE: FIRST JOBS & LICENSURE
SUMMARY
This week, David and Marina of FAME Architecture & Design discuss their experience with their first job in architecture. They touched on the difference between school and practice, working overseas, office politics, project managers, job titles, office culture, architecture licensure, when to take the architecture exams, the exam systems, and more. Enjoy!
TIMESTAMPS
(00:00) David's first job & school vs practice.
(10:38) Marina's first job & working overseas.
(18:48) Office politics.
“Offices are a microcosm. It's about the work that the office does, but it's also really about the chemistry between the employees and everyone that makes up the office. If you hire the wrong person, it could mess up that chemistry. If you hire a couple of really good people, it could enhance that chemistry. I think the power of people's relationships within the workspace is really underrated. It influences the quality of their work, but also the happiness and development of the employees themselves.” (21:15)
(26:40) Project managers.
“I don't think everyone can be, or should be, a project manager… which is the problem with age ranks in architecture workplaces. If you stick with an office for 5 or 10 years, at some point, you're going to be a project manager. It's not really because you gain the skills, and you are able to hold that role. It's because you've been there long enough that when you turn around, there's no one else at that age with those many years of experience, whatever that means. That's also a tricky thing, because if you're a certain age and you've been in an office for a while, if you're not a project manager, then what are you? But you could become a technical person and find your expertise in something that you're good at.” (27:30)
(29:37) Job titles.
“If there's just one person in the office who's playing ‘the [political] game’, then you feel like you have to play that game because you don't know how the senior partners are registering all the information. If they're being more convinced by this individual simply because they're playing the game and kissing ass more… and know you feel like now I have to do that. Because even if we start off at the same level and you’re doing the same quality of work, who is going to have the more perceived value and contribution to the office? Well, it would be the one that's making an effort to make sure the partners see their value. So now everybody starts playing the game. The amount of collective brain power that's now taken away from just practicing and being a good architect to focusing on ‘What do I look like to the partners?’ I hate that.” (32:23)
(34:53) Office culture.
(38:55) Importance of getting an architect license.
“The truth is, having a license only matters, legally speaking, if you intend to stamp your own drawings. But most people don't do that. Most people are working at an office for an architect, and that senior architect’s stamp is used for the projects that they're in charge of, or all of the projects in the studio. Which means that if you are an employee and you're licensed, it makes no material difference to the office because they don't care. Even if you've had your license for the last five years, you’re not going to stamp drawings because of insurance logistics, company structure etc. You know how the office is structured. Therefore, there’s a very good argument to not even bother getting licensed because what difference does it make?” (40:07)
“The profession struggles with conveying what we do, the value of it, and the expertise associated with it. I'm not saying it's right or wrong, but one of the ways to help solve that problem is to have licensure. What it takes to become a licensed architect does not guarantee that that individual is a good architect, but it would be nice if there were a way that we could establish a perceived level of expertise. The easiest way to do this is through a title, which is to say that I'm licensed or not licensed. It's flawed, but as a profession, we need something. That's the only thing we have currently that would at least help us with this issue.” (45:32)
(49:36) When to take the architecture exams.
(55:40) Exam systems.
“The exams are counter to who an architect truly is. Because when architects are faced with a problem, our first instinct is to consider that problem from all different angles and question the validity of the problem and say, maybe there's another problem that's bigger behind it. We're used to poking at it from all these angles, but the exam does not want that. As architects, we are non-conformists because when we see an issue, we are creative about how we solve it. The exam is not about being creative. It’s like, “I am the exam, and you have to conform to me, what I'm saying, and adopt my logic.” It does not make sense.” (01:02:06)
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#478 - GARRETT NEAL, Principal Lighting Designer at Neal Lighting
SUMMARY
This week, David and Marina of FAME Architecture & Design are joined by Garrett Neal, principal lighting designer at Neal Lighting. The three discussed Garrett’s early career influence, the evolution of Neal Lighting, working with family, defining lighting design, client presentations, and the process of lighting design. when to engage a designer, common misconceptions, technology advancement & impact on lighting design, scopes and challenges, psychology of lighting design, how to fix poor lighting, the future of lighting technology, and more. Enjoy!
ABOUT GARRETT
Garrett is the principal lighting designer at NEAL and a second-generation architectural lighting designer. Garrett grew up on his grandfather’s job sites and watched his father design at an early age. He feels fortunate to have been passed down an eye for aesthetics and taught the skills to execute the design of a beautiful space.
Garrett is currently working on a wide range of projects, including large-scale hotels, restaurants, multifamily and luxury residences. He has an aptitude for quickly building relationships with our clients and fellow design team members, and contractors.
Garrett’s passion for architecture, art, music, and culture helps to inspire each project he works on. His clear communication of the lighting design concepts early in the project gives the design team and clients the ability to proceed through each phase confidently.
Garrett is an active member in both the Illuminating Engineers Society of North America (IESNA) and the International Association of Lighting Designers (IALD) and is also (CLD) as a nationally recognized Certified Lighting Designer.
TIMESTAMPS
(00:00) Garrett's early influence.
(06:00) Evolution of Neal Lighting.
(08:04) Working with family.
(12:01) What is lighting design?
“We [Lighting Designers] design the space for how it should feel and look with the lighting. We work just like an architect or an interior designer does. We're on board from schematic design all the way through to construction administration, and we bring the vibes to the space. We make it feel comfortable and intentional by really understanding the architecture and highlighting the materials.” (12:33)
(19:39) Presenting lighting design to clients.
(23:48) Lighting design process & when to engage a designer.
“[There’s a misconception that] the fancy lighting designer is going to spend way too much money or they’re only going to design with the most expensive stuff. But it doesn't have to be expensive for it to be a successful design. It just has to have a purpose, and it has to be well thought out by the designer.” (31:33)
(32:09) Misconception about lighting design.
(36:40) Adjustments to lighting post delivery.
(41:41) Technology advancement affects lighting design.
(44:24) Lighting design scope & challenges.
(47:30) Use of software in lighting design.
“Lighting programs do not consider the importance of shadow and darkness. They're like, here's how much light you have on the ground, here's what your reflectance is, and here’s what it should be from a candela standpoint. It's a great tool, and it's necessary for certain spaces and project types where we do have to meet minimum criteria in different areas, especially for commercial projects. But in a nice hospitality or a residential space, it's about designing with a gut feeling and experience for the most part.” (50:07)
(53:15) Psychology of lighting.
“When you're out for dinner, and it's transitioning from day to night, if you pay attention, you’ll notice the lights dim at some point and everyone will kind of relax. Even if it's just decent lighting, they will sense the shift, and it has an immediate psychological impact. These 100 people in one space all feel the same thing at the same time, and it just completely changes the vibe. It’s like, “Oh, okay, now I can have the second glass of wine.” (54:17)
(55:26) Simple ways to fix poor lighting.
“It's easier to do it right the first time than to go back and try to do a little rehab on the space. It's often more costly too, and is always harder to get just right. So, it’s super important to get it right from the beginning. But I don't think it takes a lot more than somebody who knows what they're doing to make recommendations on how to improve the space with the budget provided. There's definitely always something that can be improved in that regard. A lot of times, it’s about removing things because there’s too much light. I feel like most spaces are overlit, so it's just about taking some lights out or switching them to another type of light.” (56:07)
(58:44) Project type that Garrett would like to do.
(01:02:42) Challenge of lighting interior vs exterior spaces.
(01:06:32) Future of lighting technology.
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#477 - PUBLIC EDUCATION, LONG BEACH AQUARIUM, AND HOLIDAY PLANS
SUMMARY
This week David and Marina have a casual converstion about David's high school education, the Long Beach Aquarium, and holidy plans. Enjoy!
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#476 - TIM HAY, Co-Founder of Fearon Hay
SUMMARY
This week David and Marina of FAME Architecture & Design are joined by Tim Hay, co-founder of Fearon Hay. The three discussed the visibility of architecture ideas & process, realities of achieving architecture design, the business of architecture practice, architecture community helping young architects, Fearon Hay studio size and operations, local vs international projects, client relationships, working on different project types, architects in public policy and development, what Tim would do instead of architecture, his favorite building, and more. Enjoy!
ABOUT TIM
Fearon Hay is a design-led studio undertaking a broad range of projects in diverse environments, the firm is engaged in projects on sites around the world.
Tim hay and Jeff Fearon founded the practice in 1998 as a way to enable their combined involvement in the design and delivery of each project. Together, they lead an international team of experienced professionals.
The studio approaches every project with a commitment to design excellence, a thoughtful consideration of site and place, and an inventive sense of creativity. Fearon Hay enjoys responding to a range of briefs: Commercial projects for office and workplace, complex heritage environments, public work within the urban realm or wider landscape, private dwellings, and detailed bespoke work for hospitality and interior environments.
TIMESTAMPS
(00:00) Visibility of architecture ideas & process.
“These small physical models are such visual tools. I find when they're sitting in my peripheral vision, and it might not be what we're working on at that time, but the visibility of them means that those moments where your mind or your eyes wander, you capture a glimpse of them, you look at it, pick it up, rotate it, and you think about it. You participate in a process of design that I don't think happens in the digital modeling world. I remember seeing the images of Frank Lloyd Wright's studio with screeds of paper and people drawing, the visibility of the production and working was incredible because there was a sense of visible creation.” (08:03)
(16:49) Realities of achieving architectural design.
(21:08) Business of architecture practice.
(31:23) Architecture community helping young architects.
(36:20) Fearon Hay studio size & operations.
(40:08) Local vs international projects.
“We go beyond just trying to understand what the client wants. We want to know everything about the area. We bring a set of thinking and ideas that are unique because of where we are from [New Zealand]. As we export that thinking. There's this sensitivity to being an outsider and needing to learn, not just through online research, but forming relationships, meeting people and other architects, the openness and the giving that we are so lucky to receive. When we find ourselves in these different places, we dive into so many different parts of it to try and understand it. Building this foundation for the design and creative process is a really important part of feeling confident to design in those places, because we haven't been blasé or naive. We have invested in the place.” (44:42)
(48:46) Client relationships.
(56:15) Different project types.
(01:06:04) What would Tim do instead of architecture?
“There are the best parts of the cities and the parts that aren’t fantastic. You think about what would make that place better. What's missing? Sometimes it’s not significant things, maybe it’s bits of missing infrastructure. If part of what we do in the future is seeing these issues and actually being responsible for initiating development solutions or opportunities that enhance cities or communities, that fascinates me. We're not just waiting for someone else to come up with the idea and take that initiative. We can start looking at problems that exist and opportunities to make places greater.” (01:10:17)
(01:15:44) Architects in public policy & development.
“People talk about education and how you would bring up a child in the best possible way. If they apply that sort of thinking and sensitivities to cities, you'd say, “Oh my God, it's terrible. This child can't grow. It's awful. It's got no ability to imagine a future because of the constraints.” The world has a lot of pressure at the moment, so many problems to be solved. But if there was a sense of opportunity and optimism, so that the places that we all lived in had a sense of exciting vision for the future, 30, 40, 50 years from now, so that our children and their children have a sense of where it might go. Those visions don't really exist.” (01:16:36)
(01:27:31) Tim's favorite building.
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#475 - CHANGING THE STUDIO AND BEING A PARENT
SUMMARY
This week David and Marina have a casual chat about changing the studio setup and being parents. Enjoy!
