the Stories of Buildings

Architecture is storytelling to the soul. I help people and organizations understand, translate, and narrate those stories to the world. For me, each story is a chapter in a great book that is both read and written together.

I've always been a bit puzzled by the ego of many architects. The belief for many seems to be that buildings are an expression of the architect's personal philosophy and attitudes towards the world. The problem with this approach is that buildings and architecture, when at their best, become an embodiment of the ideals of those who inhabit and use them.

Our philosophy of architecture has always been to help unleash the creativity of the end user through the development of an intimate understanding of their difficulties, desires, and ambitions. We take this approach of empathy towards the users so that a building not only provides usable space, but becomes a usable, functional expression of the client and end users needs and aspirations.

In many ways, we believe the architect's role is to facilitate the creative process for the client. This does not mean however that the we become a drafting and permitting service for them. It is our responsibility to respectfully challenge their existing notions to find unexpected and innovative solutions.

Ultimately, these things are critical for companies. A building or space is a highly visible component of a company brand that impacts both external and internal perceptions of a business. The care and thought behind every decision becomes obvious after several thousand cumulative man-hours in a space. The building quite literally portrays an identity, it is a realization of identity through the built form. Your hopes, your needs, your story.

These stories become our journey to understand and help shape attitudes about the world we share.

CONima Architects' latest project is in Bloomberg Businessweek

Our recent design for Innovation Endeavor's new Palo Alto office space was featured in Bloomberg Businessweek's article on the unconventional Venture Capital Firm funded by Google's executive chairman and former chief executive officer Eric Schmidt

http://www.businessweek.com/magazine/eric-schmidts-newest-vc-fund-07282011.html

The space was designed to be a continually evolving collaboration space that could be reconfigured in minutes for any situation. Every detail was done so that those in the space could see connection details and structural support for everything from the building structure, to the furniture, and that virtually every surface was a potential collaboration point; using such details as plexiglass walls which allow dry erase markers, and simultaneously make the interior wall structure visible.

Constructivism's reflection in the post millenium world

In design, inspiration is pulled from many places. A place you've been, a time in your life, a simple story. Lately, I've been feeling inspired by the contrasting geometry in Russian Constructivism. Below are a few images.

First is the cover of a book on construvist architecture from the British Library that focuses on the comparitive contrasts of the organic and mechanical using a human hand and compass. The overlay of the text is often important to emphasize the underlying geometry of the composition.

The next image is a propaganda poster by El Lissitzky entitled "Beat the Whites with the Red Wedge"
Also, see it's influence in an album cover from Franz Ferdinand.

Lease Negotiations

During the negotiation process of the lease of the property, the landlord is considering providing more money to make improvements if the tenant is willing to upgrade the exterior of the building.

Below is an elevation drawing of the improved exterior of the building.

The design was inspired by California-Mission style architecture. A false wall was created with a parapet extending above the roof to give more presence to the entry and also to create more room for the signage. We re-used the existing columns in the front to form and arbor and added exterior lighting along the walkway to the parking lot.

Architectural Styles Defined: Modern Architecture

Part 3 in our series of articles on the misuse of terms as they apply to the architectural style of a building, and how that misuse leads to poor communication between clients and professionals. Here’s an in-depth look at what defines “Modern Architecture:”

Mies Van Der Rohe's Farnsworth House:

image source farnsworthhouse.org

Let me start by saying "Modern Architecture" is a misnomer. The term modern simply represents the current style of the day that reflects society's impression of itself to the world. Modern architecture as we know it today however started with the International Style, Bauhaus, and the impact of cubist art on the form of a building. Like most styles, it began as a rejection of what was accepted and as an embrace of new technologies. In this case, the progression of steel as a building material allowed greater spans, previously impossible cantilevers, and minimized the ratio of thickness for vertical support. All of which meant that buildings could now be built proportionally in such a different way that they actually didn't even look as though they were capable of standing.

'International Style' Le Corbusier's Villa Savoye:

image source wikipedia

While these buildings are examples of classic modernism, the problematic term is 'classic'. Soon after, a new wave of architects began a new interpretation of how to reconcile the traditional forms of architecture with the new styles and technology in what they called 'Post Modernism'. At the same time, another movement began called 'Brutalism' which spiritually could even be considered a hybrid between modernism and the craftsman movement for truth in materials by leaving rough exposed concrete and using the wooden formwork in many cases to create the finish texture of the concrete.

'Postmodernism' Robert Venturi's House for his mother:

image source about.com

'Brutalism' Paul Rudolph's Westport House (demolished):
image source nothingliving.com

As technology advanced, the limits began to push further. Architects began a new style a 'Deconstruction' which was based on taking traditional geometry, breaking it apart, and then recombining it in different forms. Simple things such as the value of right angles finally came into question, as architects attempted to incorporate new ideas such as chaos theory into space and form.

'Deconstruction' Peter Eisenman's Casa Guardiola:

The question however is, "What is Modern Architecture?" Within the styles described above, the consistent threads are challenges to traditional forms, proportions, and materials; an openness of space, flexibility of arrangement. For the greater part, modern architecture displays a truth in materials and construction. The problem with modern architecture is in the term 'modern'. As time passes, others will decide if the architecture of modernity in the last century is unified as one style and what that style would be called. In the present, there is a strong departure from classic modernism / minimalism, and the deconstruction movement. Whether it remains a pure departure or experiment within 'modernism' such as post-modernism and brutalism remains to be seen.

Architectural Styles Defined: Ranch Style...

Part 2 in our unfortunately delayed series of articles on the misuse of terms as they apply to the architectural style of a building, and how that misuse leads to poor communication between clients and professionals. Here’s an in-depth look at what defines the “Ranch Style:”


The Ranch Style is considered one of the more varied and difficult styles to define. This is because it is one of the rare styles born out an socioeconomic shift more than an actual architectural movement. The roots of the ranch style were the tremendous housing and commercial construction needs of post World War 2 America and the Baby Boom. America's most renowned architect of the time was arguably Frank Lloyd Wright who's 'prairie style' had gained much popularity do to it's rejection of victorian box and its vertically accentuating aesthetic. Concurrent with the Crafstman Style, it featured long overhangs, but was driven primarily by an accentuation of the horizontal plane and the use of open spaces within the interior.

Frank Lloyd Wright's Robie House:

Post-War Ranch House:

The Ranch Style continues this stretching of the horizontal plan but, while still not formal in its spacial arrangments, is less open in plan in order to simplify the structural loading of the building. In addition, the common ranch will typically have more simplified detailing and smaller overhangs in its original condition in order to be produced more quickly and efficiently.

As a result of this lack of true stylistic origin, the Ranch Style has been adapted to many different types of homes and as a result is derided by many critics of architecture as not being a true style. However, with roots in the one of America's most celebrated styles and being perhaps the most widely implemented building type in this country, it would be a mistake to simply dismiss Ranch Style. It may lack the openness and sophistication of detailing that a Prairie home would have, but in doing so it created a vernacular for the middle class that is maleable to regional and individual tastes.

For Architects, this creates an unique remodeling situation where changes to the original structure can be driven by a client's personality as much as the original style of the home. Because of this, for better or worse, the Ranch Style should be considered a true style of american individualism and the middle class.

Architectural Styles Defined: Craftsman Style…

One of the most troubling aspects of architecture and real estate is the misuse of terms as they apply to the architectural style of a building, and how that misuse leads to poor communication between clients and professionals. Here’s an in-depth look at what defines the “American Craftsman:”

The Craftsman, or “Arts and Crafts” style began in Britain as a response to the relentless grandiose nature of the Victorian era which was consumed with all things ornate. Victorian architecture had evolved primarily into applied bays, peaks, and other features onto a basic architectural box, with all of these elements tied together with fanciful detail elements that had little to do with the structure underneath them.

It was a movement based on truth in materials and a construction method that celebrated the designers and craftsmen who built them by exposing their structure as an architectural design element. Craftsmen homes would typically be represented by natural materials such as wood and stone that were not painted over or applied as simple veneers, and intentionally used multiple combinations of materials in order to both break up the design of the building and highlight more expensive materials by using them in targeted areas.

The movement has seen a strong recent revival based on its historical adaptability with local materials and construction methods within any given region. Though current sustainability practices make heavy timbers a less responsible choice, and stone is more likely to be a veneer than a structural system, the style can still be considered truthful to its roots through calculated exposure of materials and by taking advantage of inherent design features such as extended overhangs for solar shading benefits. The style is adaptable in form and materials, low pitch roofs and mission style detailing in the desert west and California, shaker inspired carpentry in the northeast, and heavier use of bricks and screened porches across the Southeast.

At its heart, the American Craftsman is a complete rejection of Victorian ideology. To be truly craftsman, a building must tell the story of how it is built through its design, not merely use vernacular materials.