#449 - YOU NEED CONSTRUCTION ADMINISTRATION
SUMMARY
This week David and Marina of FAME Architecture & Design discuss the importance of Construction Administration to achieve a successful project. They touched on what is construction administration, the role of an architect during CA; why CA matters for clients; how CA saves time and money; real world scenarios during CA; what construction administration is not; questions to ask architect about CA; collaboration between architect and contractor; and more. Enjoy!
TIMESTAMPS
(00:00) What is Construction Administration?
(07:11) Role of Architect during CA.
(12:48) Construction Documents vs Shop Drawings.
(18:07) Pay application & change order.
(22:19) Manage design adjustments.
(25:19) Punch list final review.
(32:01) Why architects are important in construction Administration.
(41:46) Real-life issues during CA.
(47:07) What CA is not.
(53:29) CA is not optional.
(57:05) CA Architect & contractor mutual relationship.
(01:03:00) CA is an important phase.
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#448 - DAVID WEEKS, Founder of David Weeks Studio
SUMMARY
This week David and Marina of FAME Architecture & Design are joined by David Weeks, founder of David Weeks Studio. The three discussed David’s artistic childhood and education; studying sculpture and painting; influence of art education on design career; working with Ted Muehling; starting a studio as a lighting designer; artists and creators priced out; progression of lighting career and studio growth; discovery in design and art; David Weeks Studio design style; minimalism done well; and more. Enjoy!
ABOUT DAVID
Widely regarded as the founding father of North American lighting design, David Weeks has been a pioneering figure in Brooklyn’s burgeoning independent design movement since his studio's early roots in Dumbo. His genre-defining work is the result of a distinctly hands-on, sculptural process that explores scale and proportion, balance, and movement. A native of Athens, Georgia, David studied sculpture and painting at the Rhode Island School of Design before founding his eponymous Brooklyn, NY studio in 1996.
In addition to lighting, Weeks creates furniture, textiles, home goods, and wooden toys with partners, including Roll&Hill, Moroso, Tala, Habitat, and Areaware, among others. His award-winning pieces have been exhibited in Milan, Paris, London, and New York and are installed in high-profile commercial locations and private collections worldwide. Most recently, Weeks was awarded the esteemed Rolland Rome Prize in design, leading to a six-month fellowship at the American Academy in Rome. Weeks has recently opened the doors to a new studio in Clinton Hill, Brooklyn – near the creative current of the Brooklyn Navy Yard.
TIMESTAMPS
(00:00) David's childhood & education.
(09:10) Studying sculpture and painting.
“I think painting is the only thing you can do where you can destroy and create at the same moment. You can fuck it up and get this great edge. I think designing back in the earlier days, you start from scratch, and you try not to be distracted by what it should be or what you think it's going to be, or even the dimensions. There’s a point where I stopped using the ruler all the time. I’d draw the drawing just by eye to make it look the way I want it to look and then apply scale to it at the end.” (11:25)
(12:34) Art education influence on career & living in New York.
(18:20) Early career & working with Ted Muehling.
(25:37) Starting a studio & becoming a lighting designer.
(36:17) Artists and creators priced out.
“What separated the successful people from the not-so-successful ones is that they were able to come up with an idea, create it, and make money on it, so they survived. Otherwise, you can make something nice, but the powder coating would cost too much, and it wasn't really a compelling piece to start with, or it looked too much like an Ikea product. The product has to be elevated to a degree, but you also have to be economical in how it’s produced.” (48:27)
(40:37) Progression of lighting career.
(49:05) Challenges of studio growth.
(58:37) Discovery in design and art.
“You want to make a form, so you take a piece of paper and a pair of scissors, cut it a certain way, and it holds a certain way. There's this sort of discovery, even if I drew what I thought it was going to be in the beginning, there's no way you can predict the curves perfectly or how the form will turn out with each cut. It's a tactile experience when designing that way. I think it's hard for people to grasp. Some employees or designers I worked with in the past would say, “We can't do that because it looks like this, or that's going to fall over.” But I think we can solve that problem when that time comes. I don't want to not try to make something because an issue might happen. There's an aspect of suspending disbelief or just faith that I trust that my abilities will solve that problem.” (59:58)
(01:05:25) In house production & hidden elements.
“It's nice to take to look at yourself and be proud of the things you’ve created. But it's also remarkable to make something and never see it again. At one point, David Byrne bought some Chandlers from us, and everybody in the studio wrote messages on the inside of the hubs, like, “Hey, we love your music.” And then we closed them up and he'll never know.” (01:08:19)
(01:11:01) David Weeks Studio design style.
(01:16:42) Favorite industrial design piece.
(01:18:25) What's next for David Weeks?
HAVE QUESTIONS OR SUGGESTIONS?
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#447 - ADAM YARINSKY, Principal of Architecture Research Office (ARO)EmbedEdit
SUMMARY
This week David and Marina of FAME Architecture & Design are joined by Adam Yarinsky, FAIA and Principal of Architecture Research Office (ARO). They discussed Adam’s architecture childhood dream; education and master’s research; urban design vs Architecture; starting the ARO office; evolution of ARO’s design approach; office structure & value of consultants; mentorship; ARO office monograph; challenges facing the profession; importance of research in Architecture projects; and more. Enjoy!
ABOUT ADAM
Adam Yarinsky, FAIA, is Principal of Architecture Research Office (ARO). He holds an undergraduate degree in Architecture from the University of Virginia and a Master of Architecture from Princeton University. He has served as the Eliel Saarinen Professor at the University of Michigan, the Thomas Jefferson Professor at the University of Virginia, and the Eero Saarinen Visiting Professor at Yale University. He has also taught at Harvard University, Princeton University, Syracuse University, Parsons the New School for Design, and Washington University in St. Louis. Adam has lectured widely throughout the United States and abroad. His writing has appeared in A+U, The Architect’s Newspaper, 306090, Dimensions, Places Journal, and elsewhere. Adam served on the board of Places Journal and the University of Virginia School of Architecture Dean’s Advisory Board.
ARO is the New York City firm united by their collaborative process, commitment to accountable action, and social and environmental responsibility. Research gives their work purpose and intention. Their architecture unites beauty and form with strategy and intelligence. Their office designs spaces that inspire people, further institutional missions, and advance equity and resilience. This philosophy has earned the firm over one hundred design awards including the 2020 AIA Architecture Firm Award, the AIA New York State Firm of the Year Award, and the Smithsonian Cooper-Hewitt National Design Award for Architecture.
TIMESTAMPS
(00:00) Adam's childhood and education.
(16:03) Urban design vs Architecture.
(24:26) Starting ARO office.
(28:48) Evolution of ARO design approach.
“We think about architecture expansively in terms of a diverse range of work, but holistically within each project, in terms of scale, and then relationally in terms of everything we make has some relationship to something else. It's not thought of as an object in and of itself, even though it may be perceived that way. So, how we think about the expansive aspect of architecture is reflected in some of ARO’s research projects, whether it's the scale of a detail or an element, all the way to a larger-scale urban project.” (31:40)
(37:28) ARO office structure & consultants.
“Collaborators who are specialists generally really like to work with us because we don't come in and say, 'We have a formal idea, and we need you to make it look like this.’ Rather, they have an expertise, and we think about how to engage that in the service of the ideas that we're exploring in the project. So there's a process of co-creation. It's a close collaboration, and we’re deeply involved.” (39:06)
(40:12) Consultants and teamwork
(49:07) ARO office monograph.
“Use and experience are important to us. I have always taken for granted that if you have an idea in architecture, it should be something that someone can understand directly through the building. Rafael Minio has this amazing text called “The Solitude of Buildings”. It's from the mid-80s, but it's basically about when you create a building, and when it’s done, it's out there, external to the architect. They are not there to explain it to anyone. It takes on a life of its own. So, design for use and experience is about how the qualities of light or the orientation of a site, etc., allow you just to, without interpretation,to understand the intent of the project and have it be meaningful.” (56:01)
(57:25) Challenges facing the architecture profession.
“I think it's a real challenge to communicate what makes architecture relevant and impactful. It's not simply an aesthetic exercise. It's not a form of criticism in and of itself. It's about offering alternative, potential realities and transforming the status quo in a positive way. A lot of times, architects, by virtue of their training, sometimes conflate composition with design or form with idea. We have our own fetishization of things that we're interested in. So, I think we should be mindful of that. One can certainly appreciate and lavish attention on making form, because that's what we do, but how is it in the service of something more? That's where the relational side matters; the reciprocity that a building has with its place, time and people.” (58:51)
(01:00:52) Research is important in architecture.
(01:05:22) Project type that Adam would like to do.
(01:07:31) Favorite buildings.
“Although the field of architecture today is much broader than when I was a student, the sense that you're a generalist is important on some level. Because with specialization, there's this siloing that tends to happen, and we shouldn't just be delegating things to others. We need to be figuring out how to synthesize all the information into something that's impactful and meaningful in its totality. That's ultimately the role of the architect, and that requires knowing what you don't know, knowing what kinds of questions to ask, having experience, and being highly collaborative.” (01:12:18)
HAVE QUESTIONS OR SUGGESTIONS?
TEXT/CALL OUR HOTLINE
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#446 - ZACH FORREST, Executive Vice President of Goodman Gable Gould
SUMMARY
This week David and Marina of FAME Architecture & Design are joined by Zach Forrest, Executive Vice President of Goodman Gable Gould Adjusters International. The three discussed the roles of a public adjuster; why hire a public adjuster; process of engaging a public adjuster; documenting lost estimates; insurance claim timeline; insurance claims discrepancy; insurance coverage; relocating & insurance claim; common insurance payout practice; client advice for working with public adjuster; and more. Enjoy!
ABOUT ZACH
Zach Forrest, Executive Vice President, has spent his entire business career assisting policyholders as a licensed public adjuster. Zach has been extensively involved with all aspects of real and personal property & time element losses on commercial and residential claims. Mr. Forrest, who is licensed to adjust claims in nineteen states and the District of Columbia, is an integral member of the GGG Team and has been the lead adjuster for many significant property claims. Zach has a tremendous roster of repeat and satisfied clients and is well-versed in all matters of claim preparation, policy and coverage, and loss evaluation and negotiation.
Zach is a native of New York, and a graduate of The George Washington University in Washington, DC.
TIMESTAMPS
(00:32) What does a public adjuster do?
“In a nutshell, we are advocates for policyholders that have sustained an insured loss, so we help represent their interests and guide them through the insurance adjustment process. We assist both commercial clients and residential homeowners who have sustained a damage.” (00:54)
(04:06) Why hire a public adjuster?
“Where we are different is that we solely represent policyholders. We only work on behalf of the insured. Homeowners and business owners need to make sure that their interests are being protected; that they know what coverages are available to them, and what is the standard operating procedure for a claim. So, we fill in that void to help them navigate through the claim and assist in leveling the playing field. Because insurance companies hire many different consultants on their side of the ledger to assist them in measuring the loss to the structure, the business interruption, and the loss of income. We do the same on behalf of our clients to make sure that everybody is on a level playing field and adhering to the terms and conditions of the policy.” (05:14)
(07:10) When to engage a public adjuster.
“Having open conversations with an insurance company might have consequences on your claim. You might accidentally stumble into something that could have coverage repercussions. Whereas having a sounding board, such as a public adjuster, we can have conversations and weigh options without the consequences of an insurance company reacting to any and everything that is said. Because ultimately, insurance claims are business transactions. If you're having a multi-million-dollar business transaction, you'd be silly not to bring in a professional in that field to help guide and walk you through that process to make sure that you're not being taken advantage of, and that the transaction is fair for all sides.” (09:30)
(12:11) Process of engaging a public adjuster.
(18:25) Documenting loss estimate.
(25:37) Timeline of insurance claim.
“The adjustment phase is where the insurance company and public adjuster visit the site to measure the extent of the loss and damage. A period of restoration phase is established for the claim, starting from the date of the loss and ends when the property should be restored using due diligence and dispatch. Taking into consideration permitting timelines, time frame to draft plans or drawings for permitting purposes, all that gets baked into the cake. For the Los Angeles and Palisades Fire victims, those timelines are significantly expanded because of the limited availability of contractors and materials.” (26:46)
(27:39) Discrepancy between insurance estimates and outcome.
(33:55) Code upgrades insurance claim.
(38:04) Design fees insurance coverage.
“The insurance company often does not include design fees upfront. They just tell the owner to send the invoice for what's incurred and that's their way of auditing what was spent. But if architectural fees are 10 to 12% of construction costs and it’s a multimillion-dollar house, who would lay out six figures to pay an architect, if the insurance companies aren’t paying upfront? So, our strategy is to get either a quote from an architect or use a percentage of the construction estimate, and factor it into the loss settlement on the front end to give our clients the flexibility to hire an architect and not have to worry about fronting those costs. Even worse, what if an insurance company audited and says, “We're only going to pay a 50% of what you're actually paying.” The client might be on the hook for tens of thousands of dollars if not more, through no fault of their own.” (40:50)
(47:41) Construction cost estimate metric.
(50:44) Relocating & insurance claim.
(52:20) Common insurance payout practice.
(55:00) Client advice for working with public adjuster.
“There should be one voice on the claim, and that should be the public adjuster. You don't want the insurance companies shopping opinions from different parties or having the client convey information that could unintentionally impact their claim. Oftentimes we find that when clients are having a conversation with an insurance company, they think they're talking to the police. They just start word vomiting. Our company's been around for 80 years, and we have a tried-and-true method to get great results for our clients. That doesn't mean we can't be flexible and amend our process to meet our client's needs. But for the most part, letting your public adjuster handle the communication with the insurance company and be the primary conduit for communication back and forth between two sides leads to the most effective outcome.” (55:38)
(58:25) Negotiating cost estimates.
(01:02:08) Insurance payout tax.
(01:05:26) Rebuilding cost inflation cover.
(01:07:26) Multiple professionals in insurance claim.
(01:11:11) Like-for-like rebuild grey area.
(01:16:24) Memorable insurance claim.