Before architect William Fletcher was celebrated as one of Portlands most influential midcentury modern designers, he and his then wife, Joyce, moved into Fletchers first creation: A revolutionary looking, almost transparent dwelling built in 1954 on two forested acres near the Willamette River.

After 68 years, the family home is for sale for the first time: 10803 S. Riverside Drive in Riverdale, between Portland and Lake Oswego, was listed on April 25 at $1,250,000 by Lance George Marrs of Portland Modern Real Estate.

Marrs rightfully refers to the residence as an architectural gem.

Fletcher family members say Joyce, a photographer and painter, selected the location and William (Bill) designed the open floor plan with floor-to-ceiling windows that dissolve the boundaries between inside and out.

Soon, the avant-garde two-story with cork floors and planked ceilings was showcased in The Oregonian and national publications as well as the 1959 book, The Second Treasury of Contemporary Houses.

Midcentury modern enthusiasts will be attracted to this home and acreage, says Marrs, which he adds is on a short list of properties genuinely coveted in the Northwest modernism designed by William Fletcher.

Bill Fletcher, a second-generation Oregonian influenced by modernist trailblazer, German-American architect Ludwig Mies van der Rohe, and the spare International Style movement, designed a limited number of houses.

But architectural experts say his work is timeless due to its graceful geometric forms, highly livable layouts and carefully positioned windows and skylights that draw in natural light.

Here, clerestory windows add to the sense of lightness, as if elements are floating. The house with 2,298 square feet of living space also has a long, concrete fireplace hearth in the living room and three bedrooms and two bathrooms.

With a degree from the University of Oregons School of Architecture, Fletcher first set up shop in the basement of his home in 1955.

A year later, he shared a downtown studio at Southwest 14th Avenue and Columbia Street with architects Donald Blair and Saul Zaik as well as other members of the fabled 14th Street Gang of outliers designing intentionally pared-down buildings in the Pacific Northwest.

In the 1960s, Fletcher partnered with architect Curt Finch, and a decade later, with Dale Farr and Hal Ayotte at a Portland-based firm now known as FFA Architecture and Interiors, Inc., which continues to design sustainable residential and commercial projects.

Early commercial projects include Black Butte Ranch residential resort near Sisters and Rex Hill winery in Newberg, where Fletcher famously dedicated a space for a steel sculpture by Lee Kelly.

Aidy Bryant as "Annie Easton" (center) talks to Lolly Adefope ("Fran") and Luka Jones ("Ryan") inside Portland's 1959 Wedgwood Home of Tomorrow in a scene in Shrill. Hulu

The 1959 Wedgwood Home of Tomorrow that Fletcher conceived with Blair in Northeast Portlands Hazelwood neighborhood was used as a film location for Shrill, a comedy series starring Aidy Bryant and streaming on Hulu.

The experimental model home, with an incredibly lightweight folded-plate roof, prefabricated panels and suspended fireplace, earned a merit award from the American Institute of Architects during the halcyon days of midcentury architecture.

The house, often misspelled Wedgewood, was listed for sale at $639,000 on Jan. 12, 2021, and sold a month later for $77,000 over the asking price.

In 2017, the statewide historic preservation organization Restore Oregon dedicated its annual Mid-Century Modern Tour to Fletchers attractive, ground-breaking structures.

Restore Oregons first book, Oregon Made, A Tour of Regional Mid-Century Modern Architecture ($35 at restoreoregon.org), includes a chapter on Fletchers talent at balancing the allure of transparent walls with the need for privacy.

Bill, whose friends said was a detailed-oriented, jazz drumming rebel, died in 1998. Joyce, a graduate of Cornell University in New York who traveled throughout her life to understand world cultures, died in January 2022.

Janet Eastman | 503-294-4072

jeastman@oregonian.com | @janeteastman

More on the Portland and Oregon real estate market:

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Midcentury modern architect William Fletchers first Portland house is for sale for the first time - OregonLive

Brian Libby: Given that Death by Design at Alcatraz is a mystery, did you know who the killer was before you started?

Anthony Poon: No. I had no arc. At first, I was writing about a character. Then I decided to kill this person off. I was probably a good halfway through writing the novel, and I still didnt know what the ending was.

Youve probably heard the phrase that writers often fall into two categories: the planner or pantser. A planner would be someone like J.K. Rowling, having the entire seven-book Harry Potter series arced out and the characters outlined before she started writing. Pantsers fly by the seat of their pants and include people like Stephen King. In interviews, King just says, Look, if you need to plan your book, then youre not a writer. Some of his books are better than others, but he just writes and sees where it takes him. I feel the same way.

The question of rigid composition versus improvising also relates to being a pianist. Could you talk about that?

Growing up, my training was classical music. Its this process of aiming for perfection, a flawless performance. Playing a piano sonata, there are a hundred thousand notes and youve got to hit them all right. If I would get one note off, my piano teacher would say, That whole performance is ruined. But what I really got interested in was something beyond technical proficiency. Youve got to be able to add a voice, a story, some kind of narrative to what youre performing. Thats what I eventually learned about jazz. It blew my mind that these pianists would just sit at the keyboard and start making things up. I was at a performance called The Jazz Bakery, where the pianist asked the audience to throw out numbers between one and eight. Then he associated those with notes on the keyboard because there are eight notes in an octave. Through that, he started to improvise and build a song, and his ensemble jumped in. It was incredible.

Your thesis at Harvard was about how jazz improvisation informs the architecture process. What did you learn?

Architecture is very methodical. It takes a long time to produce a building. There are a lot of practical considerationscode, budget, square footage. You cant just whip out a building the way a jazz musician would whip out a piece. But in the creative process, I always ask: Why cant we just grab colors and make an idea? Why cant we just have this sort of jazz-like conversation of bouncing ideas and just grab something from that, and make that the basis of an entire building design, whether its a library or museum or a house?

Lets go back to this question of architecture and narrative. Could you talk about the importance of storytelling in design?

Its all about communication. Everything that I do creativelypainting, music, writing, architectureis all a form of language. In architecture, we look to our clientswho they are and what they areto craft a story. If its a family, we want to know how they celebrate the holidays, if the in-laws stay with them, whether they have dogs. And thats the story we tell when we design a house. For designing a school, we ask: whats the educational methodology? How do the teachers teach? How do the students learn? Same thing when we do an office: whats the corporate culture, whats the mission statement? And obviously, when we do a religious project, there is an entire set of beliefs that need to be somehow expressed in architecture. Whats exciting about music and architecture, and what makes them different from writing, is that they are abstract. Its kind of open-ended communication.

Besides being a mystery, Death by Design at Alcatraz reads like a satire of architects and their clients. Did you enjoy puncturing egos a little bit? After all, in your memoir, Sticks & Stones | Steel & Glass, you write about realizing you didnt want to design big arenas and corporate projectsyou wanted to design more intimate spaces for people.

Well, its funny the timing of your question. I just came back from Modernism Week in Palm Springs, where I did a presentation on ego and arrogance. The lecture was saying that society has granted us architects a tremendous amount of influence and power. And the question is what have we done with it? Whats also interesting about your question, though, is I didnt think of Death by Design at Alcatraz as a satire. Maybe the developer is an amalgam of two or three actual clients blended together. But these architects, theyre all people I know.

What we talk about at my firm is that good design belongs to everyone. It could be a restaurant where everyone can go and eat. It could be a design of a bench. It could be a corporate headquarters or a public school. There isnt any specific kind of project that I seek. Its more about harnessing the talents that my team brings, and then reaching as many people as possible.

Where do you stand on the introvert-extrovert scale? Because architecture, especially when you get to a certain scale, is teamwork. Painting, which youre also acclaimed for, is a more solitary activity.

Im probably somewhere in the middle but skewing a little towards the extrovert side. Some of these art forms are solo explorations, but I dont see the art being complete until it reaches the audience. The enjoyment for me comes from people engaging the art, or better yet, if its going to hang in their living room or their conference room. Thats the completion of the artistic arc.

With any kind of artist, both introversion and extroversion are tapped. In architecture, for example, the introverted, introspective, self-examining qualities usually launch the design process, and the extroverted side leads a team, sells the idea to a client, and supports the creative ego.

In Sticks & Stones | Steel & Glass, you described how San Franciscos Portsmouth Square in Chinatown inspired you to become a designer. The park dates to 1833, but its 1963 redesign was derided at the time for raising the park to fit a parking garage underneath. What made it special to you, and the community?

I would answer that question with a question: Isnt it incredible that it is a parking structure and an extraordinary park? A structure like this would often be an eyesore. But they found a way to maintain an active plaza on top. It acts like a blank canvas, and you watch the community paint their life onto this canvas, whether its old men gathering together to play chess or children playing on the play equipment. It was across the street from the church that I went to as a kid. Its just that kind of wonderful, idyllic place that you dont imagine would be in such a dense area. Im looking at Portsmouth Square, not as an architect fetishizing its design, but as what it offers to the community: to have a Tai Chi class at 5:00 in the morning, a wedding there at noon, and kids running around in between. Thats the power of architecture.

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Whether it's Music, Painting, or Writing, Architect Anthony Poon Has a Story to Tell - Metropolis Magazine

The week moves on here as FC Dallas begins to put the Texas Derby behind them and begins to prepare for another rival in Kansas City this weekend.

// FC Dallas //

Catch out the latest Big D After Dark podcast show here:

FC Dallas Announces Official Watch Party Series Presented by Heineken | FC DallasWatch parties are back for another year when FCD is on the road, starting this weekend.

// MLS //

Chance creators: Who are the architects of MLS's most dangerous moments? | MLSSoccer.comEven though FCD is scoring goals at a good rate so far this season, they don't have one of those architects like this list shows.

Mixed results so far in 2022 for Montreal, Vancouver, and Toronto | US Soccer PlayersMontreal and Toronto are improving in the Eastern Conference, but the Vancouver Whitecaps are already running into trouble in the West.

Loss was reminder to Sounders to never let their guard down - Sounder At HeartSounders had never before lost a game they led by two goals until this past weekend, which could be a good wake-up call for them as they head into the CCL finals.

LAFC sign Nathan Ordaz to homegrown contract - Angels on ParadeI keep having to remind myself that teams like LAFC are still fairly new here and that their academies are also pretty new too. Just the fourth HGP signing by them.

Major League Soccer has to hold its TV partners to a higher standard - Dynamo TheoryHouston fans are still feeling the sting from the Memo Rodriguez free kick that looked like a goal on some angles. I do agree though with this that TV partners need to all be using the same stuff, so if one has a goal-line camera, they all should.

Columbus Crew tactical review: Black & Gold ends losing streak at Sporting Kansas City - Massive ReportAfter being beaten in their last four games, the Crew secured a positive result using tactics that were out of character for the team.

Revs desperately searching for consistency in 2022 - The Bent MusketThe Revs haven't been themselves this season, or at least a version of themselves that earned a Supporters' Shield trophy last year.

Link:
Tuesday Links: FC Dallas notes, who are the best architects in MLS - Big D Soccer

Allies and Morrison and Asif Khan Studio have been selected to lead a multi-million-dollar overhaul of the Barbican Centre, a beloved but aging Brutalist landmark and multidisciplinary arts and cultural hub that anchors a sprawling post-war housing estate of the same name in Central London.

We are interested in the notion of revealing, of finding places of untapped potential within and around the walls of the Barbican, remarked Simon Fraser, partner at Allies and Morrison, in a press announcement. Not only will this approach offer substantial savings in embodied carbon, and respect the Centres significant heritage value, but it opens a myriad of opportunities for creative, inclusive reinvention.

The two London-based practices, both boasting a number of high-profile cultural projects under their respective belts includingTate Britain, Shakespeares Globe, and the Museum of London, triumphed in a closely watched international design competition launched by the City of London Corporation in September 2021. A total of five shortlisted teamsrevealed in Januarywere in the running, with Allies and Morrison and Asif Kahn Studio winning out over Adjaye Associates with Benedetti Architects and PUP Architects; BIG with Avanti Architects and POoR Collective; Diller Scofidio + Renfro with McCloy + Muchemwa, and Purcell; and FCBStudios with Bureau de Change, Schulze+Grassov, and Thinc.

Joining Allies and Morrison and Asif Khan Studio on the larger project team are heritage experts Alan Baxter Ltd, engineering and sustainability consultancy Buro Happold, theatre, acoustic, and digital design consultancy Charcoalblue; lighting design firm les claireurs, and Oakland, Californiabased art, urbanism, and landscape architecture practice Hood Design Studio. Also on the team are artistic advisors Julien and Nadia Fall.

The team showed total commitment to preserving the Barbican Centre building as a much-loved global icon, while ensuring it remains a leading creative centre for generations to come, said Tom Sleigh, chair of the City of London Corporations Barbican Centre Board. Were delighted to have this world-class design team working with us to help deliver our creative vision, while also making major improvements to the Barbicans environmental performance.

This is a once in a lifetime opportunity to shape the future of this iconic centre for arts and learning, and strengthen its ability to play a leading role in the recovery of the City, and the capital, from the pandemic, he added.

All shortlisted proposals were evaluated by a panel of external specialists in equity, diversity and inclusion, and heritage and sustainability who were joined by representatives from the City Corporation and members of its Barbican Centre Board as well as senior Barbican Centre staff.

The panelists were:

As previously reported by AN, the scope of the Barbican Renewal Project, estimated to cost in the range of $68 to $204 million (50 to 150 million), will entail upgrading venues, bringing underused spaces back to life, and improving the welcome, wayfinding and digital technology at the site, reflecting the energy of Londons many communities and the Barbican Centres commitment to equity, diversity, and inclusion, per the City Corporation. As mentioned in the above quotes from Sleigh and Allies and Morrisons Simon Fraser, sustainability-minded fixes will play a prominent role in the exhaustive-yet-sensitive refresh of the Grade II-listed structure. The City Corporation has pledged to achieve net-zero carbon status for its own operations by 2027 and its investment and supply chain by 2040 as part of its Climate Action Strategy.

Remarked Asif Khan in a statement:

My dad first brought me to the Barbican just after it opened to the public in 1982. From those early visits as a two-year-old we would spend countless Sundays enjoying the free programme and public spaces. For him, the lake was a reminder of the Shalimar Gardens in Lahore. For me it has always felt like home and has been a constant presence in my life. Who would imagine that exactly forty years later there would be an opportunity to contribute towards its future? Amazing things happen like that in this city.

This renewal project will care for the things we all love about the place, solving parts which could have been better, but most importantly helping to open up the Barbican to London and Londoners in ways that couldnt be imagined before. The incredible team we have assembled to bring about this change are embarking on this journey with great excitement and dedication to the vision for the Barbicans new life.

With the winning team now announced, its vision will further be refined and developed with extensive engagement from Barbican stakeholders. The full design brief can be viewed here.

AN will report back when that vision is made public.

Continue reading here:
Allies and Morrison, Asif Khan Studio tapped to revamp Barbican Centre - The Architect's Newspaper

If you want to work with cloud technology, you need to know AWS. This exam training bundle will teach you.

Despite recent inroads from competitors, Amazon Web Services remains king of the cloud. Whether youre looking for a full-time career change or want to start a side hustle, The 2022 AWS Certification Paths Bundle is a step in the right direction.

This comprehensive bundle is curated and offered by CramWise, a leading educational organization that specializes in providing robust exam prep materials for AWS, Cisco and CompTIA certification exams. CramWise provides comprehensive exam simulations via their exclusive CramWise Exam Environment, allowing students to test their knowledge and gain confidence before sitting the real exam.

If youre interested in cloud computing, this bundle will get you on track to ace four essential certification exams: AWS Solutions Architect (SAA-C02), AWS SysOps Administrator (SOA-C02), AWS Developer Associate (DVA-C01) and AWS Certified Cloud Practitioner (CLF-C01). Youll have unlimited lifetime access and updates to each of the exam paths, so you can take as much time as you need. When youre ready, you can simulate the real exam with performance-based questions based on the official AWS certification exam objectives.

Prepare yourself for a career in the cloud. Right now, you can get lifetime access to The 2022 AWS Certification Paths Bundle for 85% off at just $29 (normally $199) while supplies last.

Prices and availability are subject to change.

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Study with these practice exams to become an AWS cloud architect - TechRepublic

Property Details:

Location:6009 Rodgerton Drive, Los Angeles, California

Price:$2,295,000

Year Built:1991-1993

Architect: AGPS

Footprint: 2,083 square feet (two bedrooms, two baths)

From the agent: "Exceptional and award-winning architectural statement nestled beneath the iconic Hollywood sign in Beachwood Canyon. Built as the architects own home, The Experimental House is an internationally published creative space by AGPS, and is as inspiring as it is versatile. Like an urban loft in the lush and quiet hills, the home features two bedrooms and two bathrooms, a sprawling two-story living room, and an open loft. There is also a large studio space with a separate entrance. A true architectural in its innate wisdom and creativity, this is the first time ever offered on the market."

More here:
An Architect Couples Experimental House in the Hollywood Hills Hits the Market for the First Time - Dwell

As architects grapple with low fees, fluctuating workloads and lengthy procurement procedures, a new wave is going it alone: putting their money where their design ethos is and developing their own buildings.

Its not easy. There are multiple challenges involved in acquiring land, raising finance, building and selling for a profit. It requires knowledge and keen business skills which famously are not often taught at architecture school. And, meanwhile, DIY architects have to juggle their work for existing clients. But architects who take the plunge find developing can benefit their practice in a range of ways, potentially including if they get it right making some proper money.

Because its so difficult to make money from architecture, architects are looking around at the other kind of things they can do, says Amanda Baillieu, co-founder of Developers Collective, which helps designers become developers. But, she adds, in contrast with most developers, profit is not always the only motivation: Architects want to build something that showcases what they are capable of.

Suzi Winstanley, director at Turner Works, says her practice has benefited enormously from taking on a public tender to design and build Pop Brixton, a temporary space in south London which supports independent businesses. We used it as a way to expand our portfolio, and it has shifted the practice into doing public works, she says. The practice went on to win projects including Peckham Levels and a temporary building by Hackney Bridge.

Winstanley adds that development projects help balance workloads, as a major problem for architecture practices can be peaks and troughs. Working as your own client allows more flexibility, as there are fewer deadlines outside your control that you have to meet.

Architects who develop also learn a clients language and get an insight into their perspective skills which can help them win work and work more smoothly with clients.

The main niche for architect-developers is small and complex sites which larger developers are less interested in, according to Baillieu. Planning is a major risk for a developer, but thats where architects have an advantage they understand that risk, she says.

There are several approaches to finding sites, including working with estate agents and land promoters and keeping a lookout for auctions but these options come with a danger of overpaying. Finding derelict plots in the neighbourhood where you live and work, and then approaching the landowner directly, can be a better bet. Small, leftover sites are good which nobody else is going to develop because they cant be bothered, says Baillieu.

Raising capital is also a problem, especially for a first-time developer without cash to invest from previous projects. One place to start is grants from Homes England or the government, for instance, that are keen to promote small developers and regenerate brownfield sites and high streets. Another option is to speak to a variety of investors, including potential buyers. Once the planning stage has been completed, it also becomes easier to borrow from high street banks, although this is still expensive.

Despite the global pandemic and Brexit and material prices which swing wildly by the day Baillieu says it is nevertheless a good time for architects to get involved. There is so much uncertainty in the market its a good time to buy sites, she says.

There is also the political will for more design-led development of small sites and homes in particular. Housing secretary Michael Gove said last month that there are all sorts of unhappy consequences of the cartel of volume housebuilders who operate in a particular way. If that sentiment led to further financing of small developers and a greater emphasis on selling small sites held by the public sector, it could present a golden opportunity for architects to get involved.

A series of mini-profiles of architect-developers will be published this week, starting with Mae and Pitman Tozer

Architects as developers: The new wave of practices building their own projects

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Architects as developers: The new wave of practices building their own projects - Architect's Journal

Monograph, a startup providing a cloud-based platform for architecture and design professionals to manage their projects, announced today that it has raised $20 million in its Series B funding round. New investor Tiger Global led the round, with participation from Tishman Speyer and existing investors Index Ventures and Homebrew Ventures.

The round brings Monographs total funding raised to $29.3 million since it was founded in 2019. Monograph last raised in May 2021, bringing in $7.4 million for its Series A.

Three design technologists started the company Robert Yuen, Moe Amaya and Alex Dixon all of whom have a background in architecture. Its software helps architectural practices manage many different aspects of their operational systems, including timesheets, budgets, human resources and invoicing; $500 million worth of projects have been executed on the platform to date.

The San Francisco-based company has grown to 33 employees after beginning 2021 with just eight, CEO and co-founder Robert Yuen told TechCrunch in an email. The new funding will be used to further grow the product and engineering teams.

The pandemic has accelerated growth among smaller design firms as the demand for new residential renovations and construction grows, Yuen wrote. As hiring in the industry picks up pace, Monograph is building a virtual community of professionals in the field through sharing content and job openings, on top of investing in its core software product.

Yuen highlighted Monographs budgeting solution, which allows project managers to view project-level finances in real time, as particularly unique given the industrys reliance on spreadsheets. According to Yuen, the typical project manager who does not use Monograph would have to wait an average of one month to understand whether they were under or over budget on a project.

John Curtius, partner at Tiger Global, was closely involved in the firms investment in Monograph.

Monograph is built for architects by architects, which is why it excels at providing a solution to minimize the time spent managing a project, Curtius said in an email to TechCrunch.

Read the original here:
Monograph raises $20M Series B to help designers and architects manage their operations - TechCrunch

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Image: Burst/Pexels

The Architects Foundation has announced the launch of theLarge Firm Roundtable (LFRT) ARE Scholarship, providing support for aspiring Black architects within the licensing process. Through the scholarship, the organization is aiming to double the number of licensed Black architects in the United States by 2030.

The scholarship will cover the cost of the ARE, a one-year subscription to the AIAs exam prep course ArchiPrep, one year of dues to either the AIA or NOMA, one year NCARB record fees, and $500 in study materials. To be eligible for the scholarship, applicants must identify as Black or African American, be eligible for the ARE, hold an NCARB Record, and be either an Associate AIA or a member of NOMA.

To apply for the more than 30 awards available under LFRT, applicants must submit a brief 500-word personal statement, a professional biography and/or rsum, and a maximum of three optional letters of recommendation. Applications to the 2022 LFRT cycle close on Friday, January 14, 2022.

The initiative follows months after NOMA and NCARB released a report focusing on the disparities in architectural licensing examinations on the basis of race, age, and gender. According to surveys carried out by the organizations, only 26% of ARE candidates feel confident they can afford the ARE, with almost 50% spending $500 or more on study material.

African American and Latino licensing candidates are 7% and 9% less likely than white candidates respectivelyto receive financial help from their firms, while African American candidates are14% more likely than white candidates to report personal debt as a factor impacting their ability to afford the ARE.

ARE pass rates for white candidates are 27-38% higher than their Black or African American peers, while Latina women are 11% more likely than white women to report spending over $500 on study material, and 20% more likely to report difficulty paying for the exam.

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ARE scholarships for aspiring Black architects launched by the Architects Foundation - Archinect

Work has begun on Beijing-founded MAD Architects third US project: a 16-storey residential building in Denver that appears to have been ripped open to reveal its green stuffing.

One River North is a 66m-tall apartment block made up of 187 units and 1,200 sq m of green spaces, including a landscaped walkway that winds over four floors and a rooftop terrace complete with pool, spa and garden.

The projects principal developers are The Max Collaborative, Uplands Real Estate Partners and Wynne Yasmer Real Estate.

Davis Partnership Architects is serving as the executive architect and Saunders Construction is acting as the main contractor for the project; both are Denver companies.

The crack in the faade, which covers 10 storeys, is a reference to Colorados dramatic mountain scenery. Kevin Ratner, co-founder of The Max Collaborative, commented that the aim was to create a model that shows how we should be surrounding ourselves in the natural environment, bringing nature into our homes and creating authentic, biophilic experiences coupled with modern comforts and conveniences.

He added: The nature-inspired design by MAD Architects was influenced by Colorados legendary landforms and merges nature and architecture to inspire a well-balanced life. Its glass faade is likewise ribbed with louvres that regulate sunlight and soften its visual presence, shaping a serene retreat in the sky.

Mad was founded in 2004 in Beijing. One River North is the firms third project to break ground in the US, following the Lucas Museum of Narrative Art, under way in Los Angeles, and the Gardenhouse, which opened in Los Angeles in 2020. A design for The Star office building on Sunset Boulevard, central Hollywood, was unveiled in September.

Renderings courtesy of One River North.

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Work begins on Mad Architects' cracked Denver residential tower - GCR