P e r s p e c t i v e s

Ontario Association of Architects

Feature – Architectural representation – with some help

International – Drawing from Providence

Digressions – Best photos / worst postcards

Ontario Places – A view from the street

The Journal of the

Ontario Association

of Architects

Volume 12, Number 4

Winter 2004 $5.00

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n:Getting Professional Help

When it comes to communicating our ideas, we architects operate at a distinct disadvantage. In ourprofessional education, training in writing and speakingare given short shrift, photography is rarely consideredand even drawing — once the architect’s stock-in-trade— has all but vanished from the curriculum.Whateverpresentation skills we brought with us into the educational process, frequently don’t survive it.Thedigital age has put powerful new technology at ourdisposal, but its function as a tool of production faroutstrips its use for presentation purposes.When itcomes to discussing architectural ideas, we are mostat home in the company of other architects whothink the same way that we do and who can easilyunderstand our hasty sketches and short-hand jargon.

Problems can arise when we have to present ourideas to people outside the profession — peoplewho don’t think the same way that we do. And this isnot to say that architects are unskilled in this area. It’sjust that our skills are unable to keep pace with theincreasingly sophisticated expectations of our clientsand our adoring public.

Fortunately, professional help is at hand in theform of specialist consultants.

The difficult part is letting go — of the voice, ofthe passion, of the vision. How can we architects beassured that some other person — a mere hiredhand — can tell the story of our creative producthonestly and with the same intensity that we feel?What can a presentation consultant add, except alayer of slickness? Isn’t it better to have our work portrayed with the honesty and wisdom of its originalcreator? As all aspects of architecture become increasingly specialized, the answers to these questions become more critical.

Every presentation project has its own uniquesolution. Sometimes it’s best for an architect to use hisor her own communication skills. But when somethingmore is required, and you are prepared to let go, howcan you be sure that the result will be the best it can be?

I asked a number of presentation and communicationspecialists for their opinion on how to achieve thebest collaborations. In the following pages, you will seehow architects can get more than just their money’sworth and, at the same time, see their projects represented with a degree of passion and integritythat they themselves might never achieve.

Public Relations

Is It all about Image? — Laura Iloniemi,Chichester : John Wiley & Sons, 2004. 224 pp, ppbk.

Before interviewing the collaborators, I consulted abook on public relations, a field that includes many ofthe specialized areas of architectural representation.

Public Relations, or PR is an area of increasingimportance in professional practice — an importancethat cannot be understated. According to some currenttheories it even threatens to eclipse advertising as themost effective way of taking a message to the consumer.

In their book The Fall of Advertising and the Rise of PR [New York: Harper Business, 2002] focusing consultants Al and Laura Ries argue that no onebelieves advertising anymore: for a lot less money, apublic relations advisor will insinuate your messageinto public consciousness via stimulated media attention and “third party endorsements”. Many largecorporations have already made this discovery.1 Forarchitects, still reeling from the fairly recent introductionof advertising to the profession, this may be a godsend.As distasteful as PR may be, it has nowhere near thenegative professional connotations that advertising has.In the architectural profession, the use of PR consultantsis not at all well established, but attitudes are changing.

In the new publication Is it All About Image? public relations is placed squarely in the context of architectural practice. If you read this book, and youprobably should, you will begin to think of presentationin a whole new light.

Many would consider the United States to be theleader in the area of public relations consultation, butmore recently, the United Kingdom may be leadingthe way.This is particularly true when it comes toarchitectural public relations. In the UK, the architectural

Gordon S. Grice is editor of Perspectives.

by Gordon S. Grice OAA, FRAIC

I probably wouldn’t have won the competition for theWorld War II Memorial without those perspectives.

— Friedrich St. Florian AIA

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market is fiercely competitive and there is an increasingnecessity for practices to distinguish themselves andtheir work.The RIBA Journal features a regular marketing column that offers pragmatic advice in thisimportant area. Not surprisingly, this book, publishedin Great Britain, treats its subject with integrity andpragmatism — hucksterism is nowhere in sight.

Marketing

The terms PR and Marketing are sometimes usedinterchangeably. For the purposes of our discussion,PR refers to strategies for promoting the work ofarchitectural practices, while marketing involves individual projects.

Gerry Ryan is a marketing consultant who rarelyworks directly with architects. His clients are thebuilders and developers that employ architects todesign their projects but engage marketing specialiststo present them to consumers. Gerry’s firm G. RyanDesign develops sales offices, graphics, print advertisingand many of the other aspects that form the publicpresence of hundreds of residential developments.While Gerry doesn’t deal with architects directly, he

relies on them to provide the information that makeshis presentation possible. Gerry offers the followingcomments.● Architects often supply drawings, photographs and

text that has been prepared in their offices, but doesn’t have the necessary qualities for marketing purposes. An inexperienced client may not understand the difference and become intoxicated by the prospect of saving money and time by not having drawings redone.The worst problems arise when attempts are made to reuse the architects’computer renderings, which have been prepared to help understand various aspects of the building’s form and technology. They may be technically stunning, but are rarely sensitive to marketing strategies that stress narrative and social context.

● Gerry’s job is to market a project by creating a personality and a story for the project.The imageryhas to support this, so it must be prepared by someone who is sufficiently distanced from architectural considerations. Similarly, it’s hard to keep an in-house renderer or photographer “fresh and busy”. For marketing purposes, Gerry prefers toavoid in-house architectural renderings.There are exceptions to this rule, but they are infrequent.

“The success of this model was the result of Adamson and Associates’ ability to provide detailed and complete information. When questions did arise,the architects were able to provide prompt answers, so crucial under the competition deadline.” — Peter McCannModel: Peter McCann Architectural Models Inc . Project: City Hall design competition. Architect: Adamson and Associates Architects .

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● Make sure that an experienced office person is in charge of hiring consultants — someone who knows what the short– and long-term goals are,and has the correct information on hand (esp. budget,deadline and approval chain-of-command, but also technical and philosophical information) to help theconsultant.

Models

With the introduction of computer models, manypeople assumed that it was only a matter of time untiltraditional architectural model makers disappearedentirely. Under the influence of new technology, thebusiness of making architectural models has certainlychanged but it continues to thrive. Like other traditionalarchitectural arts, including drawing and photography,the process of making models has undergone a complete digital revolution; with computer-generatedmachinery replacing the hand-done drudgery, and theproduct reflecting the best of both realms.

Peter McCann is a model maker.When he started

in the business, models were crafted using hand tools.In Peter’s shop, normal procedure nowadays is thatAutoCad drawings are emailed, and translated by adigital modelling program, from which the informationcan be sent to a laser cutter. Hard copy is still usedfor discussion purposes, but working files are all digital.

With the new technology, expectations for qualityare higher and deadlines seem to be getting shorterand shorter. Peter doesn’t mind short deadlines, aslong as they’re reasonable, because “you don’t havetime to lose money”. Quick-turnaround jobs arepreferable to those that drag on.

But also thanks to digital technology, muchmore elaborate models are possible. For a recentproject, the world’s tallest building in Dubai, themodel was twenty-four feet high. It had to beshipped in seventeen specially-made instrumentcrates, five of which contained the steel supportstructure.Three people spent 2 weeks onsite assembling the model.

Peter offers architects the following words ofadvice in dealing with model makers and getting thebest result:● Know what your budget is.● Make sure of your timing. Give the model makers

advance notice of your schedule, but don’t get them to begin their process until appropriate (final) information is available. Is the project ready to hire the model maker? The greater danger lies in hiringthe model maker too soon, rather than too late.

● Are the drawings as good as they need to be? Because Peter works from digital files sent directlyto a laser cutter, floor plates need to line up with each other and with the elevations.

Photography

Most presentation specialists are called on to createimages of buildings that are not yet constructed.Architectural photographers are in a distinct categorysince they can only be engaged after the building iscompleted and presentable.

Harold Clark started as a photojournalist in 1975.His early work was for leading national magazines and newspapers. Gradually, he moved into studio photography and location work and then to architecturalphotography, currently his mainstay and major passion.

“This Toronto project presented the usual challenges associated with photography of tall buildings in congested urban environments. Success liesin finding an appropriate vantage point for correct perspective, in addition to unobstructed sight lines. A serendipidous rich blue sky and constructioncrane parked at an agreeable angle contr ibute to the overall effect. This photograph was taken early on a Sunday morning, thereby avoiding trafficintrusion as well as the recent bane of architectural photography: smokers huddled around entranceways.” — Harold ClarkPhotograph: Harold Clark. Developer : Morguard Residential Inc . Architect: Fliess Gates McGowan Easton Ltd .

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Harold enjoys working for architects because, likephotographers, they are highly visual people.

Harold makes the following observations:● As in modelling, timing is important, but in Harold’s

case, the danger lies in being called too late. Plan ahead! Don’t leave the project until the last minute.Try to give your photographer plenty of lead time since, unlike model-making and illustration,photography requires suitable weather and light. Forexample, a recent project required Harold to photograph a dozen buildings, half of which had a principal elevation facing north.The project didn’t get approved until September, by which time there was no hope of ever getting sun on the main façade.

● It is much better if the architect has an idea beforehand about overall feeling, preferred viewing angles and elements to be featured. It’s also helpful if the architect can spare the time to scout the site with the photographer. Other kinds of information can be important too: are there physical constraints?Visual obstructions? Important contextual elements?Difficult neighbours or occupants?

● Remember, in commissioning a photographer,people skills (photographers frequently work in occupied buildings) and drudgery tolerance (they may have to clean up a floor or move garbage cans) are important too. Be aware of the time and energy that may be involved.

● Try to schedule the photography while the building is still fresh.

● “Do-it-yourself mode”: Architects, more than anyone, should appreciate the value of professional experience. It’s one thing to want to do the work yourself, but it’s another thing to share the opinion that the result will be just as good. Buying a camera,however marvellous and expensive, doesn’t make a person a photographer any more than buying a Steinway makes one a concert pianist. A college education, a six– or seven-figure investment in equipment and thirty years’ experience are worth something. Remember also that doing it yourself is not free; there’s the lost time and focus, the distraction factor and the possibility of inferior results.

Computer Models

Roberto Ou is a principal in Dayluxe Design, computermodellers, illustrators and animators. Roberto typicallyworks for builders and developers, so architects arenot usually the prime client, but they are the primesuppliers of the information that makes his work possible.Roberto says that too frequently, builders are lured into

People In PhotographsHarold Clark says that excluding people fromarchitectural photos is sort of an “unwrittenrule”. The question is: where did the rule originate? Harold feels that figures are sometimeshelpful in establishing mood, function, scale,texture, etc. In interiors and expansive exteriors,at small scale and in crowds, especially in interiors,they can add a lot. But they can also be distracting, particularly if they are large and inthe foreground.Where figures are recognizable, there are other issues:a] Unless they are models, they are uncontrollable. There may also be considerations of signed releases.b] The most ubiquitous figures found at theentrance to many buildings are members ofsmoking klatches — probably not the bestadvertising.

Harold says he would like to see figures in photography, provided that they add somethingto the photo.

“The clients were really supportive and respected certain creative choices wehad made on the Ritz-Carlton rendering. There was a mutual appreciation foreach other that definitely helped in the success of the final image.” —Roberto Ou.Digital illustration: Dayluxe Design Studio, Inc . Photographer : J. ChristopherLawson . Client: 333 Bay Street. Advertising Agency: Montana SteeleAdvertising. Architect: Zeidler Partnership Architects .

believing that the architectural models and imagerygenerated by the architectural offices will serve all oftheir marketing needs.This is largely the product ofbuilders wanting to save money, but may also be theresult of architects themselves not understanding the distinctions between architectural and marketing graphics.

Roberto’s work also includes high-end digital animation — a field that few architectural presentationbudgets can afford, so all of this work is done fordevelopers.

Roberto describes a recent experience with aToronto architectural office that epitomizes all thatcan be good about a collaboration:● The office in question has the capacity to generate

impressive digital graphics. They hired Roberto because they appreciated his experience in dealing with the marketplace.

● The office staff members with whom Roberto collaborated were knowledgeable about both digital imagery and the firm’s design intent.

● Meetings were frequent and informative. The architects were honest and knew exactly what they wanted. So they gave good direction and helped to create “team thinking”.

● A mutual appreciation not only resulted in a product that pleased everyone, but also, both partiesgained some knowledge from the experience.

Renderings or “Conventional” Illustration

“Conventional” illustration refers to architectural illustration that is at least completed by hand, preservinga hand-done appearance. Even in hand-done rendering,

computers play an important part.There are very fewillustrators that don’t use computers in their illustrationsat some point and there is a surprising number ofways that this may be done. Hand rendering enjoys acultural significance in the development of the architectural profession, but it is impossible to saywhether it will always have this cachet.

Martin Myers is a graduate of the University ofToronto School of Architecture who has been illustrating architecture for the better part of thirty-fiveyears. He offers the following guidelines for workingwith an architectural illustrator.● Architects should be familiar enough with their

illustrators to understand the illustrator’s unique process.

● Changes to the work can’t and shouldn’t be avoided,but unnecessary or untimely changes should be.Some media (watercolour, e.g.) are notoriously difficult to change. If the client understands and respects the process and the necessary sequence of events, especially if the budget and deadline are fixed, grief can be avoided. Some architects seem to want to make changes solely as a way of maintainingcontrol, but most annoyingly, their changes are oftengood ones.

● Clients should try to be honest about deadlines.Don’t deprive the illustrator of a weekend of productive work by asking for a Friday deadline.

● Relationship should be friendly because after-hourscontact is often necessary (home phones, cell phones, e.g.). Initial meeting might be a lunch meeting. Martin sees a few clients socially.

● Martin likes to have some design freedom, but appreciates that not all illustrators feel this way.

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“Beth Kapusta provided strategic direction, management, and written material for the media release about the Bahá’í temple for South America. Herinsights were invaluable to the success of the media campaign, particular ly with regard to her advice on the correct ‘spin’ and content for the pressrelease, and on how to manage the press.” — Naomi KrissCommunications consultant: Beth Kapusta. Project: Bahá’í Temple for South America. Digital and hand-done illustration: various hands at HP, especiallyLiming Rao . Graphic design: Udo Schliemann, Gottschalk + Ash . Architects: Hariri Pontarini Architects . Local architects: Holmes and Amaral Architects .

● Money is important , but time is more important.Martin tries to avoid deadlines that involve endangering his health.

● He says “I became a freelancer so I don’t ever have to be anywhere at 9:00 in the morning”.

● It does matter to be understood and appreciated.It’s OK for ideas to be rejected, but the illustrator should have the opportunity to offer them.

Copy Writers/Journalists

Beth Kapusta is a communications consultant — a jobdescription that involves a host of skills and activities —but she is perhaps best known for her architecturalwriting. Beth is called on to help craft competitionentries, RFPs, overall presentation strategies,Web sites,press releases, public relations and marketing campaigns.Thanks to her architectural education, she can alsobring her visual acuity to bear, so she even does someart direction from time to time. Beth thinks of herselfmore as a translator, taking an architect’s thoughts anddirecting them at a specific audience. She prefers notto work from architects’ written material, but to takeinformation from face-to-face meetings, to get to thecore of the intended message.

There are not very many trained architecturalwriters in Canada and even fewer that combineBeth’s particular skills. Beth recommends:● Don’t be overly preoccupied with PR.● Make sure you tailor your presentation to the

recipient. If, for example, you don’t direct your RFP right to the specifics of the request, you won’t get the job.

● Writing is a distinct professional skill. By hiring a professional, the architect “benefits from a higher

skill set.”This results in a more economical use of time and money and a better product.

● Try to be objective. A hired consultant brings objectivity to the table, but if you’re doing it yourself, be realistic about whether your message has the potential to interest anybody. If so, whatpart is interesting? Finally, why are you trying to getthis message out at all?

● One of the hardest things to do is joint venture proposals.Too often, it becomes apparent that theproponents have never worked together before. It is essential to try to establish some common focus and to present a combined front. Beth describes dealing with a joint venture group as “mediation”.

In-House Talent

Large firms and some small ones rely on in-house talent to satisfy some or all of their presentationneeds.This includes writing, modelling, illustration and,increasingly, PR/communications.The advantages to in-house consultants are fairly clear : it is probablycheaper on a project-by-project basis; instruction,supervision and control are easily managed; there is aconsistency of style, reflecting an office image; andthere is a degree of personal involvement that comesform a thorough knowledge of the design firm. Onthe other hand, in-house may not be cheaper in thelong run, if the consultant is only fully employed periodically, and it is sometimes difficult to keep in-house talent from getting stale.

Norm Fisher is an in-house illustrator for Forrec,a large firm that designs entertainment facilities andthemed environments and includes architects andother professional designers. Norm offers the

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Martin has a twenty-year histor y with Mekinda Snyder, or iginally as a freehand illustrator, but more recently as a designer/presenter, making the design-to-presentation process more seamless. Martin’s style of drawing and working is perfectly in tune with the firm’s image and philosophy.Felt pen illustration: Martin Myers. Project: Hotel Proposal, southern Ontario. Architects: Mekinda Snyder Partnership.

following insights:● His favourite kind of client (his present employer,

e.g.) is open-minded, patient and understanding.● Norm usually works with fairly short deadlines,

which is normal in the business.This is only a problem when they are too short to be able to satisfy his own demands as well as the client’s.

● Norm prefers to be left to his own devices. He doesn’t mind having a huge design input. In fact,this is part of his job.

● Norm enjoys his work and considers his pay scale to be fair. He tried freelance for a while, but discovered that it was better suited to illustrators who are rich, young and single.

Not all presentations involve strong visuals.There aremany interested parties in the field of building anddevelopment who prefer building representation to bea little more pragmatic and more “fact-oriented”.Beyond the normal range of presentations discussedabove, there is also a variety of other means of describingarchitectural projects that are strictly non-pictorial, but tosome audiences, much more essential and comprehensible. In the following examples, two consultants describe how their particular method ofbuilding representation can best be used.

Financial Represenations

by Ian Ellingham OAA, MRAIC

The representation of buildings usually brings to mindsketches or models.Yet other people need buildingsto be portrayed in very different manners. Buildingsare what economists sometimes call “complex bundlesof attributes”, meaning that they fill many different roles.If buildings simply offered shelter from the elements,the work of architects would be very simple. But,of course, buildings are complex combinations offunctions. Hence a building lives in a number of different environments, and this means that it mayhave to be represented to many different people withdifferent backgrounds, and a variety of specific interestsin the end product. As well as the familiar visual representations, they must be presented in formsacceptable to planners, users, neighbors, building managers, politicians and, in most cases to the peopleproviding the money, an essential element in their creation — hence the importance of the representationof the financial existence of proposed new and refurbished buildings.

One feature of virtually all buildings is that theyare investments: you make an expenditure now, in

anticipation of some future return. Even such things asmuseums, community hockey arenas and cathedralscan be seen as investments. One spends money inanticipation of an enhancement of culture, improvedsocial order, or perhaps personal redemption (notnecessarily respectively). While investing in a shopping centre or office building can readily bereduced to numbers, the very complexity of otheruses means that the developer and designer undertake a very complex set of trade-offs.Architects sometimes make thousands of designdecisions a day, so there is not enough time to undertake a detailed analysis of each, yet understandinghow to represent decisions in numbers is as importanta design tool as quick sketches or rough models, inhelping to understand alternatives. In addition, mostbuildings encounter some sort of feasibility stage,when they are subjected to some sort of numerical— i.e., dollars-and-cents — scrutiny.

How does one find out about how to represent buildings? Simple; you go and try tounderstand the people who are recipients of themessages conveyed by the representations. Relative to the pecuniary representation of buildings, onecan contact various lenders, equity investors, andgovernment programmes.

First, it is apparent that financing proposals rangefrom a few sheets of paper to sizeable volumes. Butlenders do not seem to require complex financialanalyses to decide whether they are interested infinancing a project.There are two explanations forthis: firstly lenders are protected from any failure bythe buffering of the equity portion of project financing.The main reason, however, seems to be that bothlarge national lenders, as well as the smaller regionalsources of debt financing, are very well informedabout the development world. One large lenderposed a question about the number of condominiumdevelopers in the Toronto area: they had dealt withmost of them, knew still others, and all of the developers worked with consultants with whom thelender was familiar. After meeting with this group, I leftwith the sense that they knew all about a deal beforethe proposal entered their offices.The knowledge thelocal lenders possess about the smaller deals happeningin their own geographic area are equally uncanny.What they require from the representation is a goodsense of the feasibility and security of the project, inparticular how much real equity was ahead of them,and that the developer has thought things through.

Of course, equity investors are more exposed.

Ian Ellingham is chairman of the Perspectives editorial

committee and a development consultant.16

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They have a greater chance for gain, but are moreexposed to loss.This exposure, plus the need toensure the availability of what are typically more limited funds, means that the calculation of cash flowsare more important — how much money is required,and when. Equity investors require a more completerepresentation, with a clearer focus on the internalprocesses of the project.

What does this mean relative to the representationof a project? Surprisingly, it is possible to think of afinancial representation the same way as a visual representation. Clearly, it is necessary to respond tothe interests and perceptions of the respondent.There is a need for sufficient material, but not too

much. People can only take in so much and decisionsare undertaken by mere mortals, even inside largefinancial institutions.The messages have to be clear —drawn out with as few strokes of the spreadsheet aspossible. Available, but in the background, is theexpected supporting information; market studies,planning background, and environmental issues.

By far the loudest message received from thepeople who consider the financial dimension of projectproposals applies equally to other representations.Projects are all about the people involved — if theteam isn’t right, it will be a very hard sell.

Numerical Architectural Representation – Energy Performance Modeling

by Steven Pope OAA, MRAIC

Architecture is currently appreciated as part of a visualculture. However, for both the designer and the owner/occupier, there are limitations to the utility of a purelyvisual design approach.The limitations begin to appearas green design grows in application andwhole buildingperformance assessment develops ways to characterizeexperience previously only assessed qualitatively.

While graphic conventions have been developedto show the effect of elegant masses modeled in

light, the image tells little about the intensity of illumination or the level of glare experienced in thespace, both things of great importance to occupantcomfort and productivity. Expanding on this observation,there are no graphic conventions for communicatingthe freshness of the air in a room, or a sense of“stuffiness”. Nor are there visual ways of predictingineffective washroom ventilation, or the presence ofsleep-inducing levels of carbon dioxide.

Steven Pope is former chairman of the Perspectives

editorial committee and a research architect.17

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“It was Auri DiRocco’s idea to do the Christmas scene for the project at 1430 Yonge Street in Toronto. He basically allowed us to run freely with this one. Itwas a great idea, and we were able to really use our imagination to add a warm and cheer y setting to an already existing rendering.” — Roberto Ou.Digital illustration: Dayluxe Design Studio, Inc . Client: Auri DiRocco – Edilcan Development Corporation. Architect: Page + Steele Architects Planners.

For non-visual aspects of building performance,numerical analysis is the only way to describe the situation. Fortunately for the numerically challenged,it is the pattern that the numbers create, the relationships between different sets of numbers, thatare the things that count. Patterns from a proposeddesign can be compared to others taken from buildingcodes or “best practice” examples. Most of these relationships are most effectively presented in visualform. Architects (and clients) need not becomeaccountants or physicists to make use of these insights.

The broadest reaching of the numerical analysistools is energy performance modeling, which comes intwo types.The first type measures building operationsenergy, and a newer variant measures the embodiedenergy (and other embodied effects) carried in thebuilding materials making up the final assemblies. As climate change and rising fuel prices (not to mentionthe client issue of ease of employee attraction andretention) begin to focus architects’ attention onbuilding performance, operating energy performancemodels are becoming increasingly important.

Energy performance modeling is the discipline of predicting the energy consumed during buildingoperations over a defined period of time and underspecific (often standardized) operating conditions andweather. Its conventional application is in building systemsoptimization, and more recently as a contributor tolife-cycle costing and the broader field of life-cycleassessment. Energy modeling is related to the computerapplications used for sizing of mechanical equipment,but has increased flexibility and allows a more detailedobservation of building performance over an entire year.

An operating energy model incorporates adescription of annual weather patterns for the projectlocation with all of the conditions desired for thebuilding, and calculates the building performance overeach of the 8,760 hours in a year.The number ofoccupants; the number and distribution of hours theyare in the building; the desired temperatures; thephysical characteristics and thermal performance valuesfor floors, walls, windows, and roofs; and the types andperformance efficiencies of each piece of heating,ventilating and air-conditioning equipment (HVAC),are all represented in the model. For quick assessmentmodels, many of these criteria are pre-established asdefaults leaving the design team free to experimentwith different HVAC systems or different levels of walland window performance. Existing codes and standards such as ASHRAE Standard 90.1 or theModel National Energy Code of Canada for Buildings(MNECCB) establish many of the default values.

Notwithstanding the HVAC engineering origins ofenergy performance modelling, recent experience

with the Natural Resources Canada CommercialBuilding Incentive Program (CBIP) suggests thatmechanical engineers do not automatically make goodenergy modelers. Energy performance modelingrequires the integration of all building systems to optimize the entire building in a manner that represents the real experience of the building owner.

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Letting Go — A Personal Storyby Alexander Temporale OAA, MRAIC

One of the pleasures in hiring a professionalrenderer or photographer to illustrate either adesign or completed project, is to see the project unveiled in a fashion that exceeds myexpectations. As an architect and author of adesign, it is often very difficult to allow someoneelse to interpret the work. Our training isgrounded on problem solving, preparing thesolution, and then presenting the concept bothverbally and visually in a fashion that best communicates our intent. It is so integral to thepractice of architecture that our actual presentation skills become an issue of personalpride and preference.

Almost every architect involved in design,has at some point had an interest in photography, drawing graphics and industrialdesign. My experience is that the “letting go” ofsuch interests to other professionals can be illuminating and beneficial.Their professionalismcan enhance and amplify the quality and careinherent in the architectural design and, by utilizing the creativity of other professionals,I’ve found that there may be a different interpretation of the project that I, as theauthor, was too close to recognize.

By providing freedom to other professionalsin marketing a project or the firm, whether it isa renderer, photographer or graphic designer,one becomes a better client, because of theexposure to talents, skills and potential, thatthey can bring to the project.

Because I have worked with and beenassociated with graphic designers for most ofmy years in practice I have always recognizedtheir expertise and importance to the firm, butit wasn’t until my son became a graphic designerand rebuked me for the quality of the firm’sphotography and presentation materials that Itook it fully to heart.

It is difficult to be a liberal client, but thereward in the end I have found well worth it.

In many cases, large improvements in building servicecomponents — one example being pumps — maylook impressive on paper but actually make littlechange in whole building performance.The mechanicalengineering focus on incremental equipment efficiencyimprovement does not necessarily lead to goodwhole building performance.

Every facet of building performance has an energysignature. Colour schemes that feature darker interiorsrequire higher levels of lighting than lighter colouredinteriors to support the same tasks. Larger windowareas lead to higher heating and cooling demandsunless the windows themselves have much higherperformance values – but windows will never be asinsulating as walls. High volumes of ventilation air,ineffectively delivered, demand the majority of heatingenergy in most building types.

Good energy modeling decisions, like good buildingdesign decisions, require keeping a big picture ofbuilding performance.The coordination of all designdisciplines is the architect’s role and accordingly, onecould suggest that architects would make the bestenergy performance modelers. One side-benefit of

the regular use of energy modeling tools is that theprocess of assembling the input data for the modelcreates an ideal framework for a detailed and meaningful coordination of mechanical and electricalservices. Like all “green” activities, one job has uses ina number of different areas.

A trend that raises the question of architects asenergy simulators is the rapid growth of interest ingreen building in the architectural community. Giventhe central role of energy simulation in all variationsof the integrated design processes recommended forgreen design it would be a good fit for the primeconsultant’s skill set. However, while architects havebeen quick to recognize the human and societal benefitsof green design, they have been slower to take up thetools to address building performance in a whole system approach.

The LEED-Canada building performance ratingsystem is one of the most recent green building tools.LEED-Canada adopted CBIP compliance (operatingenergy no greater than 75% of the level set by theMNECCB) as the energy performance prerequisitefor the Energy & Atmosphere series of credits. If the

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“The client was heavily involved providing input over the course of the model construction, however was careful not to interfere with the progress. Theresult was a highly detailed model with a timely deliver y.” — Peter McCannModel: Peter McCann Architectural Models Inc . Project: St. Andrews on the Green . Co-Developers: Urban Capital Property Group and Malibu Investments.Architect: Turner Fleisher Architect.

design team cannot demonstrate CBIP compliancethey cannot receive a LEED-Canada rating.The Canada Green Building Council has recentlyexpressed concern that there are too few professionalswith the ability to perform CBIP analysis to satisfy thegrowing numbers of applicants for LEED-Canada ratings.Where voluntary measures are not strong incentivesnecessity may provide a stronger push. Between the growing institutional demand for LEED-Canadacertification and the cost of oil rising above $54.00US per barrel, energy performance modeling can onlybecome more essential. Architects, there is a businessopportunity at hand!

Conclusions

Making The Decision:1. Don’t feel badly that you can’t do everything well.

Architectural practice is becoming increasinglyspecialized. Nobody is good at everything. If you can’t provide the increasingly sophisticated presentation material that clients and the general public demand, don’t be afraid to hire someone who can.Your own presentation skills will not be wasted if you use them to guide the consultant’s work.

2. Consider it an investment. If you can afford outsidehelp, you will benefit in the long run. If you can’t afford outside help to do the actual work, considerbuying some advice on how to do it yourself.

3. It isn’t always cheaper to do it yourself. Factor in all the possible costs: disruption, slow progress due to inexperience, expensive tools and materials, as well as the learning curve to use them and keep them updated. Consider also the cost of lost opportunities as the result of less-than-perfect presentation.

4. Harry Clark and Gerry Ryan’s metaphor is apt:Buying a Steinway doesn’t make you a concert pianist. Don’t assume that by purchasing

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Top Six Things Presentation ConsultantsLove To Hear

1. “We love your work.”2. “You’re charging too little.”3. “I don’t know, but I’ll find out immediately.”4. “Take all the time you need, just keep us

posted.”5. “Is it OK if we pay in advance?”6. “Is it OK if we use your name in our promotional

material?”

Normally, Gerr y Ryan is disappointed in the quality of computer imager y supplied by architectural offices. In this case, however, he made use of thearchitects’ wireframe images to complement the watercolour rendered elevationMarketing Consultants: G. Ryan Design. Project: The St. Lawrence, Market Street, Toronto. Watercolour llustration: Lynne Krisfalusi, Lynne KrisfalusiDesign Studio . Client/Developer : The Rose and Thistle Group . Architect: ERA Architects Inc .

expensive equipment (however beautiful it may be) you will produce professional results. A lot of experience, education and skill are required to use the equipment to its full potential.

Hiring The Talent:1. If you are interviewing several candidates for the

same project, don’t forget to mention this. Make up your mind beforehand which is more important to you: hungriness or competence.

2. Have some idea what your budget is. It helps if you also have some idea what the standard rates are in the consultant’s field.

3. Look for a consultant that appears to understandyour priorities and listens to your instructions andconcerns.

Giving Instructions:1. Be honest, forthcoming and fair.2. Don’t take on an attitude or posture. Let the

consultant construct that from what you tell him or her. Just be yourself.

3. Oral, face-to-face discussion is always much better than written instructions.

4. Consider both the long-term and immediate goals of the presentation. Always give preference to the immediate specific requirements of the job, but don’t forget that it is part of something

bigger : your office oeuvre.5. Make sure that an experienced person briefs

your consultant so that the goals and identity of your practice are reflected in the material produced and all questions can be answered quickly and correctly.

6. Rely on your consultant’s experience to advise you on how to best reach your audience. It is never enough to just make your project look good. It has to carry a message.

7. In dealing with the media, remember that not all of your projects have the actual potential to attract attention. Be realistic and accept guidance.

Notes:1. See also “Spin Alert: Is an increasingly powerful publicrelations industry controlling the news?” Ira Basen,TheWalrus Magazine, Sept. 2004, http://walrusmagazine.com/

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1. “I would do it myself, but I don’t have the time.”— if you are only hiring the consultant to save time, you’re probably wasting the consultant’s time.

2. “Money is no object” — Money is always an object. What you probably mean is money is not an object now. Later it will be a huge object.

3. “If you do a good job on this one, there’s a lot more work down the pipe.” — This statement is self-evident. It would be counterintuitive not to rehire the consultant if the work is good.This statement is frequently a thinly veiled attempt to bargain down the priceand it is most frequently untrue.

4. “Can you draw (write, photograph, etc.) like _________ (insert name)? Or : “can you give

Number One Piece of Free Advice onHiring a Presentation Consultant, or EvenDoing the Work In-House

Every pitch is different. Make sure that your presentation in every respect is perfectly attuned tothe intended audience.

it a ________ (insert name)-sort of look? — The consultant has his own sor t of look and would like to think that’s why you chose him/her. This question invariably indicatesthat you will be happy with second-ratework.

5. “I don’t know.You’re the expert.” — usually in response to a legitimate and important question. If you find yourself about to make this response, stop and think why the question may have been asked.The consultant may have believed, correctly or incorrectly, that inthis area, you were the expert.

6. “I don’t know what I want, but I’ll recognize it when I see it.” — another unhelpful statement, indicating that speaker has no concept of process, and a sure indicator that the elusive expectations may never be met.

Top Six List Of Things Not To Say To Your Presentation Consultant

by Gordon S. Grice OAA, FRAIC

In October, the American Society of ArchitecturalIllustrators held their annual conference, in ProvidenceRI. Among the many seminars and presentations, onepanel discussion in particular served as the seed forthis issue’s feature article. Entitled “How to Get theBest Illustrations”, it explored the working relationshipbetween architectural offices and freelance illustrators.

The panel addressed two main questions:1. What do architectural illustrators actually do?

— What are (or should be) the core skills of the contemporary architectural illustrator and how are these skills used?

2. How might architectural illustrators serve the architectural community better?

— How might their skills be applied or adapted toserve changing conditions and to ensure the relevance of the illustrator’s services?

— What can illustrators do that architects can’t or don’t?

The international panel consisted of the following architects:● Friedrich St. Florian AIA, principal of Friedrich St.

Florian Architect, former Dean of Architecture,Rhode Island School of Design, and architect of the WWII Memorial, recently dedicated, in Washington DC.

● Joe Pryse AIA, Partner in Leers Weinzapfel Associates, Boston MA

● Michael Keniger RIBA, LFRAIA, AADM, GovernmentArchitect and Professor of Architecture,Queensland University, Brisbane, Australia.

● Paul Stevenson Oles FAIA, architect, illustrator and author of two distinguished books on architectural illustration.

● Chris Grubbs, illustrator and lecturer.

The moderator was Perspectives editor Gordon S.Grice OAA, FRAIC.

1. Core SkillsThe unanimous response to the first question was that a greater comfort level is achieved when architect and illustrator are on the samewavelength. For the illustrator, this means goingbeyond pure drawing and painting — being able to discuss and adapt to the client’s design sensibilities and to develop or infer ideas where necessary. For the architect, this means understandingthe specific skills of the illustrator and to discussbasic ideas fully and openly. In Friedrich St. Florian’swords:

[Technique] is nowhere near the most important thing.The most important thing is that an illustrator must capture the essence of a particular design and this can only be achieved when you have a rapport with the artist.”

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Chris Grubbs agreed with this. More and more,he pointed out, illustrators are being relied on to help fur ther the design process. Sometimes this work most closely resembles psychotherapy,in that some digging may be required to uncover the original design motivation before it can be put on paper.

Steve Oles expanded on the illustrator-as-therapisttheme by noting that in many cases, the illustrator ispart of a triangle that consists of client, illustrator andarchitect.The illustrator may be presenting architecturalideas to the client, or may be consulting with theclient to ensure that the client’s ideas and concernsare honoured in the presentation.

For Joe Pryse, client sensibilities are extremelyimportant to the presentation process. He cited arecent instance where the client rejected a digital presentation because it made the project look toofinished.The material was needed for fund-raising purposes and only a work-in-progress presentationwould fill the bill.

Michael Keniger has frequently participated incompetition juries, including the Sydney 2000 OlympicDesign Review Panel and the National MuseumProject in Canberra, for which he also acted as keydesign advisor. In these and other juries, his prime taskis to discern (or frequently unearth) from the presentation material, the core of an idea that willlead to a successful project.Winning schemes arethose in which the architectural idea not only survivesthe presentation process, it actually prevails. Clearly

this requires clear thinking and close collaborationbetween architect and illustrator.

2. Better ServiceFor traditional architectural illustrators, relevance is akey issue. Is this a service worth preserving at all? Theparticipants all agreed that, for the foreseeable future,hand drawing is still a valuable tool, with distinctadvantages over digital rendering in some applications.As Friedrich put it, “the pencil is your best friend.” But,since architects are becoming less adept at drawing, itis still up to the illustrators to pick up the slack. Manyillustrators are finding that the ability to draw quicklyand loosely sets their work apart from the more rigiddigital graphics.

Digital illustration is still an emerging field and itsfull potential continues to be explored. As modellingand drawing programs become more powerful and accessible, the digital illustrator’s task is to maintain thesupremacy of art over science, or at least ensure thatthey work together.

But, as Michael Keniger and Friedrich St. Florianboth pointed out, drawing technique is not the majorissue.Whether an illustrator works in digital or traditional media, — or in both — what matters isthe ability to convey an idea.To do this, architect andconsultant have to collaborate closely.The importantelements are trust and accommodation — that bothparties understand and appreciate what the other istrying to do and how this is to be accomplished.

Far left: Xerox and Prismacolor illustration: Chris GrubbsProject: The Tom Ridge Pavilion at theLaurel Center for the Performing Arts ,Bushkill, PAArchitects: Quad 3 Group, Inc .

Left top: Pr ismacolor illustration: PaulStevenson Oles, FAIA, Interface ArchitectsProject: Islamic Art Museum, Doha, QatarArchitect: I. M. Pei, Architect

Left bottom: Digital illustration: AdvancedMedia DesignProject: WWII Memorial, Washington DCArchitect: Friedrich St. Florian, Architect