PUB 3 2022-2023 ISSUE 3 Designing for Neurodiversity
Reflexion is a publication of the Utah Chapter of the American Institute of Architects. www.aia.org/utah AIA Utah 280 S. 400 W., Suite 150 Salt Lake City, Utah 84101 President Jessica Hoffman, AIA, NCARB President-Elect Chamonix Larsen, AIA Secretary Jared Anzures, AIA Treasurer Roger Phillips, AIA Editor Frances Pruyn, CPSM Staff: Angie Harris Roberts Executive Director Joe Mangum Programs & Office Manager ©2023 AIA UT | The newsLINK Group, LLC. All rights reserved. Reflexion is published quarterly by The newsLINK Group, LLC for AIA UT and is the official publication for this association. The information contained in this publication is intended to provide general information for review, consideration and education. The contents do not constitute legal advice and should not be relied on as such. If you need legal advice or assistance, it is strongly recommended that you contact an attorney as to your circumstances. The statements and opinions expressed in this publication are those of the individual authors and do not necessarily represent the views of the AIA UT, its board of directors, or the publisher. Likewise, the appearance of advertisements within this publication does not constitute an endorsement or recommendation of any product or service advertised. Reflexion is a collective work, and as such, some articles are submitted by authors who are independent of the AIA UT. While AIA UT encourages a first-print policy, in cases where this is not possible, every effort has been made to comply with any known reprint guidelines or restrictions. Content may not be reproduced or reprinted without prior written permission. For further information, please contact the publisher at 855.747.4003. 4 President’s Message AIA Lens: Light & Color 6 Executive Director’s Message Looking Forward to Growth and Reconnection 8 Meet Your 2023 AIA Utah Leadership Team 10 Legislative Update AIA Utah Legislative Efforts: Making the Sausage 12 Legends: Dr. Jack Smith, FAIA 16 AIA College of Fellows Inductee Anne Mooney FAIA, NCARB, LEED, AP 19 Mass Timber What Is the Long-Term Financial Value? 21 Designing for Neurodiversity 24 What Contractors Want Architects to Know 26 Landmarks CONTENTS 3
Hooray for spring and more light! Don’t you love it when the sun’s angles start to change? I love to watch how light enters my living spaces and how different the shadows are when I come and go from my office. New buds forming on the trees, and contractors digging into thawed earth. It is invigorating, and I need it! When I was in Basic Design at the University of Utah, I have a clear memory of learning about sun angles and color principles. After building light study models and taking classes on color theory with hours of looking at coloraid comparisons in the studio, I walked outside to deeper shadows, greener greens, and more vibrant yellows with depth and variety that I had never noticed before. It was a transformative revelation to a 19-year-old. It connected me to formal concepts through the experience of doing the work. I have to say — there is a parallel when volunteering for AIA Utah. It has been invigorating for me. It has provided my daily work pattern with some extra light and color. I recently had an opportunity to get to know and spend time with our new Executive Director, Angie Harris Roberts, and AIA President-Elect, Chamonix Larson. In February, we were able to go to Washington, D.C. and enhance our membership knowledge. We met with our national leaders and peers and discussed topics to help our chapter run smoothly and effectively and to understand where to find national support. During this time, I was very proud to represent AIA Utah for our members. It was an enlightening moment — a reminder that we have a national voice and a forum to use it in. AIA is a resource to the construction and design communities and is available for discussions with our local leaders to provide expert insight on very important issues that shape our environment — now and for generations to come. Architecture creates the negative space that builds walls and roofs around us and influences all parts of our daily lives. We know this is so important that it motivates most of us to put our shoulder to the wheel and get the hard work done. We all work hard because this is a rewarding experience to be part of shaping our environment. It can also be very rewarding to look up from time to time and celebrate the fact that your neighbor is doing that hard work too, and recognize that we are shaping each other’s lives. AIA enables members to enhance their careers with the relationships gained and community experiences they participate in. I want to hear more from you … What revelations have you had lately? Was it a connective and impressionable experience? Is this something you could share and celebrate with your peers? We all belong to the same architectural community. Let’s get together and talk about it. Let’s work together to enlighten each other — focus our lens — see new space and color. PRESIDENT’S MESSAGE AIA Lens: Light & Color JESSICA HOFFMAN, AIA, NCARB PRESIDENT, AIA UTAH Let’s work together to enlighten each other — focus our lens — see new space and color. 4 REFLEXION
As I wake up to another snowy day, it is hard to remember that spring is right around the corner. The promise of spring brings hope and renewed energy to assess where we’re at and engage with our surroundings. Similar to the spring cleaning I love to do in my own home, I’m excited to begin my tenure as AIA Utah’s Executive Director and to learn more about the organization and how we can better serve you, our members. I had the privilege to attend AIA’s Leadership Conference in Washington, D.C. last month. It was an incredible opportunity to engage with other component staff from across the country, spend quality time with AIA Utah’s leadership, and learn more about the important work the architecture profession does in our communities. In addition, I gained a stronger understanding of AIA’s values and goals. AIA is an advocate for the value of architecture and provides architects with resources to do their best work. AIA’s “work drives positive change through the power of design.” I hope you had the opportunity to see AIA Utah’s strategic plan in the last issue of Reflexion. Your dedicated, volunteer Board of Directors (BOD) has a plan to better serve you. At its essence, the core purpose of AIA Utah is to help Utah architects be better architects. We will continue to be the benchmark for the profession’s highest ethical standards and work on providing more value for your membership. What role does the Executive Director play in this? The Executive Director of any professional organization serves to implement the ideas of the BOD. A quality Executive Director helps the BOD become organized and efficient, meet its fiduciary responsibilities, oversee the organization’s performance, and attract top-quality board members. That is my goal — to be a quality Executive Director. Not just for the AIA Utah component, but for you, our members. Over the remaining year, I intend to do the following: • Meet with members to learn more about what they need and how AIA Utah can help fill that need • Guide the organization so that it is relevant, efficient and effective • Provide more opportunities for engagement and continuing education • Ensure that AIA Utah’s financial plan is consistent with the strategic plan • Showcase the unique skills of local architects and their impact on the future I have a lot to learn, but with the help of the BOD and our members, I look forward to a year of growth and reconnection. Thanks for your continued support of AIA Utah and please reach out to me at ahroberts@aiautah.org! EXECUTIVE DIRECTOR’S MESSAGE Looking Forward to Growth and Reconnection At its essence, the core purpose of AIA Utah is to help Utah architects be better architects. ANGIE HARRIS ROBERTS, EXECUTIVE DIRECTOR, AIA UTAH 6 REFLEXION
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As many of you know, AIA Utah has a new Executive Director, Angie Harris Roberts. Angie brings years of experience and knowledge about non-profit organizations that will foster a greater sense of connectivity within AIA Utah and our community. Jessica Hoffman, AIA, NCARB, is the 2023 AIA Utah President. She believes that AIA Utah is the best way to connect with colleagues to enhance and complement each other’s careers as architects. She has been hard at work since the beginning of the year, continuing to cultivate that positive environment and pushing the association forward to ensure that we are heading in the right direction. We recently sat down with Angie and Jessica to discuss their new positions, careers, and thoughts on membership. We enjoyed getting to know more about them, and we hope you do as well. The following are excerpts from our conversation. Meet Your 2023 AIA Utah Leadership Team
Why is AIA membership important? Angie: AIA membership is important because it provides architects with the tools and connections they need to be successful. In addition, AIA membership is an “endorsement” that the individual adheres to the profession’s highest ethical standards. Jessica: Architects are busy people! It is important to ‘look up’ from what is in front of you and view your surroundings. AIA helps you see the forest through the trees. It helps capture opportunities to connect on a local level and imagine a larger vision on a national level. AIA provides information and protection for our future, and we all should be actively interested in the health of our profession. How and why did you get involved in a leadership role at AIA? Angie: One of my favorite parts of my job at the College of Architecture + Planning is the relationships I’ve developed with local firms and architects. The local architecture community has a unique and strong connection to the School of Architecture, so it seemed like a natural fit to join AIA Utah as their Executive Director. Both positions complement each other so well, and I look forward to working even more closely with our current and emerging professionals. Jessica: It turns out that it was my turn to give back to the architecture community. It really was a serendipitous and natural opportunity, and I was encouraged by mentors and friends. When I was asked, I said yes — and I’m glad I did. How has AIA been helpful to you as an architect? How is AIA helpful to architects? Angie: I’m relatively new to this position, but one thing that has really struck me is how important AIA is in advocating for the profession. We need to remind the community of the important role architects play in designing healthy communities. As we look at current and future challenges with respect to climate action, community resilience, and equitable spaces, architects play a key role. We need to make sure their voices are heard and understood. And we need to celebrate the brilliance and beauty in their designs. Jessica: I would say getting out of your own bubble and into new situations is always a healthy plan for personal growth and improvement. I like being around people that I can talk to about problemsolving in common situations. What are the biggest problems currently facing AIA Utah? What can be done to address the issues? Angie: From my very new perspective, AIA Utah needs to make sure we are meeting members where they are and then providing the resources they need to succeed. AIA National has a clear vision with explicit goals, and they are a great guideline for us, but we really need to listen to our members as well. I look forward to learning more from our local professional community over the remaining year. Jessica: We have gone through a lot of in-house administrative changes, and the board changes every two years. Fortunately, we have several dedicated volunteers in our community that come together and continue to keep the organization going, building on the foundation from the past and bringing energy to ideas for our future. What do you plan to accomplish during your term? Angie: For this first year, I want to learn as much as I can from the Board of Directors, our committees, and local professionals. We will continue to do the great work AIA Utah is known for but also reflect on how we can improve our relationship with members. I do want to make our organization as effective and responsive as possible. It will take time to evaluate our procedures, but right from the start, we can ensure that members’ concerns are heard and handled in a timely manner. Jessica: My mission is to get the word out to the membership and show them what our volunteers do for them and what their fees go towards — not just the beautiful space and excellent staff. I also want to focus on the enrichment of our local architectural culture. What can members do to help support your goals for AIA? Angie: Share their stories, their concerns, and their hopes for the future. We are ready to listen. Also, be patient with AIA Utah staff as we are a lean operation, and both of us are new to the organization. This will be a year of transition and growth, so we appreciate member support and understanding. Jessica: Participate! Volunteer! Come find a place where you can give back — you will find your life enriched by these relationships as I do. What would you like to say in summary to the AIA members who will be reading your article? Angie: You have a dedicated, passionate Board of Directors and great committees who work hard to provide value for your membership and the professional community overall. Take advantage of what they offer and consider joining us as a board or committee member. This is your organization, so we want to hear from you and make you feel welcome. Jessica: Tell me your ideas! You may get tired of hearing from me — give me some content — help me celebrate our amazing community … but most of all — show up! Come to our events. You will have a good time, maybe get to know someone, and learn something new that will enrich your career and make you feel like you are part of the larger picture. 9
LEGISLATIVE UPDATE AIA Utah Legislative Efforts: Making the Sausage BY SHAWN BENJAMIN What is sausage, anyway? You can’t really pin it down to one size, shape or flavor. There’s not really a specific style, origin or benefit that everyone appears to be able to agree on. It seems to be a composite of ingredients that keeps everyone from loving or hating it too much — satisfying some, while offending certain sensibilities of others. For the record, there are vegetarian varieties, but it seems like a bit of an oxymoron to say out loud. Now just replace the word “sausage” with “lawmaking” and reread this paragraph. Well, maybe not the vegetarian part — unless we introduce political affiliation into the mix. The AIA Government Affairs Committee (GAC) has the charge “to promote and enhance the health and safety of all Utahans in the built environment through relationship-building and lobbying of government officials.” AKA, the sausage … lawmaking process. For the past several months, the Government Affairs Committee has been working hand in hand with industry professionals, various organizations, lobbyists, and lawmakers to improve the professional ecosystem and enhance the lives of friends, family, and strangers alike. Where they are able, they carefully evaluate proposed legislation and debate the merits in the hope of contributing to positive outcomes for our state and our communities. Leading up to the 2023 session, the GAC tracked past legislation, trending issues, and technical subject matters related to the built environment. They looked for potential pitfalls as well as opportunities to raise the proverbial bar in our industry and, as a result, our communities. All that effort led to this year’s legislative beginnings. Lawmakers started with a humble list of draft bills but ended with nearly a thousand House and Senate bills and resolutions to be debated. Most of these fade into the background when more politically charged bills make the evening news. Some derive from personal experiences, others from community clamor. Concerns for the future on every front make their way through committee after committee, draft after draft, substitution after substitution. The process can be daunting, but the GAC has a “particular set of skills.” Well, lobbyists … we have lobbyists. We actually have amazing and very well-respected lobbyists. Our efforts within the industry, combined with their efforts behind the scenes, have proven to be a very effective approach to this process. 10 REFLEXION
• S.B. 36 — Professional Licensing Amendments (Passed) This opened the door a little wider for those with international licenses to pursue reciprocity in certain circumstances and with DOPL approval. • S.B. 168 — State Agency Capital Development Fund (Passed) The pot of gold at the end of the rainbow: $2.4 billion in funding for 46 new state projects and over $200 million in capital improvement funds In addition to and in concert with our lobbying efforts, the GAC sponsored “Legislative Day” on the hill during the session. With the help of our lobbyists, there was a tremendous turnout from both the professional and lawmaker perspectives. As a community of sorts, we were able to discuss the concerns and opportunities our industry faces with (a little local namedropping) Lt. Governor Deidre Henderson, Senate President Stuart Adams, Senate Minority Leader Luz Escamilla, DOPL Executive Director Mark Steinagel, Representative Jennifer Dailey-Provost, and Representative Tom Peterson (former Chair of Utah Code Commission and current state code official). In the end, the legislature passed 575 bills and resolutions. While only a few of these may have a direct effect on the built environment, they all impact us as citizens of this state in one way or another — but I suppose “sausage” can have that effect. Special thanks to all our GAC members/volunteers and our fantastic lobbyists for all their efforts! If you’re interested in perusing the bills that did pass, scan the QR code. https://le.utah.gov/asp/passedbills/passedbills.asp This year, for instance, the GAC had several key pieces of legislation for which they were able to focus and affect change. Here are just a few: • H.B. 118 — Education False Claims Amendments (Not Passed) The unintended consequence of creating civil right of action against design professionals and contractors for “fraudulent” billing where, perhaps, only invoicing mistakes were made. • H.B. 409 — State Construction and Fire Code Amendments (Passed) Updated specific code sections in anticipation of the 2021 code adoption via H.B. 532 • H.B. 532 — Building Code Revisions (Passed) With a lot of behind-the-scenes work, the industry largely came together to encourage and help pass the late adoption of the 2021 ICC commercial and residential codes (with the exception of the residential portions of the IECC — which continues to be a hot topic for future legislation). Concerns for the future on every front make their way through committee after committee, draft after draft, substitution after substitution. 11
Jack Smith attended the University of Utah and loves art, the humanities, and philosophy. He says that it was his avid skiing that helped form key relationships: with his mentor, John Sugden; with Ted Johnson who gave him the commission to design concepts for Snowbird; with Dan Kiley, who introduced him to important projects and great talents. Ultimately, he landed in Sun Valley, where he skied, to set up an independent practice. This is the latest in AIA’s series of legendary Utah architects. LEGENDS BY FRAN PRUYN Dr. Jack Smith, FAIA 12 REFLEXION
When did you decide to become an architect? I was brought up in Provo, Utah, and my Uncle Ben was a contractor. I think my first job was straightening nails when I was about eight. In those days, during the war, you couldn’t get nails. He gave me the job of pulling and straightening nails. He could do anything. He was a craftsman, a mason, and cabinetmaker. He taught me how to frame a building when I was probably ten. So, I understood how buildings went together; I knew what a stud was, what a joist was, what a rafter was. Tell us about your training. In those days, at Irving Junior High School, we were in an “Articulating Unit,” seventh and eighth grades combined. Also, if you had a B average or better, you only had to take two years of high school. So, I entered college at 16. At the University of Utah in 1948, the education was both modern and classical architecture. That was a real benefit. John Sugden, who was a skier and a climber, came to Utah. He was just out of Mies van der Rohe’s office in Chicago. He was Mies’ protege. In 1953, I became Sugden’s first employee. I left school after about four years, without getting a degree and went to work for Sugden, with whom I apprenticed for about 12 years. That training gave me a Miesian discipline, which I use today. John was a huge influence on me. And then I also was asked to teach, interestingly enough, prior to getting a degree, at the University of Utah. I taught basic design from 1964 till about 1967 when I went back East and joined Dan Kiley. How were you invited to teach and then work in Kiley’s practice? I was working half time with Brixen and Christopher Architects, and then half time as a teacher at the University of Utah. I was invited to come to the U of U and have lunch with Bob Bliss at the faculty club. And I said, “Well, yeah, free lunch? Sounds okay to me.” I went not even thinking that I would be asked to teach because I didn’t have a degree and I wasn’t even a licensed architect at that point, but I had been working with Sugden. So, I was talking about Josef Albers and it turns out that I was actually being interviewed. I went on and on talking about how important he was in the color world and the Bauhaus, and that they should buy this book called Interaction of Color. Then Bob said, “Well, tell us more about that.” I had no idea that Bob Bliss had been working directly under Albers and knew him pretty well. Then they just asked me if I wanted to teach and I said, “Goodness, I’ll say.” So, while all of this was going on, I also had received a commission from Ted Johnson to do Snowbird Ski Area. I was still with Brixen and Christopher as an associate, and I was also teaching with Bob Bliss. Ted Johnson had not acquired all the property yet, so I did all the concepts of Snowbird by myself in secret. I had a secret office in Sugarhouse. We had to go up on the roof and go in a window. Because it was secret, we couldn’t go in the front door. I wanted it to be a studious modern American ski resort. Having been a skier and knowing that Sun Valley and so on are all basically about Austria or Switzerland or something in France. I said, “No, this has got to be something different from that.” I established the concepts for Snowbird alone. Then after it really started to become open, I formed Snowbird Design Group with Marty Brixen, Jim Christopher, and Bob Bliss. Ted Johnson only had the money to acquire certain mining strips, so we had to do a limited partnership. We raised $400,000 and that gave us the money to actually design. That’s when we did the more developed ideas about Snowbird. But it still wasn’t funded. Dick Bass was the money behind Snowbird, and he didn’t come in until late ‘69. I was teaching when Dan Kiley, who was very famous, came to lecture at the school, and I was very taken by him. I asked, “Are you a skier?” He said, “Absolutely!” So, we went skiing and I showed him Snowbird, which was still in its infancy. Then Dan said, “Well, it’s not funded, why don’t you come and join me?” And whoa, having that opportunity to go join Dan Kiley, “Of course!” I went back East and was an associate the first year, then from ‘68 until about ‘71, I was a partner. Dan Kiley was one of the most important landscape architects of the 20th Century. I spent about five years with him, and we did environmental land use studies. We also did a number of high-rise office buildings in Calgary. I went from Salt Lake City to an international practice with Dan. As his partner, I was able to be involved in really major projects. We had clients like I M Pei and Eero Saarinen: being involved and brushing shoulders with greatness, and international opportunities — work all over the world. Then in about 1970, I was asked to go back to Snowbird and complete the work with Snowbird Design Group. I could go to Paris for three years or return to Salt Lake City to do Snowbird. Dan encouraged me to do the latter because it was kind of my baby, and so I did. I expected to be made a partner at Brixen and Christopher, but I wasn’t offered that. Since it was my job, my project, I stayed involved. Brixen and Christopher were the Architects of Record for the first phases, for the Tram, Tram Building, Lodge 1, and also the Plaza, based on the designs we did as Snowbird Design Group. The plaza was Dan Kiley’s idea. Snowbird is a very steep runout, there’s no runout really. So, to cross the bridge, and go to a plaza and build a village on that other side was Dan’s idea. That was a very important move. The plaza is essentially the core of Snowbird. Because I wasn’t offered a partnership with Brixen and Christopher, Ted said, “Why don’t you just start your own firm?” He wanted me to complete my work. I was the author of Snowbird. So, I started Enteleki. After that point, we did all the rest of the buildings, including the Cliff Lodge. I started the firm with Ray Kingston and Frank Ferguson. Now that firm has evolved into FFKR, (Fowler Ferguson Kingston and Ruben). In Aristotle’s de Anima there’s a word called entelechy. It means “the actualization of the potential to its nearest point of perfection without loss or compromise.” The actualization of a 13
potential is quite different than actualizing what you’ve already seen. Essentially, you’re making something visible that was previously invisible, right? That’s a creative process. Snowbird was done by a number of people. Our firm, Enteleki Architecture Planning Research was not vertically aligned. It was more like a really a tight little artistic studio. Lots of people were involved with Snowbird. Certainly, I was the original author for the concepts, but many other people were involved all the way through and that’s what made it successful. When did you decide to leave Enteleki and what did you do next? I had basically been involved with Snowbird for 10 years and was also running a firm - we went from three people to 75 people. I was president and we had an office in San Francisco as well as Salt Lake City. I was living on an airplane, which I had been doing with Kiley for years. I wanted to really get a little bit more involved in my own work. So, I left Enteleki and started my own firm called Jack Smith Architect. I moved to Sun Valley, where I’ve had an independent practice since. That leads us to the academic side. I taught at the University of Utah, and I taught at the University of Idaho in Moscow for a semester. I was a distinguished practitioner in residence for a year. I think right now I’m still an affiliate professor. I went back to school at age 68 or 69, to the University of Hawaii for two reasons: I wanted to dig deeper into what Architecture really means, and I wanted to teach more. I spent five years to get a doctorate degree. Because I was already an architect and also a Fellow of the American Institute of Architects, and had won a lot of design awards, it was not necessary for me to be involved in the school of architecture so much. They said, “What do you really want to do?” I essentially designed my own curriculum for a Doctorate of Architecture. I was in the philosophy department. My professors were from Japan, India, China, and Oxford University. I’m not a philosopher as such an armchair philosopher, but I have five years of exposure to philosophy at a doctorate level. That led me to Montana State University. I didn’t expect to teach there. I was doing a large ranch that was near Bozeman. I visited the school just for fun. But they offered me a full professorship, and I couldn’t refuse it. I thought I’d stay there for a semester or two. I stayed there for 14 years. I only retired from teaching in 2020 and returned to practice full time. I’m not going to quit. You know, I think retirement is a disease. The interaction with student/faculty interaction keeps you sharp on all levels. You’ve got this symbiotic relationship between teaching and practice. The interaction with students is heaven. You fall in love with them. They’re your children. I get letters now clear back from the students I had in the sixties. It’s amazing. What is your philosophy of architecture? Architecture must first be thought of as an art form. There are three levels of comfort. The first level is to make a physically comfortable building. Is it warm in the winter? Is it cool in the summer? Is it going to stand up? That’s just physical comfort, that’s just building. Almost anyone can do that. The next level of comfort is intellectual comfort. Does it make sense? Is it reasonable? Is this appropriate? Why did you do that? Why does the structure do this? Is that reasonable intellectually? The third level of comfort is much more difficult. And that’s a spiritual comfort. Does it make you feel better? Does it make you happier? Does it change the way you live? We don’t just accommodate the way people live, we should improve it, we should enhance it. Without the three, I don’t think it’s really architecture. I don’t hear the word art spoken enough in architecture. It’s really important to understand that it’s an art form and we have to do more than just make a building stand up. What work are you really proud of? I think that Snowbird is probably the most important project I’ve done. Snowbird is basically a new village, a new idea, a new concept. The first modern American ski resort in the country, anywhere, actually. I would say that’s probably the most successful. But I think it’s also the most troublesome. I think that one can compromise certain things, but never compromise in principle. Fifty years ago, the idea was to have a tram go up to a bridge, which is a megastructure, and do a bridge building that spans the entire canyon, and not have any cars. That was proposed because the canyon is very difficult, and we were snowed in all the time. Now, fifty years later, we’re struggling with endless cars, traffic jams, and the proposal of the gondola is hugely expensive. 14 REFLEXION
Not getting people to understand the vision is hard. The plaza is the key part of Snowbird. I fought against the position of the Cliff Lodge because it was distant from the plaza, and because of the distance you had to get in the car. The idea was not to get in the car. I was disappointed to not see it fulfilled in its entirety. But yeah, I’m very proud of Snowbird, but I would like to have kept it tighter — less compromise. What changes in architecture have you experienced in your career? When I was just a kid, I met Frank Lloyd Wright; I must have been 17, 18 years old. I raised my hand. I said, “Mr. Wright, what do you do first?” He said, “Young man, I do it all at once.” Whoa, all at once. But that’s the truth. I hear the notions that it is plan driven. It’s not plan driven if you can see the building while you’re drawing the plan. In the computer technology, they are not seeing the whole building. I think that’s a problem. But at the same time, we can’t live without the computer. I understand all the programs, how they all work, but I still draw. I think it’s about thinking first, it’s about the pencil drawing because it’s the most transparent between the mind and the hand. And then after that it’s making, and then after it is computing, it goes in a circle. And that notion actually is from Renzo Piano. That’s his notion about the circular motion of how one creates. So, you think, you draw, you make a model, you compute. Right now, young people tend not to draw. They tend not to see the whole picture. They don’t visualize that because they’re too busy doing it and it’s not the same. That doesn’t mean to say it’s not important, but it’s important as well not to just think that the machine’s going to do it by itself. Your advice for a young architect? Don’t forget that architecture is an art form. I want to see the spiritual side. Certainly, the computer is important, but you’ve got to look at the computer as a tool. AI cannot take To watch the full interview, please scan this QR code. https://www.youtube.com/watch?v=N9koNRAEDiY over. Certainly, it will help you, but I think that you really need to draw still. You need to think and never compromise your principles. I think art and architecture have to be both noun and verb. If we’re not doing the spiritual side or making something that’s going to make people happier or respond to it, then I don’t think it’s successful. I don’t want to see architecture as just a business. Certainly, we have to do that, but it’s also very important that it be considered an art form. I like to think my teaching is not just teaching about architecture, but about life and about broader things: about integrity. People claim work that they didn’t do. That’s not acceptable. John Sugden said he had lunch with Philip Johnson. He went back to Mies van der Rohe’s office and he said, “Philip Johnson is claiming to have been the architect for the Seagram Building.” Mies just took a big, long drag on his cigar and said, “John, better Philip claims my work instead of the other way around.” Big statement. It’s better to give credit to people who have done the work, than for them to simply assume that you’ve done something individually or to claim someone else’s work. That happens all too often. I think that truth is the most important principle I can think of. I think work is actually a religion. A lot of people work to live. I live to work. That’s my life, and that’s why I still practice, and I’m still involved. That’s what I am. I’m an architect and that’s what makes me tick. 15
AIA College of Fellows Inductee Anne Mooney FAIA, NCARB, LEED, AP Anne Mooney is an architect and design principal and the co-founder of Sparano + Mooney Architecture, an award-winning architectural practice with offices in Salt Lake City, UT, and Los Angeles, CA. Her work has been internationally recognized for its research-based conceptual approach to architecture and has been featured in numerous exhibitions and publications in North and South America, Europe, and Asia. She is also a Professor of Architecture in the College of Architecture + Planning at the University of Utah. Anne teaches applied research design studios and seminars in contemporary design theory and professional practice. As a LEED-accredited professional, Anne is experienced in sustainable building systems and technologies and consults with public and private entities on sustainable architectural design. Her distinguished body of work and commitment to the community has led to her being inducted into the 2023 AIA College of Fellows. We recently sat down with Anne and discussed her career and Fellowship. What follows are excerpts from our conversation. We hope you enjoy getting to know more about her as much as we did. 16 REFLEXION
When did you first become interested in architecture as a career? When I was young, I never knew an architect. So, I had no experience or background in architecture. Architecture was never offered to me as a career option. I come from a family that works in the aviation industry, and, if anything, I might have been on track to become a pilot. Towards the end of earning my undergraduate, I took a general ed design studio class, and I just fell in love with architecture. I knew from that moment that architecture was my thing. But I was about to graduate, and it was kind of too late to switch gears. So, I ended up completing my undergraduate education at the University of Utah, not in architecture. But then, I discovered a workshop class taught by Gail Della-Piana, a legend in Utah. She followed the curriculum of Tom Cass. After I took that class, I knew I was going to study architecture, and I wanted to do that professionally. After I graduated from the University of Utah, I moved to Los Angeles and started studying architecture, taking night classes to build a portfolio and working in a company that specialized in interior design. Then, I went to Graduate School in New York at Columbia University. I also studied at the Southern California Institute of Architecture (SCI-Arc) in Los Angeles and in Switzerland. I loved every moment of being in school and studying architecture. It's really important to find something that you love, and your education just flows after that. What college degrees and certifications have you earned? I earned a Master of Architecture with Distinction from SCI-Arc and a Bachelor of Arts in Business from the University of Utah. Has your career taken you anywhere you didn’t expect? While I was in school, one of my professors identified me as somebody who could be a potential teacher. I never saw that in myself, but I've had a dual career as both a practitioner and also an architectural educator — I never expected to have two jobs my whole life. Which one of your current projects excites you the most? That’s tough, I always love the projects that I work on. For example, this week, we presented a design for a new Civic Center for a special community in Utah. This is a really exciting project because we're working hard to deliver a landmark building for this organization and nonprofit that has an incredible history in our state and in our region. What has been your proudest moment as an architect? I have to say this milestone of being recognized as a Fellow and being included with the top architects in the country is an honor. It's very gratifying to have been recognized with that award this year. What do you hope to contribute from your work? I really hope to contribute a body of work in architecture that endures for generations. This requires a level of design and quality that allows a building to be timeless. It's definitely what I strive for in our office. We've developed a pretty rich and rigorous design process, and we've been honing that for the last couple of decades. Hopefully, that leads to a body of work that will stand the test of time, but that's for the next generations to determine, and that's what I'm working toward. Have you won any awards for your designs? What elements from those projects would you like to see shape the future of the profession? Well, the firm has won quite a few design awards, up to 50. We, again, take our design process seriously, and our rigorous process leads to design excellence. Some of the elements that we focus on are thinking about materials and the unique ways they are used, the translation of the concept into materials, and detailing. It's not just about form, it's about spatial quality and experience and then, a bit of surprise. I really hope to contribute a body of work in architecture that endures for generations. 17
What does sustainability mean to you? I think, at its core, it means doing the right thing during all phases of the design process: looking at sighting the building, using passive design strategies; strategic placement of the building if possible; sizing of the openings and the overhangs; specification of materials and systems; and then looking at sustainably harvested materials. Additionally, tracking the production cycle of materials and making sure non-toxic materials and finishes are used. We also need to be paying attention during the development of the project as the engineering team is participating, and then through the construction administration phases to make sure that substitutions aren't being made. If substitutions are made, it might compromise the sustainability goals that were set at the beginning of the project. It's a holistic approach to architecture; it's not one single thing. What do you see as the largest barrier to sustainability in your profession? I think the largest barrier is just the complexity of our work. Everyone must share the same goals to deliver the most sustainable project, and that doesn't always happen. Architecture is a team sport. It's important that everyone involved in a project, from the designer and the engineer to the construction worker and the client and owner side, and even the regulatory agencies share the same goals to deliver the most sustainable project. Leadership in a project is important, and that can come from the client, owner, contractor, or architect. But ideally, it comes from everyone working together as a team. What is the most effective step you’ve taken in your work toward a more sustainably built environment? I think the most important thing that we do in our office is to set sustainability and performance goals for every project. Setting goals at the beginning of each project is just as important as measuring them when our projects are finished. Where do you find inspiration? I find inspiration in lots of different things: art, music, and film. But I think maybe, more than anything, we're so lucky to be surrounded by natural beauty here in Utah, and nature is the number one place where I find inspiration. We are surrounded by some of the most spectacular landscapes in the world, and I don't take that for granted. I find spending time in our mountains and in our deserts is a profound way to recharge and find inspiration, insights, and perspectives on challenges that I face. What advice would you give to your peers on becoming an AIA Fellow? I think the most important thing is to be consistent in your career with a focus on excellence. Additionally, we should all be looking for ways to be of service to others. I became a Fellow in the category of design, but I don't think this would have happened without my interest and lifelong efforts of working to serve my community. I've been a teacher and a mentor for our students and emerging professionals. I work on school boards and have been on the Utah Arts Council as well as serving on the AIA Board of Directors. All of those provide rewarding and important activities that get me out into the community. So, I think the advice would be to find a way to be of service to your community, to our profession, and to the emerging professionals that are finding their way in our profession. It’s bigger than just a body of work, it's our impact on the community that makes a difference. 18 REFLEXION
Mass Timber What Is the Long-Term Financial Value? By Jeff Bolinger, AIA, GSBS Architects Mass timber was introduced to the building market in the 1990s and has steadily become a popular and desired structural building system throughout the world. In Utah, it has been used sporadically for about a decade, though not as a mainstream structural system. Today, many professionals in the AE community are well aware of the basic concept and potential advantages of mass timber, having seen it used in projects across the county, and in the state. One question that lingers, as momentum grows, is “What is the long-term financial value of using a mass timber system, when the dollar-to-dollar hard-cost numbers, as compared to the equivalent system using steel or concrete, is potentially higher?” Keeping the focus strictly on the hard-cost comparison ignores the broader financial value that could make mass timber use a great long-term choice. The following are a few key factors to consider when looking at the long-term financial picture. Market Differentiation The unique sustainability and aesthetic advantages that the use of mass timber offers have always been at the forefront of its perceived value; however, there are financial advantages that come with its use as well. One of the advantages is the market differentiation that mass timber buildings afford. In a study by WoodWorks entitled “Mass Timber Business Case Studies,” it was found that office and multi-family buildings that are built with mass timber tend to “lease up faster than submarket norms, which translates to higher net incomes, lower income volatility, better internal rates of return, and better ability for owners to refinance or sell faster, creating an overall lower risk.” They also found that mass timber buildings tend to attract sought-after tenants, which translates Weber Basin Water Conservancy District, GSBS Architects to “better rent collection, lower cap rates, and more stable occupancy.” WoodWorks Representative Chelsea Drenick, who supports design teams in Utah, explains, “Generally, customers are becoming more sustainability-conscious and placing pressure on developers to lower the carbon footprint of new construction. The global focus on climate change could increasingly incentivize construction companies to factor sustainability into their projects, construction processes, and designs.” Though the initial hard cost of mass timber use can be higher than other options, the potential for market differentiation can be a significant financial value long-term. Construction-Related Costs A second key factor regarding the financial value of mass timber use is the reduction of the overall time of construction and, in turn, the reduction of the total project cost. This reduction is most magnified when the structural system is fully mass timber, as opposed to a hybrid system, as the pre-fabricated nature of mass timber parts allows for rapid erection time. Members are brought to the site pre-cut and ready for installation, where they are simply craned into place and secured on site. This allows the contractor to have fewer workers on site, erect the structure, and save overall project time. The financial savings due to reduced labor costs can be large if the time savings allow an owner to get into a space and start collecting revenue early. In an article published by Think Wood, Douglas H. Evans and his colleagues assert, “An average of three case study comparisons, (a retail space, an office space, and a charter school), of mass timber buildings to conventional construction, showed an average of $5.81 per square foot in total cost reduction calculated on a 25% savings 19
in the construction schedule. Reduced costs included saved interest on construction loans and additional rental income generated by earlier opening dates.” Similarly, the chart below, published by WoodWorks, illustrates the potential reduction in the construction schedule of that same 25% amount. Source: Woodworks – Wood Products Council (woodworks.org) Speaking of construction cost savings, there can also be significant time and labor involved with the selection, shipping, and installation of finish materials. Part of the beauty of specifying a mass timber structural system is that it can become the structure and the finish. Depending on the building type, size, and financial investments that would otherwise be used in ceiling clouds, wall finishes, coatings, etc., there can be substantial savings involved with this aspect of mass timber usage as well. Increase in Productivity and Value A third advantage of mass timber use that can have a long-term effect financially is its contribution to increased employee productivity and public health. In public buildings, owners understand that it is in their best interest, from a financial standpoint, to produce buildings that encourage health and quality of experience by incorporating nature into the space where possible. This principle of biophilic design has been studied by many researchers in the AE fields and beyond. Anthony Klotz, Associate Professor of Management at the University College of London, wrote in the MIT Sloan Management Review, “We spend about 92% of our lives indoors, on average,” and that as humans, “We still harbor a strong innate desire to be in contact with natural elements and processes. When we don’t [fulfill that desire] … we are more susceptible to stress, depression, and aggression.” Mass timber use in buildings allows for significant amounts of nature to be introduced to spaces for work, living, healing, playing, etc., and can largely contribute to the effects Klotz describes. The overall increase in productivity and value, though not a hard-cost savings item, can be a significant contributor to long-term financial value for owners and the public. Conclusion Though mass timber use has continued to grow in the Utah and Mountain West markets over the last decade, one question that lingers is “What is the holistic financial value of using a mass timber system, when the dollar-to-dollar numbers, as compared to the equivalent system using steel or concrete, is potentially higher? Is that value worth investing in?” Market differentiation, increase in productivity and value, and construction-related financial savings, are three pieces of that picture. Depending on the specifics of the project, these items should be worth careful consideration in future projects. 20 REFLEXION
Designing for Neurodiversity BY LPA, INC. Inclusive design recognizes the importance of creating environments that support a wide range of physical abilities and neurodiverse individuals. From classrooms to boardrooms, spaces that respond to a wider range of needs, sensitivities and behaviors benefit everyone. Everyone is different in terms of how they process information from their physical and social environment. Harnessing the strengths and talents of neurodiverse individuals starts with recognition of these differences to create environments that reflect the variations in the ways people respond to stimuli and interact with physical spaces and one another. Neurodiversity is commonly associated with autism spectrum disorder (ASD), attention-deficit/hyperactivity disorder (ADHD) and dyslexia, as well as other diagnosed learning disorders and agerelated illnesses like Alzheimer’s and Parkinson’s. But neurodiversity itself is more widely shared, as it encompasses all variations in human thinking, making up approximately 15–20% of the general population. Research highlights that neurodiversity is not defined by a deficiency in comprehension, but rather a difference in how people process information. From learning spaces that support students to workplaces that foster the best in employees, studies show that an evidence-based approach to designing physical environments that improve the experience for neurodivergent individuals contributes to more-inclusive and supportive spaces for all individuals. “We need to get away from the stigma of what constitutes the so-called norm or normal behaviors,” says LPA research analyst Rachel Nasland. “Designing for the norm excludes a large portion of the population, whereas designing for neurodiversity is more encompassing and benefits everyone.” “Neurodiverse individuals play a valuable role in society, including in our schools and organizations. Traits such as hyperfocus, complex nonlinear thinking, pattern recognition, attention to detail, sensory sensitivity and high energy can spur creativity, innovation and out-ofthe-box thinking,” says LPA Director of Laboratory Planning, Isabel Mandujano. Many well-known scientists, engineers and entrepreneurs have been identified as neurodivergent, including Stephen Hawking, Thomas Edison, Albert Einstein, Alan Turin and Henry Ford. “Neurodiverse individuals can be supported, inspired and nurtured by providing an inclusive culture that recognizes different needs and environments that offer a variety of choices, as opposed to a one-size-fits-all approach,” Mandujano says. Recent research highlights four key areas where design can play a key role in supporting neurodiversity. Perhaps the most difficult design elements to balance are stimulation and naturalness. Many neurodiverse individuals possess heightened sensitivity to environmental stimuli, including light, color, patterns, textures, sounds and movement. Too many stimuli, such as busy patterns and poor acoustics, can fatigue the senses, while too few can seem boring. When neurodiverse individuals can access their appropriate level of stimulation, they are able to hyperfocus on tasks and sustain that focus for longer durations. “To avoid overstimulation, design solutions should focus on naturalness within the built environment, as elements Environments should recognize the variations in the ways people respond to stimuli and interact with physical spaces and one another. 21
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