#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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#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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#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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#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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#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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#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.