lot of materials that were available, like low-grade concrete and deformed bar, rather than rebar as we know it today. They had a lot of different shapes and sizes and dimensions of reinforcing. They also used ceramic clay tile to create a bridging structure that they then poured concrete topping on. That project was particularly interesting because it was a “high rise,” 75’ to the top floor, on a steeply sloping site along Stockton Street. We were able to develop a scheme that inserted an extra floor of retail sales space, taking advantage of the slope. The fire department’s access we relocated up that slope. That allowed us to decommission it as a high rise; therefore, we could provide a single fireproof tower rather than two, freeing up 120 square feet for each of the six floors that then became rental space. That project was very complex in terms of understanding how to satisfy the Historic Preservation Commission, as well as how to deal with the building code. There is also the Geary Theater, which was actually under construction when the 1906 earthquake hit. It was badly damaged in the 1989 Loma Prieta earthquake. We addressed the National Historic Landmark status of the building and strengthened it seismically for safety. We created a new lounge on the upper floors that had never existed before. That was perhaps my most joyful building because of its history. We found remnants of the paint schemes in the lobby. The new lounge allowed that space to become part of the city again, part of the cityscape, overlooking the street life below. For several years, I was a regular show attendee. One of my favorite things to do was to get there early and go up to that lounge, get a glass of wine and sit there and watch people discover this space. They’d been coming to that theater for years and years before the earthquake, and we created this fabulous open stairway up to this new lounge space. People would wander up the stairs and say, “I never knew this existed.” Because it didn’t. We created it. It was all new. Then there’s a San Francisco Jewish Community Center in the Avenues of San Francisco. It was also a great project because it’s on the site of the prior facility, which was very beloved by the community. It had become outdated, and we created a new place that was reminiscent of what had been there in the past, but created a whole new set of opportunities for the rich cultural heritage to flourish as it continued to grow. Service to the Community and the Profession I’d come through the ranks of the technical performance side of things; very much engaged in computer technology, but also with technical code performance issues. Having worked in Chicago for six years, which had unique locally developed building codes, I’d become well versed with the nuances of building code. There is the letter of the code, but also the intent of the provision. So, while you developed the building, although you might not be within the letter, if you could convince the building official you were providing the level of safety required, you could achieve a safer, higher-performing building. When I got to San Francisco, the strict interpretation that we got from the building department there got the hair up on the back of my neck. In some cases, it wasn’t actually helping our clients’ projects or achieving the kind of safety that I think we all seek in our projects. Also, the California Environmental Quality Act means that the planning process is very detailed, taking the time to at least get approvals, and the San Francisco historic preservation issues put on an additional layer. I became quite skilled at understanding those interlocked code issues, and trying to influence their development became a priority for me. That’s pretty much where I found AIA. The AIA San Francisco Chapter had about 1,400 members, (probably 1,800 today) with a very active committee structure. I got involved with the committee that was trying to influence the building code and the planning code. I built relationships with the building officials and the fire chiefs. I learned that you could influence the codes. You’ve got to be willing to speak up. You’ve got to be able to compromise. You’ve got to be able to find common ground that advances the entire enterprise. I came to understand that while we as individual architects have a voice, bigger issues that impact the environment we work in are really the purview of the AIA. As I started working through the committee positions at AIA San Francisco, I became keenly aware that as architects, we serve two masters: the public, but also our clients who pay the bill. Sometimes that creates a conflict and you’ve got to be able to negotiate that. Beyond our professional obligations of the license, we’re also small business people. Things like tax policy — particularly things that will impact our client, like historic tax credits, or affect a firm’s profits — are things that we need to pay attention to. That just deepened my resolve that AIA was a place to put a lot of energy. I found it to be a super-rich environment to develop your leadership skills because now you are working with volunteers. Anybody can walk away at any time or just stop engaging. How do you draw them in? How do you make them individually understand that their contribution to the profession, as well as the community, is really meaningful? One of the peak experiences in my career was following the 1989 earthquake in San Francisco, the Loma Prieta earthquake. During the highway building boom in the ‘50s San Francisco Jewish Community Center
RkJQdWJsaXNoZXIy MTg3NDExNQ==