The Power of the Sketch

By Barron Schimberg, AIA LEED AP

We recently worked on a project with another architect.  He was old school, using sketches and watercolors to express his thoughts and design.  We’re new school, using technology to represent our ideas and accurately portray the space and how the building will look.  We believe that if we show our ideas more true to form, rather than conceptual, we should be better able to sell clients on our visions and services.

So, the other architect and I went back and forth, almost competing for the love of the client.  In true, ego-driven architect fashion, we urged the client to “Pick me! Pick me!”

At a pivotal moment in the design process, we had an opportunity to win over the client.  We chose to represent an interior space in a colored pencil, hand-drawn sketch.  Although technology was used to set up the perspective, we used the power of the sketch to create the rendering.  The client was sold!

Personal, hand-drawn renderings seemed to be what clients want. Why is this?

We find that hand-done drawings fire up the client’s imagination, giving them a better sense of what it might actually feel like to live or work in the redesigned space or building.  It makes them feel good, which is what the client wants to experience.

As noted in a previous blog post, actually, all of my projects begin with a sketch. It is the architect’s original tool to allow ideas to flow and creativity to thrive.

I learned to sketch buildings at a semester abroad in Greece.  I was taught how to judge proportion and scale and notice more details in a surrounding environment.

Computer-aided drawings provide an extremely accurate and cost-effective way to plan every detail of how a building will be constructed. But to a person who doesn’t work in construction, that just doesn’t matter.

The graphics below show some renderings and sketches we have done in the past.  They have successfully allowed the client to see the project in progress. But they have also been relaxing and enjoyable to draw.

So I am curious: Do you prefer the computer renderings or the sketches? If so, why?

When hiring an architect for your next project, would you like to see hand-drawn sketches along with your renderings? Let me know what you think!

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When Pen Meets Paper

Taking the Fear Out of Buying Original Artwork

By Patty Morrison Schimberg

One of the most gratifying parts of my job as an interior designer is playing matchmaker between clients and artists. It gives me great pleasure to see clients discover the joy of owning original art.  Finding good homes for talented artists’ works—at sites where the art can be seen and appreciated outside of the artist’s studio—is also incredibly satisfying.

As an art consultant to clients, my intention is not to supersede the role of a gallery. If you want to become a serious collector of art, a reputable gallery may be an invaluable resource.  Galleries offer expertise, bios, and established pricing track records for the artists they represent.  Their presence provides exposure for artists, which can transform an artist’s career.  Their guidance to clientele can captivate the interest of a novice buyer and over time, shape true art collections.

But there are alternatives to galleries in New York, Chicago, Miami, Los Angeles or other urban centers to find talented artists. Every community has an abundance of gifted painters, sculptors and craftsmen who are producing beautiful work.  Many of these artists may never have the opportunity to be represented by a gallery.

So, purchasing artwork that can add something powerfully special to an interior is a win-win-win for the interior designer, client and artist.  Clients are often amazed by the lasting joy they find in the artwork they bring into their homes or business environment.

Where to Look for Original Art

Many interior designers have established working relationships with artists who are open to working with individuals or businesses that have a decorative need for art.  This type of commissioned artwork, when the artist is responsive to a designer’s input regarding dimensions and coloring, is not for all artists.  However, some artists welcome the opportunity.

It is also common for architects to participate in the selection of artwork—particularly large-scale pieces or works for public spaces. Again, many artists enjoy the challenge of creating site-specific work, including interior elements such as an artistic staircase or a custom light fixture that merges form with function.

Other sources to discover extraordinary art include regional art and design schools, community-based exhibit spaces, and independent studios that offer art classes.

Art and design schools provide an extraordinary opportunity to purchase original artwork by budding artistic geniuses.   Exhibits are usually open to the public; and both students and schools are extremely encouraged by the sale of their work.

Studios that offer art classes also love to show off their students’ work. Some of the “students” may be older adults who have retired from a first career to pursue their passion for art full-time.

Community-based exhibit spaces that are affiliated with a university, museum, or fine-arts organizations host ongoing exhibits of local artists.  At these local art shows, the exhibit organizers will gladly share biographical and contact information about the artists.

Tips for Choosing Original Art

Buy original art that you love—and don’t ever “match” the sofa.  Art that you love will bring you peace or make you smile. It’s OK to buy artwork for the sole purpose of decoration, but only if it complements or enhances your surroundings. Nothing detracts more from the beauty of original artwork than an overly coordinated “match” to the adjacent textile or general surroundings. When you choose art solely because it repeats the theme, patterns, or coloring in your interiors, the originality of the art is lost. Then, instead of enhancing your space, the art looks more like something from a furniture store vignette.

Take time to learn about the artist. Ask to visit their studio and understand more about how it was created and the thought process behind it. The more you know about the “story” behind your original art, the happier you will be with your purchase. As a “collector” of that artist’s work, you will become part of that artist’s story. Plus, buying artwork from a local artist is a way of contributing to the cultural strength of your community.

For commercial spaces, think about the type of message you want the art to convey. Integrating the work of a local artist into your décor can be a powerful public-relations tool. For example, the art can express support of the community’s diversity.  Or, the art can imply that “this is a cutting-edge company.” As an interior designer, we help business owners find artwork that fulfills three criteria: (1) the design needs of the space; (2) the company’s overall style; and (3) the underlying business “message” that the business hopes their art work conveys.

So, one shouldn’t be intimidated by the process of buying art. Finding original art that you are proud to own and brings joy or provokes thought, can be an exciting hunt.  This mindset relieves the pressure to purchase art primarily as an investment or works that simply blend in with the rest of the decor.  Let art be it’s own special moment in the interior space.

Exploring The Built Environment: Always Look Back

By Barron Schimberg, AIA

Recently, my wife Patty and I visited the High Line, an elevated park running along Manhattan’s west side. Converted from a historic freight rail line, the High Line is an extraordinary and popular public space. As we walked north, we were reminded of the following:

• Even in a major city like New York, there is always a different perspective from a pedestrian eye.
• Urban oddities create visual stimulation and unique moments that provide opportunities in our lives for creativity and enjoyable experiences.
• Always look back. As we walked past buildings and saw what was in front of us, we often turned around and looked at what we had passed. When we did, we saw completely different shapes, moments, and spaces.

What fascinated me the most about the High Line was the experience that this park provides pedestrians:

• The opportunity to sit over a roadway and watch cars go by, like birds sitting on a wire.
• The view between two multi-story buildings of wires, cables, ductwork, and windows creating a quilt-like patchwork of shapes and lines.
• A peek into the mind of an architect or sculptor or an artist about how they chose to express an aesthetic, not at eye level, but at 30 feet above grade.

The question for me is: How many amazing experiences are out there in other cities that we are either missing, or could create?

Fun sculpture on a roof

Modern architecture juxtaposed with a 20th century building. Seeing it at 30-ft. above grade lets you truly experience the two styles.

Space between two buildings

Modern glazing juxtaposed with old, industrial building mass

I shot the photos above as we walked in the High Line. To glimpse other views from the park, visit the Image Galleries section on the official High Line website.

LINK

The High Line

The Right Lighting Adds Aesthetic Appeal While Reducing Energy Costs

By Barron Schimberg, AIA LEED AP

Architectural success is impacted by choices in lighting, both for the interior and exteriors of spaces and buildings.  Lighting affects how we perceive the building itself, as well as the people and objects within it.  Lighting can be used to define zones within a space, change the mood, and influence how we feel as we work or shop within the space.

With today’s more sustainable and energy-efficient options for lighting, we can alter the look of a space while lowering the building’s energy cost.

By replacing incandescent light bulbs with LEDs (light-emitting diodes) or compact fluorescent lights (CFLs), we can apply warm or cool colors to spaces while considerably reducing energy usage and the amount of time between replacements.

For example, an LED has an average lifespan of 50,000 hours, compared to 8,000 hours for a CFL, and 1,200 hours for an incandescent bulb.  A space that uses 30 incandescent bulbs would use about 3285 kilowatt-hours per year, compared to 329 KWh/yr for LED lights and 767 KWh/yr. for CFLs.

Considering some of the substantial savings that can be achieved, it’s not surprising that so many owners of commercial and office buildings are retrofitting their buildings to use more LED lights. Retailers and restaurant owners are discovering that LED lighting can be extremely versatile in showcasing merchandise or creating the right ambience.

In contrast, LED bulbs are exponentially more expensive, so the upfront, out-of-pocket expense is greater.  For example, a 60W incandescent bulb costs  approx. $0.50, a comparable CFL may cost $1.25 and an LED bulb could cost $20.

We have used LED bulbs successfully in a multitude of projects.  We have incorporated them into retail displays in storefronts. They are used throughout food-display cases in the Whole Foods Markets we design.

On a lobby renovation project, we utilized LED bulbs in a unique fashion. LED bulbs were installed at the top of a long acrylic tube, allowing the light to illuminate through the tube, into the space, while not overheating the material or the wood dowels around it.

If you want some specific ideas on how lighting can enhance the look and efficiency of your office or retail space, give us a call at 941-894-6888 or email us at info@tsg-fl.com.

MORE INFORMATION

Comparison Chart LED Lights vs. Incandescent Light Bulbs vs. CFLs

The Value of an Architect during Construction

By Barron Schimberg, AIA LEED AP

Some architects prefer to focus solely on the building-design work and would rather not get involved in the construction phase.  I prefer the opposite.  While I enjoy designing buildings, it is equally satisfying when clients hire me for construction administration.  Not only does it allow me, as an architect to engage in problem solving, but I can also resolve the problems in a way that preserves the integrity of my designs.

No matter what, changes will be required on every construction project—big or small.  And each time a change is required, someone must make a decision about how to proceed. While many contractors are indeed qualified to recommend a solution, they may not have sufficient time or technical resources to determine the best solution for each change that occurs.

When clients hire me for construction administration, I am “on call” for the duration of the project.  I set my fee to remain the same from month to month, whether the contractor needs advice once a week or every day during the month.  We’ve been asked everything from alternative ways of building the structure to selecting a railing cap to waterproofing below a slab.

While the building is being constructed, there will be far less finger-pointing about who is to blame each time a change is required. We simply work together to fix the problem.

It’s a win-win-win situation for everyone. As a client, you’ll get the peace of mind that comes with predictable monthly fees for expert problem solving.  Contractors often feel relieved that they don’t have to make decisions on the fly and I get the satisfaction of helping the project run more smoothly and seeing the buildings I have designed through to completion.

If you would like to learn more about construction-administration services, please give me a call at 941-894-6888 or drop me an email at info@tsg-fl.com

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Architects + Contractors = A Better Result

Reinterpreting Architectural Styles for the Home of Your Dreams

By Barron Schimberg, AIA

If you could design your dream home, what type of architecture style would it be? Mediterranean? Modernist? British West Indies? Or maybe, you would prefer a mix of two or more styles.

Architectural styles typically describe buildings with certain features in common, including: construction materials; roof shape and pitch; window size, shape, and placement; door shape and placement; ornamentation and floor plan. Some styles are named for historic periods or regional influences.

Although each style is defined by a certain vernacular, every architecture style is open for reinterpretation—either on new construction or renovations.

Mixing styles is a wonderful way of creating a successful aesthetic.  As an architect, I enjoy creative challenges such as adding modernist elements to a classically styled home.

In some cases, a client’s preferred architecture style must be reinterpreted simply because building codes differ from those of the region where the style originated.

The key to successfully blending architectural styles is to start with a clear understanding of your preferences.  I ask clients to provide photos or other visuals of architectural design elements that they like.  Having a clearer picture of what you have in mind enables me to do some follow-up research on how to blend elements from different architectural styles.

Then, if the designs we create for you don’t represent what you had envisioned, it’s important to let us know as early in the process as possible! As we design your home, we’ll be making decisions that you can live with for years to come.

So as you start imagining the home of your dreams, keep in mind that it’s not necessary to limit yourself to one architectural style.

Instead, start clipping out magazine photos depicting the types of details you find most appealing. We can then translate your desires into an attractive, cohesive design that artfully merges one or more architectural styles.

Note that reinterpreting architectural styles to create a unique brand of architecture isn’t limited to the exterior of the building. In a future post on this blog, my partner Patty Schimberg will explain why interior design provides another opportunity to blend styles or marry the architecture to interior elements.  Balancing different furniture styles (i.e. contemporary pieces with antiques) within a particular architectural environment is a very welcome challenge, and one that we’re seeing more and more often.

If you have any questions about architectural styles and how they can be blended for your home, please feel free to call me at  941-894-6888 or email me at info@tsg-fl.com.

RELATED ARTICLES

HGTV Guide to Residential Architecture: A Primer about 24 Popular Architectural Styles

Build Well for Environmental Wellness

By Barron Schimberg, AIA, LEED AP

A well-designed, well-built building is not just structurally sound. It should also be environmentally healthy.  Professional architects, designers, engineers and building contractors have expanded the concept of “building well” by learning how to do what is right for the environment.

In my opinion, architects have a moral and ethical obligation to learn how to keep the built environment healthy and well.  According to the U.S. Green Building Council, buildings in the U.S. are responsible for 40% of the energy consumption, 39% of CO2 emissions, and 13% of our nation’s water consumption.

Because I care about the quality of life for my family and community, I am a proud member of the U.S. Green Building Council and became a LEED Accredited Professional (AP) in Building Design and Construction.  (LEED stands for Leadership in Energy and Environmental Design.)

Although many clients aren’t yet ready to adopt LEED’s whole-building approach to sustainability,
our design team can always recommend ways to make your building projects more environmentally sound. We can find ways to improve energy efficiency, control stormwater runoff, and/or reduce water usage, soil erosion, light pollution, and construction waste.  Plus, we can suggest ways to help maintain the air quality inside your building.

Here are just three practices we routinely follow to design environmentally well buildings:

• During master planning, we consider the environmental impact of the building’s orientation, its relationship to the site context, and adjacent structures.
• When designing a shell building, we provide as much natural daylight as possible through glazing, translucent panels, or skylights.
• In designing interiors, we recommend using less environmentally harmful materials and finishes, such as recycled glass tiles, low VOC paint, or FSC-certified woods.

At The Schimberg Group, we like keeping up with the newest options for designing environmentally healthy buildings. And, we are always happy to share what we’ve learned.

You might be surprised to discover that many environmentally friendly options have become more affordable, more accessible, and more aesthetically appealing.

Personally, I am impressed that more clients are interested in using materials made from recycled products, or materials that were manufactured locally instead of being shipped from overseas. I look forward to the day when solar panels are sufficiently affordable for use on the roofs of the average construction project in Florida and society is truly ready to construct buildings with zero carbon footprints.

If you have any questions about sustainable building sites and environmentally healthy building designs, please do not hesitate to call us at 941-894-6888 or email us at info@tsg-fl.com.

FOR MORE INFORMATION

About the U.S Green Building Council

What LEED Is

Public Debates about ‘Eyesores’ in Art and Architecture

By Barron Schimberg, AIA

Reading about a public debate surrounding genuinely historic architecture in a village in New York got me thinking about the lively debate we’ve been having in Sarasota about a highly visible piece of art that has a tenuous tie-in to history.

Debating Brutalist Architecture in Goshen, NY

Robin Pogrebin, who reports on culture issues for the New York Times, has written articles about an architecture-related debate among residents and preservationists in Goshen, NY. (Goshen is a village of about 5500 people located 50 miles from New York City.) After the Orange County Government Center building in Goshen was closed due to storm damage last fall, some government officials and area residents recommended demolishing the blocky, concrete building. They regard it as an eyesore in their quaint village, known for its picturesque Main Street and Greek revival, federal, and Victorian houses.

Orange County Government Center, Goshen, NY. Photo: JosephA on Flickr

Preservationists are horrified that the building might be torn down. That’s because the Orange County Government Center was designed by celebrated modernist architect Paul Rudolph. Completed in 1967, the building is a prime example of the brutalist style of architecture.  In her article, Pogrebin explains that the brutalist style “rejected efforts to prettify buildings in favor of displaying the raw power of simple forms and undisguised building materials.”

In the article, Goshen resident and trained architect Patricia Turner argues that the brutalist-style building should be viewed as part of the area’s history, because it “reflects a snapshot in time in the late ‘60s and ‘70s when our history was turbulent. Isn’t that just as relevant as something that happened in 1868?”

Pop-Art Public Statue:  Tacky or Historic?

In some ways the “eyesore vs. historic gem” battle in Goshen reminds me of a public debate we’re having in Sarasota about the 26-foot-tall “Unconditional Surrender” statue by artist Seward Johnson. In 2010, a World War II veteran put up $500,000 to buy the statue on the condition that the statue remain displayed in a highly visible location on the Sarasota bayfront.

Some people in our city love the “Unconditional Surrender” sculpture. Others ridicule it.

Some Sarasota residents and visitors may see the aluminum sculpture as “historic” because it reminds us of the many soldiers and sailors who left home to serve their country in World War II.

But other members of the Sarasota region regard the statue as a cheesy piece of pop art that is simply a supersized rendition of Alfred Eisenstaedt’s iconic photograph, “V-J Day in Times Square.” I have witnessed visitors and tourists taking their photographs under the statue while gazing upwards, under the nurse’s dress.

Because the sculpture is located in such a prime, heavily trafficked spot, some people have started referring to it as Sarasota’s “tackiest landmark.” This raises the question: Would we (as a community) willingly choose the “Unconditional Surrender” sculpture to become the most widely viewed visual representation of Sarasota’s flourishing arts scene?

On April 28, area critics cheered when a driver accidentally smashed into the statue, requiring it to be dismantled and returned to the sculptor for repairs. But according to news reports, the veteran who donated the statue to the city hopes to have it back in Sarasota by August 14, the anniversary of VJ-Day.

Personally, I don’t mind that the “Unconditional Surrender” sculpture has provoked public debate.  Art will always be subjective—some people will love works that others despise.  Is architecture a form of art?  Is a sculpture representative of a photograph, artwork?  Is graffiti artwork?

What Do You Think?

In my opinion, the truly historic brutalist building should be preserved—even if it doesn’t fit in with the rest of the community. Destroying it would be like wrecking ancient Greek buildings to make way for new structures that would blend with modern Athens.

As for the “Unconditional Surrender” statue in Sarasota, I would prefer to see it displayed in a less prominent location. It represents one man’s desire to pay for a sculpture.  If it was in his backyard, that seems fair.  If it was displayed in an alley, that seems appropriate.

We live in a community that values and displays all forms of art.  But I agree with those who wonder whether we really want this particular sculpture to become a symbol of art in Sarasota at the most prominent corner in our town.

So, what’s your opinion? Should we strive to give extra visibility to art simply because it reminds us of a historic event?  Or, should we work harder to preserve architecture as an art form that reflects our culture at different periods in history?

LINKS

NY Times: Unloved Building in Goshen, NY Prompts Debate on Modernism

NY Times: A Reprieve for Goshen’s Damaged Modernist Misfit

Sarasota Statue Trucked Away for Repairs

Grocery Store Design Projects Featured in “Green Retail Design” Book

By Barron Schimberg, AIA

It’s always a thrill whenever one of our retail projects is featured in a magazine, newspaper, or design book. Every project represents the collective expertise and ideas of many, many people, including:

• the retail-business experts on the client side;
• the community residents who set the buiding design standards; and
• the building and construction teams who bring all of the ideas to life.

We are particularly proud that two grocery store design projects The Schimberg Group completed for Whole Foods Market were featured in the book “Green Retail Design” by Martin M. Pegler.

Pegler is a world renowned authority on store design and visual merchandising. He edited Retail Design International magazine for 29 years and has published more than 80 books on store design. “Green Retail Design” was published by ST Media Group International, which also publishes VSMD magazine for retail designers.

“Green Retail Design” is a 256-page, lavishly illustrated hardback book that was produced to provide ideas and inspiration to environmentally friendly businesses, designers, and architects around the world.  The 60 case studies in the book range from department stores and big-box operations to small boutiques and vendor shops.

The book’s section on markets, specialty foods, and dining spaces describes two of the Whole Foods Market stores that The Schimberg Group designed: the store in Bayhill, Florida and the store in Naples, Florida.

In keeping with Whole Foods’ core values about local communities and the environment, we designed both stores to blend naturally into their neighborhoods, and reflect the shoppers and lifestyles within each community.

We designed the Whole Foods Markets with sustainable and recycled materials and used energy-saving technologies such as skylights, ceramic metal halide lamps and Glycol refrigeration systems.  The lighting package was designed to create a consistent bulb type and manufacturer, simplifying the maintenance program and minimizing the costs.  The design of the soffits and perimeter walls reflects local aesthetics per Whole Foods Market’s desires.  We worked closely with the client to design tile patterns and colors, flooring and even interior signage.

Whole Foods Market, Naples, FL. Photos: The Greg Wilson Group

Engaging in a project with Whole Foods market is just as rewarding as one may think.  The team put in place by Whole Foods Market allows for an efficiency and smoothness to the final design and the final built space.

You can read the 8-page excerpt from “Green Retail Design” book by clicking on the link to the PDF below.

LINKS

PDF Excerpt: Whole Foods Market in “Green Retail Design” by Martin M. Pegler

Whole Foods Market: Core Values

Book: “Green Retail Design” published by ST Media Group International

Store Design Books by Martin M. Pegler

Working Construction Let Me See Architecture from a Different Perspective

By Barron Schimberg, AIA

In a previous post on this blog, I wrote about continuing improvements in the relationships between architects and contractors. Relationships that were often adversarial are becoming more collaborative.

At The Schimberg Group, we have always had the utmost respect for contractors.

In my opinion, understanding construction and how things are built is fundamental to successful architecture. I learned this lesson early in my career, during a semester off from college when I spent about eight months working for a construction company. Like an internship, that on-the-job construction experience opened my eyes to how real-world projects get done.

For example, I installed windows in a commercial building as 40 mph winds swirled around us.  I was taught skills such as the right way to hammer nails and take a dimension.  I experienced firsthand some of the craftsmanship involved in bringing an architect’s ideas to life.

My experience on a construction crew also helped improve my ability to communicate with the subcontractors and contractors involved in the success of a project. The valuable lessons I learned as part of the construction crew have become a routine process for The Schimberg Group as we consult with construction experts before submitting final designs to a client.

As an architect, I love coming up with innovative concepts for new buildings. But I know that my visions are unlikely to become reality unless the designs can be built—and built well.

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