Financial Architects Inc grew its stake in shares of iShares Gold Trust (NYSEARCA:IAU) by 168.9% during the third quarter, according to the company in its most recent disclosure with the SEC. The fund owned 13,406 shares of the exchange traded funds stock after buying an additional 8,420 shares during the quarter. Financial Architects Incs holdings in iShares Gold Trust were worth $189,000 as of its most recent SEC filing.

Several other hedge funds and other institutional investors also recently bought and sold shares of IAU. First Allied Advisory Services Inc. increased its position in shares of iShares Gold Trust by 17.2% during the third quarter. First Allied Advisory Services Inc. now owns 106,183 shares of the exchange traded funds stock worth $1,499,000 after acquiring an additional 15,584 shares in the last quarter. Signet Investment Advisory Group Inc. increased its position in shares of iShares Gold Trust by 51.3% during the third quarter. Signet Investment Advisory Group Inc. now owns 478,490 shares of the exchange traded funds stock worth $6,747,000 after acquiring an additional 162,290 shares in the last quarter. Cetera Advisor Networks LLC increased its position in shares of iShares Gold Trust by 29.1% during the third quarter. Cetera Advisor Networks LLC now owns 235,017 shares of the exchange traded funds stock worth $3,319,000 after acquiring an additional 52,960 shares in the last quarter. Tiedemann Advisors LLC increased its position in shares of iShares Gold Trust by 15,407.9% during the third quarter. Tiedemann Advisors LLC now owns 1,550,788 shares of the exchange traded funds stock worth $21,867,000 after acquiring an additional 1,540,788 shares in the last quarter. Finally, D.A. Davidson & CO. increased its position in shares of iShares Gold Trust by 35.0% during the third quarter. D.A. Davidson & CO. now owns 124,578 shares of the exchange traded funds stock worth $1,757,000 after acquiring an additional 32,268 shares in the last quarter.

Shares of IAU stock opened at $13.98 on Friday. iShares Gold Trust has a 52-week low of $11.66 and a 52-week high of $14.90. The company has a 50-day simple moving average of $14.16 and a two-hundred day simple moving average of $13.78.

iShares Gold Trust (the Trust) is to own gold transferred to the Trust in exchange for shares issued by the Trust (Shares). Each Share represents a fractional undivided beneficial interest in the net assets of the Trust. The assets of the Trust consist of gold held by the Trusts custodian on behalf of the Trust.

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Financial Architects Inc Buys 8,420 Shares of iShares Gold Trust (NYSEARCA:IAU) - Mitchell Messenger

The Boston Planning & Development Agency (BPDA) has long kept 3D models of its city. However, cobbled together over the years, the files are at times cumbersome and as firms increasingly turn to 3D printing for model making and testing, not so useful. Printers dont know how to process them or they are not designed in a way that print with stability. MakeTANK, an initiative of the Boston Society of Architects (BSA) saw this as an opportunity.

MakeTANK was initially started to integrate maker culture into the design process, according to Sasaki director of technical resources Bradford J. Prestbo, who has been intimately involved with the project along with the rest of the firm. The hope was to leverage the many makers and maker spaces in the greater Boston area, and help architects increase client engagement and decrease contractor riskand costby testing their designs out first. Imagine going into a restaurant where the chef only wrote recipes and has never actually cooked them, said Prestbo, half-joking. Thats kind of like the architectural profession today, where we just do a lot of paper architecture and paper designs without going through the process to actually taste what weve coupled together to make sure its actually an effective solution that also will perform long term.

City Print is MakeTANKs latest project, just announced at ABX19, though its been under development for over a year. The collaborative team of architects that came together for City Print developed a series of scripts that helped turn the existing models of Boston into watertight solids, meaning that when processed in Grasshopper they can be effectively fed into 3D printers. They also added additional topographic details. The process, however, could not be fully automated.

The files have to be individually opened, the scripts ran, and all of it double and triple checked for quality control. To help convert the over 200 model tiles of the city to be 3D ready, MakeTANK has enlisted the whos who of Boston-area architects. We are engaging in the greater AEC community to help us process the tiles, explained Jay Nothoff, Sasaki fabrication studio manager, and then turning around and handing this resource back to that same community as a finished project for everyone to enjoy and use as they will further project work.

The revamped models will be added to the BPDAs free repository and the BSA is using them themselves. Theyll be replacing their lobbys current scale model of the citythe basis of which was originally designed in the 1980s and is mostly focused on the financial districtwith a new, modular replica made from these printed files. Were zooming out from the financial district, said Nothoff. Were including the City of Boston in its entirety and were making a model that is easily updated because it is built off a grid system. As portions of the city change and grow, these titles are semi-precious at best; theyre just going to be held in place with magnets so we can pull the tile and put a new one in its place to most accurately represents the City of Boston in its current state.

Felipe Francisco, an architectural designer at Sasaki, went on to explain that many community groups didnt feel represented by the previous BSA model. Were open to try and create a new dialogue with those groups, explained Francisco. We want to use this as a resource for community groups to be able to come in and use this model to diagram stories over it through projection mapping about their communities. By collaborating with visualization experts, the BSA is developing tools to use the re-built model as a storytelling and visualization device. The intention is to build a base projection for the model itself that delineates roads, waterways and what have you, said Nothoff. On top of that could be layered information on sea-level rise, income data, other metrics, or more abstract visuals. Were reaching out to various organizations throughout the greater Boston area, such as the Boston Foundation, to help us gather all the voices that are currently feeling underrepresented and give them equity with his model and teach them how to use the projection map on to the model and tell their story.

The process is ongoing. Interested area firms can check out tiles from a grid of the city, and for a dose of healthy competition, check out a leader board. You grab a tile, fill out a form, and submit it and shortly thereafter you get all the support files and the working files and scripting as well as instructions on how to process them, explained Prestbo.

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Boston architects come together to make a 3D-printable map of the city - The Architect's Newspaper

Prior to modeling software, architects needed a way to determine how the passing of the sun would affect houses they were working on. Are some parts of the house getting too much sun or not enough sun? Are weird shadows being created? Does the design work as well in summer, when the sun is higher, as in winter, when the sun's arc is lower?

To determine these answers, they needed two things:

1) An intern, to build the model and get everyone coffee to drink during the evaluation phase, and

2) A heliodon.

A heliodon was a big-ass contraption that a woman named Candace had to wheel into a room and set up.

There was a dial Candace could use to set the house's latitude.

Candace used this dial to set the month.

The varying rings corresponded with the sun's position in different seasons.

There was no motor. To move the sun from dawn to dusk over the model of the house, Candace had to put some elbow grease into it.

Here's what the process looks like on video:

Enter a caption (optional)

It should be noted that not all architecture firms had the heliodon operated by a woman named Candace; some firms went with a Victoria or Rebecca, and occasionally guys named Don, Peter or Thaddeus were allowed to touch it too.

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The Old-School Contraption Architects Once Used to Simulate the Sun Passing Over a House Model - Core77.com

Powder Coated Metal New York Chess Set. Image: Skyline Chess

Trained architects turning their hand to product design is not a new phenomenon. In the 21st century Sam Jacob Studio is producing t-shirts and Zaha Hadid Architects are producing everything from vases to shoes, at the turn of the previous century architect Charles Rennie Mackintosh was designing clocks. It is common for architects diversify into other careers, as polymathic architecture education fosters a wide variety of skills.

I spoke to Ian Flood, co-founder of Skyline Chess, a London-based company that was started when housemates and architectural designers Ian Flood and Chris Prosser would play chess in the evenings and concoct the architectural skylines of their dreams to compete in theoretical games. So far the pair have created architectural chess sets of London, New York, San Francisco, Dubai and Paris, with a special Brutalist London edition. Shanghai and Hong Kong chess sets are in the pipeline.

The project was started with a London chess set six years ago and has gone from strength to strength since. The chess sets are now stocked in such hallowed halls as the Guggenheim, MoMA, The British National Gallery and The Southbank Centre. The driving idea is that materials such as bronze, metals and marble combined with the knowledge and execution of an architect makes for a high quality product.

Founders Ian and Chris believe in using traditional production methods such as lost-wax casting and sketching. For example, the San Francisco chess set, available in solid bronze or powder coated metal has the following architectural make-up: The pawns are played by the famous Painted Lady houses, St. Marys Cathedral plays the Rook, with Columbus Tower playing the Knight. Coit Tower is cast as the Bishop, with the Iconic Transamerica Pyramid playing the most powerful piece on the board, the Queen. The King is played by the recently completed Salesforce Tower. The pair have also produced sets of playing cards for the London, Paris, New York and San Francisco editions.

I asked co-founder Ian Flood some questions...

In cities like New York and San Francisco where the architectural offerings are vast, it must be difficult to choose only a selection of buildings. Is there a specific process behind this?

Well start by looking at the city as a whole and begin to select buildings based on their form and height. In a traditional chess set the king is represented by the tallest piece, and then in descending order of height to the pawns. We try to retain that legibility in our games.

We aim to choose buildings which could be recognisable as the chess pieces they going to represent; for example the bishop in our London chess set is played by 30 St. Mary Axe and the Chrysler Building for New York, both of which have a similar silhouette not dissimilar from the mitred hat of a traditional bishop. This allows us to compete different cities against each other on the board as well.

We try and stay true to the relative heights of the pieces in each set, so they can be identified as a cityscape.

Alongside the city editions, you have the London Brutalist Edition which focuses on a particular architectural style. Are there any plans to do another style or is the focus in the future going to be on cities?

Were both big fans of Brutalism and this edition allowed us to showcase another side to Londons architecture which our first version didnt necessarily represent. Currently were focusing on new cities (Hong Kong and Shanghai will be launched next), however were definitely looking to do future editions based on other specific styles and periods of history.

For the bronze editions you collaborated with a small family business in Birmingham, England, where they manufacture the chess sets using an ancient lost-wax casting technique. Do you feel its important as a designer to support local craftsmanship?

Definitely. We have a close working relationships with 3 small manufacturers here in the UK which allows us to test new ideas and overcome any manufacturing issues a lot more easily than using overseas companies.

It also allows us to test new ideas on one-off editions, for the Paris Wireframe set we 3D printed in castable wax before using lost wax casting to create the pieces. As the tolerances were so fine we had a lot of input from the foundry about what was possible.

There is a high level of skill involved in the production of the sets and its great to see them at work first hand whilst helping to preserve these ancient techniques where possible.

You have had high profile clients such as NBC and Chanel, who has been the most interesting or surprising?

We currently have an exciting new edition in progress for a big institution in Rome, which well be sharing more details of in the coming months, and have a wide range of clients internationally. Closer to home were currently working on a proposal for a major UK sports team.

You use hand sketching as part of your creative process, do you feel that analogue skills are still important in the digital age?

Very much so, just as tracing over a floor plan can be the easiest way to solve a problem, we find that working by hand can sometimes lead you to a different outcome that you may have developed using a computer.

Is there any particular building which you have modelled that has either changed your opinion of it, or deepened your appreciation for it?

Were currently working on a range for the recent Hudson Yards development in New York The Vessel by Thomas Heatherwick is an incredible engineering feat and posed us with some unique challenges to make it work as a chess piece.

You offer a bespoke service and have created amongst others, a chess set to celebrate 100 years of The Bartlett School of Architecture. What is the most unusual request that you have received?

Working with the Bartlett really allowed us to be more unconventional with our thinking (as you would expect from them) and the final result is quite telling of this! We get all kinds of bespoke requests, from designs based on private islands to sets featuring peoples family members (and pets)

Lastly, if you could pick a favourite chess set, what one would it be?

I spent some time working in an architecture studio in Paris, so this edition is a particular favourite of mine. The set which myself and Chris play with most often is probably San Francisco.

Read more:
A Conversation With the Architect Who Is Bringing the World's Iconic Buildings to the Chessboard - Archinect

Industrial IoT processes increasingly base IoT implementations on the ISA-95 standard, which means organizations must understand what the standard does and doesn't define.

Anyone involved in developing industrial IoT (IIoT) products should be familiar with ISA-95, the standard from the 74-year-old International Society of Automation (ISA), but what is ISA-95 and how does it work?

As the name implies, work on ISA-95 started in 1995 and it continues to this day. ISA-95 defines the software interface between enterprise and control systems. Specifically, it defines semantics and operational models for how industrial control systems -- also called manufacturing execution systems -- exchange information with enterprise resource planning applications. ISA-95 comprises six key components, each of which builds on the other:

The six parts of ISA-95 create three key takeaways. First, ISA-95 is exclusively a software and information model. It describes how the underlying software applications and infrastructure -- such as databases -- should interconnect. Second, most manufacturing applications, software and services in the past 25 years have implemented ISA-95. Finally, experts continue to work on ISA-95. Parts two and five have been updated in 2017 and 2018 respectively to include capabilities required by IoT. These three takeaways lead to three tips that IoT architects and technologists must understand.

No need to reinvent the wheel. ISA-95 is already widespread in manufacturing and industrial organizations. Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up. That work has already been done and organizations considering IIoT adoption have likely already implemented the structure. IIoT architects should think in terms of integrating into ISA-95, not supplanting it.

Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up.

ISA-95 is silent on hardware and lower-level infrastructure, including network, security, compute and storage. A fundamental divide splits IT between software and infrastructure people. Even though organizations can implement infrastructure through software, the logistics of getting data from point A to point B, then processing and storing it effectively still comprises infrastructure. Similarly, virtual machines and containerized applications have replaced servers, and software-defined networks and software-defined WANs replace traditional appliance-based networking.

For most software developers, infrastructure stops at the database; they assume the mundane functions of data transport, storage and compute are handled elsewhere. In the world of IoT, there is no "elsewhere" yet. Developers must consider factors such as whether the factory-floor network should be 4G, 5G, Bluetooth or wireless, if IoT analytics should happen in the cloud or on-premises, or where edge computing fits in.

IoT architects and engineers should focus on infrastructure and cybersecurity requirements. Given the established framework of ISA-95, architects can best spend their efforts on network, compute, storage and cybersecurity for IoT and IIoT. The ISA has developed cybersecurity framework IEC 62443 that aligns with ISA-95, but it focuses more on the information and modeling or conceptual level and requires enhancement and extension to cover the entire IIOT. There's not yet an accepted cybersecurity framework governing how these underlying components work together securely and effectively. Standardization efforts are still nascent and chaotic. Organizations should aim to develop a consistent working infrastructure to slide in underneath and around ISA-95, rather than to replace it.

ISA-95 forms an excellent starting point for IIoT architects. However necessary, it's not complete per se, and architects should think in terms of supplementing ISA-95 with the appropriate infrastructure and cybersecurity.

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ISA-95 for IIoT gives architects a standard for integration - TechTarget

Fabrix Capital and Berliner Union Film Ateliers (BUFA) have appointed Dutch architects MVRDV and the German Institute for Participatory Design (IPG) to revitalise the film and office campus in Berlin where the Oscar-winning film Cabaret was filmed.

The London-based investment manager acquired the BUFA campus on behalf of a European family office in 2016. The studios are located on the border of Berlins Tempelhof and Neuklln districts. Over the past three years Fabrix has focused on understanding the sites context in Berlins history and the role it might play going forward.BUFAs first studios were built in 1912, with world famous films such as Emil and the Detectives, The Golem and Cabaret having been filmed there. The 256,000 sq ft campus, which overlooks Berlins Tempelhof airport, contains office, studio, post-production, craft and warehouse space, and will be occupied by a range of media companies and change makers including social art and activist groups, scientific and educational organisations as well as NGOs and businesses with human rights, social, or ecological objectives.MVRDV was appointed with a brief to create a place that reflects the key principles of Soil, Soul, Society and Celebration in line with Fabrixs vision for the site to become a place that fosters expression, dialogue and action.As part of the redevelopment, MVRDV plans to create a variety of attractive spaces within the site which will house event spaces as well as social, cultural and educational facilities that can be used by the whole community. MVRDV will follow circular economy principles by using natural and reclaimed materials to create a truly sustainable and inclusive campus.The landscape architecture, which IPG is undertaking, will showcase sustainable life in cities by combining local food production, biodiversity enhancement, urban-rural relationships and educational spaces on site. When complete, the new campus will house playgrounds, gardens, secret pathways and rooftop terraces to enhance creativity, knowledge-sharing and community connections on the site.Along with the site, Fabrix also owns Berliner Union-Film GmbH & Co. KG, an operational film company that provides studio space and post production services to the media industry. As part of the upgrade, Fabrix will also refurbish lettable spaces and develop vacant land to create a campus where occupiers can increase their positive impact and work together.

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Fabrix appoints architects MVRDV and IPG to revitalise Berlin campus - Property Funds World

Beijing's latest, hotly anticipated skyscraper opened to the public today: the Zaha Hadid Architects-designed Leeza SOHO tower already made a big splash in architectural media long before it was even finished with its 623-foot-tall, full-height atrium (the world's tallest) and spectacular, Piranesiesque construction photos of the, then still rising, structural skeleton.

The 45-story tower development marks the anchor for the new Beijing Fengtai business district, a growing financial and transport hub outside of the city center and closer to the recently opened, and also ZHA-designed, Beijing Daxing International Airport to the south.

"Leeza SOHOs site is diagonally dissected by an underground subway service tunnel," explains project description from ZHA. "Straddling this tunnel, the towers design divides its volume into two halves enclosed by a single facade shell. The emerging space between these two halves extends the full height of the tower, creating the worlds tallest atrium at 194.15m which rotates through the building as the tower rises to realign the upper floors with Lize road to the north."

Leeza SOHO concept video, courtesy of Zaha Hadid Architects

"This rotation of the atrium intertwines Leeza SOHOs two halves in a dynamic pas de deux with connecting skybridges on levels 13, 24, 35 and 45; its glaced facade giving panoramic views across the city.Leeza SOHOs atrium acts as a public square for the new business district, linking all spaces within the tower and providing varying views due to its twisting, sculptural form; creating a fantastic new civic space for Beijing that is directly connected to the citys transport network."

"The atrium brings natural light deep within the building, acting as a thermal chimney with an integrated ventilation system thatmaintains positive pressure at low level to limit air ingress andprovides an effective clean air filtration process within the towers internal environment. Leeza SOHOs double-insulated, unitised glass curtain wall system steps the glazing units on each floor at an angle, providing narrow ventilating registers to draw outside air through operable cavities where required; creating extremely efficient environmental control for each floor."

"The two halves of the tower shade the atriums public spaces, while the double-insulated low-e glazing maintains a comfortable indoor environment in Beijings extreme weather conditions. With a u-value of 2.0 W/mK, the glazing has a shading coefficient of 0.4. The towers overall external envelope u-value is 0.55 W/mK."

"At the forefront of 3D Building Information Modelling (BIM) in design, construction management and building operations, Zaha Hadid Architects and SOHO China have implemented proven technologies to reduce the energy consumption and emissions at each of their four collaborations, totalling 15 million square feet (1.4 million sq. m) of mixed-use urban space in Beijing and Shanghai."

"Designed to achieve LEED Gold certification by the US Green Building Council, Leeza SOHOs advanced 3D BIM energy management system monitors real-time environmental control and energy efficiency. These systems also include heat recovery from exhaust air and high-efficiency pumps, fans, chillers boilers, lighting and controls. The tower incorporates water-collection, low-flow rate fixtures and grey water flushing as well as an insulating green roof with photovoltaic array to harvest solar energy."

"2,680 bicycle parking spaces, with lockers, shower facilities and dedicated charging spaces for electric and hybrid cars are located below ground; while low volatile organic compound materials are installed throughout Leeza SOHO to minimise interior pollutants and high efficiency filters remove particulates via the air-handling system."

Project Data:Architect:Zaha Hadid Architects (ZHA)Design: Zaha Hadid, Patrik SchumacherZHA Project Director: Satoshi Ohashi

Top of facade: 199.99 mTop of atrium: 194.15 mStandard floor to floor height: 4.1 mNumber of floors: 45 floors above ground,4 floors below groundSite area: 14,365mGross floor area: 172,800mProject Start Date:October 2013Site Works Start Date:April 2015Completion Date:19 November 2019

Be sure to take a deep dive into project drawings and various diagrams in the image gallery below.

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First photos of Zaha Hadid Architects' newly opened Leeza SOHO tower (and the world's tallest atrium) - Archinect

On November 11, 2019, Elizabeth Diller, a cofounding partner of Diller, Scofidio + Renfro and the recipient of the first MacArthur Foundation fellowship awarded in the field of architecture, spoke to a standing-room-only crowd on campus about the completion of two of New Yorks most recent high-profile building projects, the latest expansion of the Museum of Modern Art and the opening of the Shed, the multi-arts center in Hudson Yards.

Amale Andraos, dean of the Graduate School of Architecture, Planning and Preservation, which hosted the event, introduced Diller and noted theastonishing impact of her firms work.

DS+R, an interdisciplinary design studio that integrates architecture, visual arts and performing arts, has shaped what it means to be a cultural institution today and for the future, as well as reimagined how we interact with these institutions and how we understand their role in urban public space," Andraos said, adding that the firm'swork is more than buildings. "The practice has creatively probed the boundaries of architecture as a discipline" and "has a remarkable capacity to visibly render material, the constant question we pose ourselves as architects, which is where to draw or build the line.

In her talk, Diller compared the Museum of Modern Art withthe Shed, both of which are in midtown Manhattan, six avenues apart and 27 streets north-south from one another, yet they couldnt be more different, she said.

After Dillers presentation, Andraos asked her if designing projects in her own city, New York, is different fromworking in other places. Diller answered that there are a lot of architects whoparachute into other cultures,and they need to be sensitive to the fact that culture isn't global. However, she said,"it would be bad if we just worked in our own backyard, we need to import and export talent, but theres a huge learning curve.

Andraos then asked Diller if she thought architecture schools should teach students about entrepreneurship and how to create business plans.

The key, Diller said, was to keep everything in balance. She suggested that students should be willing to do something youre unqualified to do because it could be your best work."

But Diller conceded that being an expert in everything is impossible. "We used to think architects weregeneralists, but were specialists who find the right collaborators. Architecture is not independent and autonomous; its part of everything else. So, figure out how to make the right alliances to have your voice heard.

Excerpt from:
Recap: Architect Elizabeth Diller on MoMA and the Shed - Columbia University

No. 13 on the Top 100 ranking is a course for which Colt gets all the credit: Royal Portrush (Dunluce) in Northern Ireland. That epic layout played host to the 2019 Open Championship, won by Irishman Shane Lowry.

Heres the full list of the Colt-designed golf courses that made our new Top 100 ranking:

1. Pine Valley (PINE VALLEY, NJ; GEORGE CRUMP/HARRY S. COLT, 1918)12. Muirfield (GULLANE, SCOTLAND; OLD TOM MORRIS, 1891/H.S. COLT, 1925)13. Royal Portursuh [Dunluce] (PORTRUSH, N. IRELAND; H.S. COLT, 1929)29. Sunningdale [Old] (SUNNINGDALE, ENGLAND; WILLIE PARK JR., 1901/H.S. COLT, 1922)33. Royal St. Georges (SANDWICH, ENGLAND; W. LAIDLAW PURVES, 1887/H.S. COLT, 1922)54. Woodhall Spa [Hotchkin] (WOODHALL SPA, ENGLAND; HARRY VARDON, 1905/H.S. COLT, 1912/S.V. HOTCHKIN, 1926)55. Swinley Forest (SOUTH ASCOT, ENGLAND; H.S. COLT, 1910)67. Rye [Old] (CAMBER, ENGLAND H.S. COLT, 1895/TOM SIMPSON/HERBERT TIPPET/GUY CAMPBELL, 1907)73. Sunningdale [New] (SUNNINGDALE, ENGLAND H.S. COLT, 1922)86. St. Georges Hill (A & B) (WEYBRIDGE, ENGLAND H.S. COLT, 1913)88. De Pan [Utrechtse] (UTRECHT, THE NETHERLANDS H.S. COLT, 1929)

Most of the architects who come closest to Colts Top 100 haul, like Colt, died long ago. But there are two modern outfits who could give him a run for his money some day. Celebrated modern designer Tom Doak has an impressive six courses already on the Top 100 list, while the famed duo of Bill Coore and Ben Crenshaw have five.

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Which architect has the most Top 100 course designs? You might be surprised - Golf.com

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Author Paul Wellington has a master's degree in architecture, but is not practicing. He wrote a book about the low number of black architects.(Photo: Rick Wood / Milwaukee Journal Sentinel)

When Paul Wellington wrote his book,he did it to showcase the role African American architects have played in the past and encourage young people to pick up that mantle for the future.

He and architect Nicholas Robinsonemphasized that message at adiscussion at the Milwaukee Public Library's Tippecanoe Branch Wednesday night.

Wellington read several entries from his new book,"Black Built: History and Architecture in the Black Community," which featuresAfrican American architects' from the 1800s to the presentincluding:

It also featured the Sixteenth Street Baptist Church of Birmingham, Alabama, which was built by Wallace Rayfield in 1911. It was also the site of the church bombing thatkilled four African American girls at the height of the Civil Rights movement.

Wellington said the book is meant to show students of color that they could have a future in architecture.

"I want to encourage other African American youth to take this career path and see what they can accomplish," he said.

Nicholas Robinson(Photo: Talis Shelbourne / Milwaukee Journal Sentinel)

Robinson took that career path.

At31,he is the co-founder of DREAM Builders and one of very fewlicensed African American architects in Wisconsin.

As a youngster, he said he was partially drawn to architecture because he loved the idea of getting paid to draw, a passion of his since third grade.

He said he was also drawn to the profession because of how it impactspeople's physical and by extension, mental environments.

So when he had the chance to learn the formal skill in college, he took it.

"Architecture was more about solving problems and allowing the environment to show you what you are supposed to do," he said.

In a city like Milwaukee, architecture can be a challenge because of resource shortages and banks' reluctance to invest in the central city. However, he also noted that working in the central city helps him connect toother organizations that areinvested in the central city.

Robinson and Wellington bothspent six years in school, earning their master's degrees.

During his undergraduate career, Wellington said he didn't study any African American architects and only learned about them duringpersonal research; during his graduate program, he began thinking aboutwriting a book that would highlightAfrican American architectural contributions around the country.

Black Built: History and Architecture in the Black Community.by Paul A Wellington(Photo: handout)

After 16 months of writing and researching at night and taking one-third of the photos himself thatthought became a reality.

Wellington chose to study architecture because, he said,representation matters.

"In the African American community, I feel like if we grow up there, we can help design there. We have an understanding of what is best for those communities," he explained.

Wellington also co-founded MKE Black, an organization that celebrates and promotes African American business and culture.

Marion Clendenen-Acosta, one of fewlicensed African American female architects in the stateand the chair of the Historical Preservation Committee, said she is glad to see architects of color striving for more diversity in the profession.

"It's great to see the energy," she said.

Wellington said this project is just the beginning.He wants to expand MKE Black to an electronic app and explorethe role of African American women in architecture.

The only way to solve the field's current lack of diversity, he said,is showing whats possible.

"Black Built" will be available at Boswell BookCompanyand onAmazon.

Editor's Note: A previous version of this story saidthat Marion Clendenen-Acosta is the only licensed African American female architect in Wisconsin. Anina Mbilinyi is also a licensed femaleAfrican American architect.

Contact Talis Shelbourne at (414) 223-5261 or tshelbourn@jrn.com. Follow her on Twitter at @talisseerand Facebook at @talisseer.

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'Black Built' celebrates the works of African American architects from around the country - Milwaukee Journal Sentinel