Another Way to Frame a View

We aren’t pack rats at all so to have saved a piece of paper from architecture school from a couple of decades ago, not to mention several moves and home renovations, is noteworthy. (The source is unknown so if anyone has more information, please leave a note in the comments.) The topic of this particular lecture was about framing views; through the telling of two separate stories the concept of restraint was illuminated. In the first story, we learn the concept of not over-saturating a view thus keeping it ‘alive’. In the second story, the view is actually made part of a tea ceremony ritual. Admittedly it is nearly impossible not to leverage beautiful views with large expanses of glass, yet these lessons challenge us to think alternatively about creating moments that somehow bring reverence to experiencing a view. Since the original hand-out is hard to read, the two stories are excerpted below.

“A Buddhist monk lived high in the mountains, in a small stone house. Far, far in the distance was the ocean, visible and beautiful from the mountains. But it was not visible from the monk’s house itself, nor from the approach road to the house. However, in front of the house there stood a courtyard surrounded by a thick stone wall. As one came to the house, one passed through a gate into this court, and then diagonally across the court to the front door of the house. On the far side of the courtyard there was a slit in the wall, narrow and diagonal, cut through the thickness of the wall. As a person walked across the court, at one spot, where their position lined up with the slit in the wall, for an instant, they could see the ocean. And then they were past it once again, and went into the house.

What is it that happens in this courtyard? The view of the distant sea is so restrained that it stays alive forever. Who, that has ever seen that view, can ever forget it? Its power will never fade. Even for the person who lives there, coming past that view day after day for fifty years, it will still be alive.

This is the essence of the problem with any view. It is a beautiful thing. One wants to enjoy it and drink it in every day. But the more open it is, the more obvious, the more it shouts, the sooner it will fade. Gradually it will become part of the building, like the wallpaper; and the intensity of its beauty will no longer be accessible to the people who live there.”

“When the tea room and garden were completed, they invited a few friends to a tea ceremony for the housewarming. Knowing the host’s greatness, the guest naturally expected to find some ingenious design for the garden which would make the best use of the sea, the house being on the slope of a hill. But when they arrived they were amazed to find that a number of large evergreen trees had been planted on the side of the garden, evidently to obstruct the view of the sea. They were at a loss to understand the meaning of this. Later when the time came for the guest to enter the tea room, they proceeded one by one over the stepping stones in the garden to the stone water basin to rinse their mouths and wash their hands, a gesture of symbolic cleansings, physically and mentally, before entering the tea room. Then it was found that when a guest stooped to scoop out a dipperful of water from the water basin, only in that humble posture were they suddenly able to get a glimpse of the shimmering sea in the distance by way of an opening through the trees, thus making them realize the relationship between the dipperful of water in hand and the great ocean beyond, also enabling them to recognize their own position in the universe.”

Bookshelf: 101 Things I Learned in Architecture School

Published in 2007 by The MIT Press, Matthew Frederick’s book “101 Things I Learned in Architecture School” is part scrapbook, part greatest hits and part conscience. With it’s thick chipboard cover (if you know, you know) he succinctly captures the concepts, skills and practices that were first introduced in architecture school but I would guess, most of us continue to revisit, explore and hone. Although a few personal favorites didn’t seem to make the cut (Virginia Tech is #1 ‘Let’s Go Hokies’, coffee and your studio mates are the glue that hold everything together, and turn the music up to get through a creative block), some favorites are highlighted below:

#48

IF YOU CAN’T EXPLAIN YOUR IDEAS TO YOUR GRANDMOTHER IN TERMS SHE UNDERSTANDS, YOU DON’T KNOW YOUR SUBJECT WELL ENOUGH.

This is a great place to start. The way to communicate the design / idea is almost as important as the design itself. Clients may or may not be able to read drawings to translate what is drawn into what the final product will look like. It is our job to convey the idea, thought process and resulting design.

[Rosa Maragioglio 1896 - 1967]

#39

A STATIC COMPOSITION APPEARS TO BE AT REST.

“Static compositions are usually symmetrical. At their most successful, they suggest power, firmness, conviction, certainty, authority and permanence.”

[Nexton Del Web entry structures by RDA. Photo Tripp Smith]

#7

FIGURE-GROUND THEORY STATES THAT THE SPACE THAT RESULTS FROM PLACING FIGURES SHOULD BE CONSIDERED AS CAREFULLY AS THE FIGURES THEMSELVES.

A favorite past-time is studying aerial maps (check out Rome, Savannah, GA, even college campuses) and urban planning where you can really see this in play. Some of our favorite buildings are not the buildings but the spaces they create.

[Image from book, Matthew Frederick]

#40

A DYNAMIC COMPOSITION ENCOURAGES THE EYE TO EXPLORE.

“Dynamic compositions are almost always assymetrical. They can suggest activity, excitement, fun, movement, agression and conflict.”

[Avian Pavilion at Camp Hall by RDA]

#86

MANAGE YOUR EGO.

“Forget about what you want the building to be; instead ask, ‘What does the building want to be?’ A design problem has to be addressed on its own terms: the needs of the client, the nature of the site, the realities of the building program..”

[Dr. Anderson of Holy City Orthodontics brought her strong brand and vision to RDA. Photo: Ridge Media]

Paul R. Williams Student Scholarship

[07.01.22 UPDATE: We have just been notified that this scholarship is no long an active program. Please consider supporting or participating in the National Organization of Minority Architects’ HBCU Professional Development Program instead.]

We are life-long learners. As architects, we are always seeking a greater understanding of design precedents, building science, context and history to inform our work. We bring an open mind to each client, project and opportunity. As entrepreneurs and small business owners, we understand the highs and lows of the journey, the grind and hustle involved. We also understand that the opportunities we have been given, as a white woman and a white man, are not universally given. And while we look at the world with empathy and optimism, we now understand that all of this is not enough.

It is not enough when our industry does not reflect the diversity of our country’s population. It is not enough when only 2% of licensed architects in the AIA (American Institute of Architects) are African American. It is not enough when only 0.3% of licensed architects are women of color.

From Alice Liao’s “Diversity in Architecture” piece for Architect Magazine (May 2019) “According to the Census Bureau, the U.S. population is 61 percent white, 13 percent African American, 18 percent Hispanic or Latinx, 6 percent Asian, and 1 percent Native American. Meanwhile, the makeup of AIA members is 67 percent white, 2 percent African American, 5 percent Hispanic or Latinx, 6 percent Asian, and less than 1 percent Native American, with 18 percent not reporting.” This first article in her three part series pinpoints barriers to entry including cognizance of the architecture profession, money and biases (both latent and expressed).

It is a fact that the more diverse the room is, the better the outcome. It is important for any workforce to reflect the population they are serving. Specific to the architectural industry, having designers who represent the building users and people who work, love and play in that community is the only way to truly create an inspired and relevant built environment for every person.

We started thinking about how to increase the diversity and equity in the architectural profession and looked toward scholarship opportunities for persons of color. That led us to DesignClass’ Paul R. Williams Student Scholarship. In their words, “Paul Williams kicked off a prolific career by becoming the first licensed African-American member of the AIA in 1923. Throughout his life he designed over 2,000 buildings in California and helped shape Los Angeles into the metropolitan city it is today. In 1957, Williams became the first African-American elected as a Fellow of the AIA. DesignClass honors the legacy of Paul R. Williams with a scholarship for African-American architecture students seeking to foster curious and creative confidence in their communities.” The scholarship provides financial assistance to African American students studying at a NAAB accredited architecture program. [More to come on Mr. Williams’ work in a future blog.]

Please help spread the word, consider contributing to this scholarship fund and sharing other ways that the veterans of our profession can help the industry to achieve true racial equity. As always, we are works in progress and welcome any and all lessons we have yet to learn.

“Talent is universal but opportunity is not.”

Kennedy Odede

Product Design by Architects

Attending architecture school is often regarded as the foundation for establishing a rigorous design process. This can then be applied not only to designing buildings, but other disciplines of varying scales such as urban design, graphic design, furniture design or in Rush’s case, product design. We have always drawn inspiration from architects who toggle between such scales or disciplines. Some of our favorites include:

Aldo Rossi (1931 - 1997) 

An Italian architect and leader of the postmodern movement, Rossi was known for built works of architecture, theory, drawing and product design. We first saw his “Il Conico" tea kettle and “La Conica" espresso coffee maker for Alessi and knew it was no ordinary design.  

Rossi’s tea kettle, “Il Conico”

Charles-Edouard Jeanneret (1887 - 1965) 

“Le Corbusier” as he was known as, was an architect, designer, painter, urban planner and writer. Notable works of architecture include the Villa Savoye and the Ronchamp chapel and collaborations with his cousin, Pierre Jeanneret, led to several iconic pieces of modern furniture that we have all likely seen, such as the sling chair. 

Le Corbusier’s sling chair

Philippe Starck (1949) 

French architect, Philippe Starck is known for cultural venues and hotels, also designed yachts and furniture. The iconic juicer is our favorite.

Rush3 Product Design Studio

Truth be told, a slow economy, a goal set 10 years prior, and a chance encounter with a vintage bottle opener led to the creation of Rush3 Product Design Studio in 2011.  Local branding company Slant Media made the process of starting a product design company including logo creation, web site development and product branding fun and extremely exciting.  The next several years were a mixture of architecture and product design - using the design process to jump scales and functions. Some highlights of the Rush3 Product Design Studio chapter…

Kebo® - One Handed Bottle Opener

Inspired by the Theodore Low bottle opener from the 1930s, the Kebo Bottle Opener is a modern interpretation that offered better seamless function and classic styling. It was cast of stainless steel and polished to a mirror finish because it needed to feel good in your hand and be a sculptural if not architectural piece. The “Kebo®, short for “bottle key”, won the Innovation Award in the ‘Handtools and Cutlery’ category at the 2012 International Home and Housewares Show. Fun times were had in research and development (yes, we drank a lot of beer) as well as press in Men’s Journal, Core 77, Buzzfeed, Fast Company and the Today Show. Kebo was sold at many local shops, small businesses and even Restoration Hardware and the Museum of Modern Art.

Kebo® The One Handed Bottle Opener is a 2012 International Home and Housewares Show Innovation Award winner, was featured on The Today Show and was named as one of Men’s Journal’s “Perfect Things”

Kebo Light

Anyone in the product industry knows that before long, knock-offs sprout up.  At first when a colleague suggested we do our “own knock-off” we thought it impossible to consider anything other than the pure, stainless steel original Kebo. But when attending industry trade shows we were shocked to see derivations of last show’s newest products be presented as their own fresh ideas. It’s rough out there even with trademarks and patents in place. Enter “Kebo LIght.” A different iteration of the original Kebo with a nod to light beer.  It was lightweight (made from aluminum) and available in colors so this captured a lower price point and more of an impulse buy - a bottle opener you would have on the boat or at tailgates.  

Kebo® Light offers the same elegant design extruded from lightweight aluminum making it perfect for picnics, a day at the beach or any time on-the-go.

Munch Stix®

One night when having take-out Chinese for dinner, our then 7 year old asked for chopsticks but mispronounced them saying “chomp” instead. This was a good chuckle, but then we said, what if chopsticks could actually chomp. After initial launch, a bit of a trademark hiccup had us re-brand to “Munch Stix.” We still had fun with “Chum” the shark, “Al” the alligator and “Teri” the Pterodactyl as kid-friendly chopsticks. These were a finalist for the 2013 International Housewares Association Innovation Award (Tabletop category) and made the rounds on mom-blogs including Cool Mom Picks and A-List Mom.  Retailers included kitchen and toy shops as well as the Museum of Natural History and the Georgia Aquarium. 

Munch Stix® are child-friendly chopsticks that all have mouths and munch! Made in the USA, Munch Stix® are an AmericasMart ICON Honors Innovation Award finalist, an Editor's Pick for The Gourmet Retailer and one of A-List Mom's "Toy of the Year" in 2014. Meet "Chum the Shark" who has also been endorsed by pediatric Occupational Therapist, Lindsey Biel OTR/L.

"Al the Alligator" Munch Stix® was featured in Sharon Garofalow's "Cupcakes and Cutlery" blog and named, along with his sibllings, as a 2015 Family Choice Award Winner.

"Teri the Pterodactyl" Munch Stix® was the cover girl for Fancy Food & Culinary Products Magazine in June of 2013.

Tre™ Bottle Opener

Returning to the bottle opener space (because beer) the last product Rush3 Studio designed and produced was a sculptural triple function beer opener crafted and contoured for 1) twist-off bottles, 2) pry-off bottles and 3) can tabs. We did a small run of these in 2017 mainly for client gifts and local sales. 

Released in November of 2017, TRE is a triple-function bottle opener crafted and contoured out of stainless steel for twist-off bottles, pry-off bottles and can tabs.

Certainly a great education not only in jumping design scales and function from buildings to housewares, but in dipping our toes in the product / retail sector. We have since dialed down the product design studio for now and have been focusing on architecture in the Charleston metro area. Though we still enjoy designing at a range of scales and are life-long fans of modern product design. 

Rural Studio : Samuel Mockbee and An Architecture of Decency

This book chronicles the genesis and early years of Auburn University’s College of Architecture, Design and Construction’s “Rural Studio”, a design-build architecture studio located off-campus in rural Alabama. The studio educates what founder, Samuel Mockbee, calls “citizen architects” through feet-on-the-ground researching, community immersion, collaborative design and hands-on construction in Hale County’s ‘pockets of poverty.’  What started as a new house per year has grown into chapels, community buildings and structures for much needed economic development.  Paramount lessons beyond design and construction are those in human decency, class and racial differences and how both client and student are equally helping one another.  

“It’s got to be warm, dry and noble.”

Samuel Mockbee

We reach for this book to remind ourselves that good design doesn’t have to come with a large price tag; that listening to and respecting a project’s client, context and culture leads the way to the best design solutions.  It teaches us that architecture isn’t on paper, that the profession can and should serve those who need it most, that function alone isn’t enough, and that humble can also be bold.

[The Harris “Butterfly” House, Mason’s Bend, 1997, Photo by Timothy Hursley] “No I don’t think I’ll take one of those today,” Anderson Harris, who at first was not interested in what the Rural Studio was offering. Relationships were cultivated with Harris ultimately working alongside the students. The resulting structure, with a construction cost of $25,000, amplifies the importance of the family’s porch and low cost sustainable strategies.

[Yancy Chapel, Sawyerville, 1995, Photo by Timothy Hursley] Scrap tires filled with soil and reinforcing then wrapped in wire mesh and coated with stucco form the base with harvested heart pine roof framing and rusted tin roof shingles. Beyond the ingenuity and resourcefulness of scavenged / repurposed materials and sweat equity, this is a poignant piece of architecture.

[Thomaston Farmers Market, 2000, we’re looking at you Jeff Johnston @SMHa, Photo by Timothy Hursley] This structure is the first foray into economic / town development with the initial goal of “creating a dialogue between the Farmer’s Market, the coop grocery and a local canning kitchen business.” The power is in the simplicity of the steel column grid, correctly sized stalls and lofty roof covering.

“Proceed and be bold.”

Samuel Mockbee