Tuesday, August 17, 2010

69. Be Shameless about Asking for things


I am going to tell you a story which may disturb you, or even more, completely discourage you from what I am about to argue for, but its a good little story and I will tell it anyway. Who knows, if you are still convinced of my argument after this story then I believe you are truly material for being a famous architect.

Back in the days when I was in collage, I had an interesting classmate named Andrew. Almost everyone in the studio seemed to have a certain aversion towards him. Very few actually described him as a friend, and even these so called friends of his always seemed to have a problem with him. It is difficult for me to count the amount of times a friend of his would come up to my drafting table and start a conversation that begins with the phrase "Andrew is my friend but..." and then continue on to tell of the latest conniving thing that he did to them. The other problem with Andrew was that he walked around the studio with a certain air of superiority about him. If you met him at a party and had a brief conversation with him, chances are you would walk away with the impression that you are somehow beneath him.

The most interesting thing about Andrew though is that he always seems to have people granting him all kinds of favors, or doing something on his behalf, or giving him something. Even me!. The lesson of Andrew is that he was never afraid to ask for help or for anything. In fact he was downright shameless about it. It would not matter if you were laughing with him or arguing with him, there was no wrong time to ask in his view. If he needed help with anything he would just come right out and ask. If you just bought the latest CD, he would ask if he could copy it. If you just bought the latest gadget, he would ask if he could borrow it. If a starchitect was teaching the course, or visiting for a lecture, and he wanted a job at that office, he just went right ahead and asked.

I remembered Andrew because I had a realization just the other day, and that realization this:

Famous Architects are unashamed to ask for things.


They are not afraid to pick up the phone and ask. They ask of their employees, they ask of their colleagues, they ask of their friends, they ask whoever they see fit and they do it all the time. They do not hesitate, they do not waste time agonizing over it, they just do it. When ever they need something, they make decisions quickly, pick up the phone and get on with it.

So you might say “oh, they are used to it, because they have many people working for them so its just something they got used to doing”.
Well, I am not so sure about that. In fact, I don’t think so. I think they got an office, and employees, and became famous because they had no issues with asking for help or for anything.

I had the great fortune (or great misfortune, depending on how you look at it) of either being taught by or working with quite a few famous architects. I also know quite a few rising stars.

I can say with complete certainty that this is one of the few traits that connects all of them, no matter how different their works or philosophies.

One friend of mine whom I worked with on a project some time ago is a rising star. For reasons of privacy I will simply refer to him as Joe. Joe learned through a friend we have in common that I was working on a project that was potentially beneficial to his office and would give him some free promotion. Immediately he contacted me:

“Hey Conrad, how is it going?

I had a conversation with Jenny, she said you guys are working on this project... bla bla bla bla ...

Of course I suggested my office could be involved as a participant.

She suggested I talk to you.

Maybe you could work out something for us?

And here is how it could benefit you too... bla bla bla ...

What do you think?”


“Yeah, sure” I answered,

“I will just suggest it to the rest of the guys on the team and see what happens”


Reflecting on the conversation some time later, I thought about how it would be if it were the other way around? What if Joe was working on a high profile project and I saw that there could be some free publicity in there for me? What would I do?

Well before I figured out how to ask, before I learned what I am about to tell you, my train of thought would have looked something like this:

  • Oh, I wouldn’t want to be a bother or impose on him.
  • I wouldn’t want to be patronized, I don’t need that, if I want publicity I will get it when I need it, on my own.
  • He is probably not going to do it anyway, so why bother?
  • That might be too much to ask... I don’t want to put him in an awkward position.
  • What’s this going to cost me? Am I going to be indebted to him... I don't want that.
  • If I ask him, it may seem like I am begging and gosh I don’t want to come off as weak or needy or even worse: desperate.
  • I am a giver; I am a kind giving person and I would much rather give to others than to go around begging and leaning on other people.

In short, I probably would have talked my self out of doing it. I think most of us would too. I think most people simply don’t know how to ask and that’s a problem. We don’t want to be demanding or leaching like Andrew on one hand and on the other we don’t want to appear weak, especially guys; you know the proud smart self-reliant type that drives around in circles and would not ask for directions because they don't want to come off as incompetent or stupid. I don’t know about you, but driving around in circles with your head stuck up your ass is not exactly my idea of strength, competence or self reliance. From where I stand, it looks more like an image of insecurity and cowardliness, not to mention stupidity. Yet we do this with our careers, and worse we do this with our lives.

But I have news for you. There is a vast difference between people like Andrew who goes around and take, take, take and never give back and the so-called proud-independent who drives around in circles for hours afraid to ask for help. There is a middle ground between these two extremes.

Joe is a good example. I learned a lot during the short time I worked with him. Like any emerging firms we usually worked very long hours. Joe would spend the better part of the days on the phone making calls negotiating with people (That's archispeak for asking for help). He did this constantly for hours and hours, it was only later in the evenings that he would seriously switch his focus on to architecture. The other thing that really surprised me was that for a relatively young guy who have worked for some of the most celebrated starchitect offices around the world, he did not have some basic skills that you would expect from a person with that caliber of experience. For example, he did not know how to render and his photo-shop skills were a bit shabby. But that did not seem to get in his way. He was adept at delegating and readily acknowledged when he did not know something instead of pretending to be an expert. He was driven and motivated and when things got tough he asked for help right away.

What Joe lacked in photo-shop and rendering skills he more than made up for in asking skills. This is the single most important skill I learned from him and I would like to share it with you. You can look at that conversation I mentioned I had with him earlier as a case in point. It has all the ingredients of a good way to ask for help.

Firstly, make sure the person you ask is actually in a position to help you.
I had a project that could give him publicity and I had some influence over who could be involved in it. So naturally Joe came to me.

Secondly, Be confident and straightforward
No I did not say cocky. You should not go around expecting people to do you a favor or help you no matter how much you have helped them before or how good a friend they are or for any reason. Remember you are asking not demanding. At the same time don’t grovel or be wimpy about it. If you go and ask in the tone of voice of Doubtful Tom: “uhm... ahh... you wouldn’t want to help me on this would you?”
That’s not asking for help, that's a weak prayer or kind of a little psychological trick to prove to yourself that at least you tried. That is not a sincere effort, that’s a cop out. If you are going to do it half assed don’t bother wasting your time. Neither should you try to drop hints and expect the other person to kind of read between the lines. Then what you are doing is trying to make the person you are asking feel guilty and help you out of pity. That’s just lame and manipulative.
Just get to the point and state in no uncertain terms what you are asking for. You can explain why or argue your case later in the conversation as necessary.
When Joe asked me, he simply and directly stated what he wanted “could you work out a deal where my office is a participant in your project” no demanding, no guilt trip hints, no groveling, just a clean, clear, honest question. Then he went on to explain how it could benefit me, in other words how this could be a win-win situation. This brings me to the third point.

Look for ways to reciprocate: read the tone of voice and body language of the person you are asking. Is there a hesitation or reluctance in their answer? If so respond accordingly, remember you are really negotiating a win-win situation. You want to come out with an amicable outcome for yourself and the person you are asking whether you come away with a yes or no or a counter offer.

Of course there will be occasions where there is no point in offering something in return. Now at the risk of sounding superstitious, I will say this: what goes around comes around. You will find that people will come to you to ask for favors too; maybe not that same person that helped you, but someone else. Help them. Get in the habit of helping other people. Not because you want to build good karma or because you expect something back, but because it is fun. Do it to train your brain that its about giving and receiving. Develop that reputation. Think about the kindest, most helpful or generous person you know. How would you respond if they came to you for a favor?

Recalling the days I was working with Joe and hearing him “negotiate” on the phone, these three principles were always present in those conversations, whether he was talking to a potential client, another firm he was seeking to partner with on a competition, a contractor, or student he was asking to intern for him.

And by the way, when the time came that I needed a favor from him and I asked, he was very accommodating and even went out of his way to make sure I got the proper help that I asked for. In fact this is what defines our relationship. Even though we live in different countries now and we don't see or hear from each other for long periods of time, I have no reservations about picking up the phone and asking him for help and he of-course doesn't either.

Anyway, I will leave you with the final scene from one of my favorite movies: My Cousin Viney. Its about an inexperienced lawyer who has a lot of raw talent but wanted to win his first trial on his own; without asking for help from anybody. In short he wanted to do things the hard way, and unnecessarily hard it was. In the end he begrudgingly received a lot help along the way from his fiancée and others to win his first trial case.



Conrad Newel

NOTES ON BECOMING A FAMOUS ARCHITECT
Liberating Minds Since August 2007

Thursday, April 8, 2010

68. Take a lesson from SANAA


cartoon credit: http://klaustoon.wordpress.com/category/pritzker-prize/

First let me extend my sincere congratulations to SANAA on the announcement that they will recieve the Pritzker.
One of the first things I did after I learned the news was to type in SANAA into Google to find out something more about them. I already know their work very well, but what about Kazuyo Sejima and Ryue Nishizawa? how did they become so famous? How did they do it? One thing I knew was that success leaves clues and I was intent on finding out.

My guiding question: what can we learn from these two?

Here is what I found:

1. Ryue will be only 44 years old when he receives the Pritzker. That's perhaps the youngest to ever receive the prize. He has beaten out some of the heavy weights who have been around on the waiting list for a long time, including Peter Eisenman, Daniel Libeskind, Steven Holl, and even his former boss Toyo Ito. How did he do it?

First he worked for a famous architect while he was in school. An invaluable credential needed to become a famous architect yourself. Almost every famous architects have learned the trade under a master. Ryue did this early in his academic career. Both he and
Kazuyo apprenticed under Toyo Ito. When Kazuyo started up her own firm, he had the good sense to go off and work for her too. Another good reason to work for a famous architect; You will meet people who could become your future partner there.

Secondly he read my blog and took it to heart. When he felt the need to break out on his own he was able to be open and coachable. He must have understood at some point in his decision making process that to unite & conquer was better the one man against the world philosophy. He accepted the offer to partner up with Kazuyo where they were able to achieve much more together than apart.

2. We can see that there is some truth to Jeffery Kipnis' observation on the development stages of a famous architect. SANAA's history is but a variation on it.

  • STAGE ONE [unbuilt break through projects]: Although SANAA's break through came with multiple projects that were actually all built. They definitely had a break through stage where they were getting published a lot and it attracted the attention of just the architectural community.
  • STAGE TWO [Exhibitions]: we can see after 1993 the office was inundated with not just exhibitions but also awards. I would argue that stage two is as much about awards as it is about exhibition. Largely speaking, its about being recognized by outside entities: amassing symbolic capital. You will see that this also includes invitations to lecture and/or teach at renowned collages and universities as well. An invitation to teach at Harvard is pretty much a status symbol that every famous architect receives when they near or cross the line into fame.
  • STAGE THREE [a seminal built project]: Again, SANAA were never paper architects at any points in their careers unlike Peter Eisenman, or Zaha Hadid, so their work has always combined artistic, pragmatic and intellectual elements from the very beginning and then matured over time. However, one could point to the O-museum as a significant commission that gave them the opportunity to develop these elements in their work more freely.

3. SANAA remained true to themselves. In a climate where most firms kind of rush to follow the latest fad, they rely focused on becoming experts on their own way of doing things. Now that the climate is such that bombastic architecture is associated with the greed and excess that caused the financial crisis, the Pritzker committee is now turning its focus in the opposite direction which is just where SANAA happens to be.

4. And most importantly did you check out Kazuyo Sejima's eye wear. This lady paid attention to her glasses and her clothes and that's no joke.




Conrad Newel

NOTES ON BECOMING A FAMOUS ARCHITECT
Liberating Minds Since August 2007

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Road Map to Fame : SANAA Architects
KEY:
BLACK-BIOGRAPHICAL INFORMATION
BLUE- COMISSIONS
RED- SYMBOLIC CAPITAL: AWARDS, EXHIBITIONS & PROFESSORSHIPS




1956
KAZUYO SEJIMA born in Ibaraki prefecture, Japan


1966

RYUE NISHIZAWA Born in Kanagawa Prefecture, Japan


1981

KAZUYO graduates from Japan Women's University with a Masters Degree in Architecture & starts working in Toyo Ito's office




1987
KAZUYO Established Kazuyo Sejima & Associates and hires RYUE as one of her first staffers


1988
Kazuyo Sejima & Associates receives their first major award: Project selected for the Kajima Award - MCH House Kajima Prize

1990
RYUE Graduated from Yokohama National University with a Masters Degree in Architecture
More accolades pour in as the office's work is selected for the exhibition "Last Scene in Architecture" (Touko Museum of Contemporary Art, Tokyo) and receives an Honorable Mention for the SD Award for La Maison de la Culture de Japon, Paris, SD Review

1992
Awarded JIA Prize for Best Young Architect

1993
The Office now begins to gain momentum in its popularity as they recognized for several awards and exhibitions: LABYRINTH New Generation in Japanese Architecture (Sezon Museum of Art, Tokyo, Hyogo)
KAZUYO SEJIMA 12 PROJECTS (Gallery-MA, Tokyo)
Japanese Contemporary Design (National Museum of Modern Art, Seoul)
Third prize, Yokohama International Port Terminal Design Competition
Grand Prize, Commercial Space Design Award '94 for "Pachinko Parlour I & II"



1995
Ryue Nishizawa expresses that he wants to go off and establish his own office. Kazuyo convinces him to stay and offers him partnership. Kazuyo closed Kazuyo Sejima & Associates and the two established a new office with the name SANAA [an acronym derived from the names of both partners.]
SANAA = Sejima + And + Nishizawa + And + Associates



Recieves the Kenneth F. Brown Asia Pacific Culture and Architecture Design Award
University of Hawaii for "Saishunkan Seiyaku Women's Dormitory"
Construction begins on the O Museum - 1995 to 1999 - Nagano, Japan

1997
KAZUYO becomes Visiting professor at Japan Women's University, at Tokyo Institute of Technology, at Tokyo Science University

RYUE Established his own office [Ryue Nishizawa architect] for doing small scale works [private houses, etc] but still remains partner at SANAA

Wins the "International Competition for the World Buildings" in Salerno
K-Building, Ibaraki, Japan
N-Museum, Wakayama, Japan
M-House, Tokyo, Japan

1998
De Kunstlinie Theater & Cultural Center - 1998 to Present - Almere, Netherlands

1999
21st Century Museum of Contemporary Art - 1999 to 2004 - Kanazawa, Ishikawa, Japan

2000

Both are invited to become visiting Professor at Harvard GSD, Cambridge, USA


Erich Schelling Architekturpreis
Work was included in the exhibition "City of Girls" in the Japanese Pavilion at the 2000 Venice Biennale


Work exhibited in the Garden Cafe at the 7th International Istanbul Biennale, Istanbul, Turkey

2001

KAZUYO accepts Professorship at Keio University, Tokyo, Japan & Visiting professor at ETH in Zurich


La Biennale di Venezia, 7th International Architecture Exhibition"City of girls" Japanese Pavilion, Exhibition Design, Arsenale, Venice, Italy
PRADA Beauty ISETAN, Tokyo, Japan (until 2002)

2003
The New Museum of Contemporary Art - 2003 to 2007 - New York City, New York
Zollverein School of Design - 2003 to 2006 - Essen, Germany
Christian Dior Building, Omotesando COMPLETED \ Tokyo, Japan
Naoshima Ferry Terminal - 2003 to 2006 - Kagawa, Japan

2004
Awarded the Golden Lion for the most remarkable work in the exhibition Metamorph in the 9th International Architecture Exhibition, La Biennale di Venezia in 2004

2005

Rolf Schock Prize in the visual arts
Recieved the 46th Mainichi Shinbun Arts Award (Architecture Category)

2009
Serpentine Gallery Pavilion - 2009 - London, England
Rolex Learning Center at the École Polytechnique Fédérale de Lausanne - 2004 to 2010 - Lausanne, Switzerland
kazuyo sejima appointed director of the venice architecture biennale 2010

2010

Awarded the Pritzker Prize






















Tuesday, March 9, 2010

67. all you need is a piece of paper, a pencil and a desire to make architecture

Architect Raimund Abraham, widely known as an inspiring educator among architects and former students fortunate to have been taught by him, was killed in a car crash in downtown Los Angeles early Thursday morning.[March 3, 2010]

"Earlier in the evening Raimund delivered a powerful lecture at SCI-Arc, re-stating his enduring love for architecture and his willingness to fight for the design discourse as he defined it," reported Eric Owen Moss.

Below are a few statements from that lecture:



R.I.P Raimund Abraham 1933-2010

  • architecture does not have to be built; it can be written, it can be drawn, it can put in model form
  • what happens when you build, you enter a domain which forces you to defend your ideas against unlimited number of hostile forces
  • When I talk about providing an alternative way to making architecture, what I means is you don't have to be a slave in a corporate office, or a groupie of a celebrity architect because all you need is a piece of paper a pencil and a desire to make architecture