There is a moment of realization that occurs when you get your first real job in an architectural office that maybe architecture school and what is now going to be expected from you are a little out of phase with one another. Are you prepared, do the differences matter, and what happens when you come to the conclusion that your job and almost everything you have experienced so far based on your time in college, seem so different. Have you made a terrible mistake, or are things about to get amazing? Welcome to Episode 170: Studio versus Real Life

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today we are going to be talking about the differences between the studio experience of architecture students versus the realities of an actual job. There are a handful of emails that I routinely receive and in almost all cases, I would write a blog post with my normal response so that rather than rewriting my answer to the same question over and over again, I could simply point them towards the blog post on the matter.

01 The Pace is Different jump to 3:49

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I’ve noticed that once you transition from school to professional practice, the pace of architectural work changes drastically. In school, you might have an entire semester to refine every last detail, but in a firm, every hour is assigned a dollar value (that might be an overly dramatic way of saying it but not entirely inaccurate). As your experience (and billing rate) grows, so do expectations for quicker, more efficient problem-solving. It can be just as cost-effective to pay a higher-rate veteran for one hour as it is to hire a newcomer for five. That dynamic pushes me to rely on my familiarity with codes, circulation, and design principles without having to look everything up or explore countless dead-ends.

At professional architectural offices, this emphasis on speed is front and center. We frequently prepare proof-of-concept studies before contracts are even signed, compressing weeks of design into just a day or two. Recently, another colleague and I modeled a 160+ key hotel with retail, a parking garage, and amenities—complete with a commercial kitchen—in roughly a day and a half. Though not entirely final, it was accurate enough to move forward with confidence. This accelerated process can be stressful, but it also highlights how crucial experience is in making fast, informed decisions

Speed and stress

02 Project Typology jump to 9:24

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I’ve been thinking about project typology—the kinds of buildings we design in school versus the kinds we actually end up designing in the real world. In my own college experience, I worked on three or four museum projects, but I’ve never once designed a museum in my professional career. Instead, everyday architecture often involves strip centers and anchor stores, which are obviously less flashy. Yet someone has to design them, and that’s where many of us find ourselves in practice. It doesn’t mean there’s no pride in such work; in fact, the hotel project I’m involved with now is shaping up beautifully, with plenty of room for creativity and thoughtful design moves.

Still, there’s an undeniable difference between the conceptual exercises we tackle in school and the real-world projects we take on later. My theory is that academic assignments are intentionally fantastical because professors want to teach you how to think rather than lean on preconceived notions. In school, you might end up designing a space for traveling poets and butterfly researchers—something so unusual that you can’t rely on a cookie-cutter approach. My colleague suggests that projects like museums and interpretive centers also have simpler programs, which keeps students from being overwhelmed by logistics and allows them to remain creative. Whatever the reasoning, I’ve come to realize that those outlandish academic projects serve a valuable purpose: they stretch your imagination and push you to develop a rigorous thought process, even if you never actually design a museum once you enter the workforce.

03 The Technical Aspects jump to 12:42

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Always believed that student projects covered plenty of technical ground, but real-world constraints quickly showed they barely skim the surface. Dealing with mundane realities—like how a janitor moves trash or how cities regulate dumpsters—forces problem-solving before aesthetics can truly shine. At first, everything revolves around intricate technical demands, and only after grasping them can I circle back to making the design look great. Colleagues like Lane Acree, who have mastered these complexities, seamlessly incorporate them into the creative process, proving that once the fundamentals become second nature, the focus returns to the art of design.

Never expected to watch someone struggle so much with a simple CMU house until a coworker overlooked basic requirements like pilasters and conduit for electrical. Walking him through those details underscored just how much the technical side drives aesthetic decisions. Mastering these elements early means fewer surprises down the road, avoiding a scenario where each new discovery upends the entire design. Progressing from school’s aesthetic-first mindset to a place where technical expertise is second nature marks the real evolution in professional practice.

04 Drawings are NOT the End all Be all jump to 20:18

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Seems like there’s more to architecture than just producing drawings. Putting together specifications, managing budgets, meeting with clients and contractors, and handling contracts can be just as significant as the design itself. Serving as a de facto project manager brings unexpected tasks, such as running OAC meetings every week, taking minutes, and aligning everyone’s efforts before a construction set ever gets issued.

Turns out the “end-all be-all” label often assigned to architectural drawings doesn’t hold true in practice. Drawings stand as a crucial piece, yet they only represent one facet of a larger machine. The actual work involves constant coordination, financial oversight, code compliance, and a lot of communication to ensure a project can be built smoothly and legally. These responsibilities highlight the multifaceted nature of modern architectural practice beyond what’s taught in studio.

05 Design is Not the Only Path jump to 0:00

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Seems clear that pursuing architecture doesn’t mean everyone becomes a designer. School programs tend to suggest otherwise by focusing almost exclusively on design, causing some students to feel inadequate. Yet countless other roles—project management, business development, specifications, and more—are essential to running a successful practice. Gaining exposure to these possibilities early could save many from quitting simply because they don’t see themselves as star designers.

Education could benefit from a broader, Bauhaus-inspired framework that introduces multiple paths before students commit to specializing. Skills like communication, financial oversight, and marketing can be just as vital as producing beautiful drawings. Many paths exist, and tapping into each person’s unique talent makes for a healthier, more resilient profession.

06 There are No Solo Tasks jump to 0:00

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Working in architecture means continually collaborating with a wide range of professionals. In school, group work felt rare, but in practice, every project features numerous players—colleagues in your own firm, specialized consultants, and sometimes even separate design teams. An ambitious courtyard concept for a hotel might start with an internal blueprint, yet the final shape reflects input from landscape architects, structural engineers, and other experts who each have a say.

Staying flexible is crucial because the best solutions often emerge from diverse perspectives. Sometimes it’s tough to watch another team alter your design, but handing off tasks to the right specialists results in a stronger overall project. Even when disagreements arise, respecting others’ expertise leads to projects that function well and satisfy clients, proving that architecture is far from a solo endeavor.

07 It is Not Your Work jump to 0:00

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Fulfilling a client’s vision under real-world limitations defines professional practice. Preferences, budgets, and consultant input often override personal design ideals, reinforcing the reality that architects serve as facilitators. The ability to work in any style, even one that doesn’t resonate personally, distinguishes a professional from a hobbyist who only produces what they personally admire.

A recent hotel project highlights this dynamic. Installing a dumbwaiter to move food from a ground-floor kitchen to a rooftop bar sounded ideal, but high costs threatened to eliminate it. The final decision preserved the dumbwaiter by reallocating funds elsewhere, illustrating the balance between design goals and client constraints. In the end, the project belongs to the client, so every choice—from materials to overall style—reflects their tastes and priorities.

08 School Juries vs. Client Meetings jump to 0:00

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Encountering a school jury can be a draining experience. Standing alone in front of critics while they dissect every perceived shortcoming leaves many students feeling personally attacked. That environment often contrasts sharply with client meetings, where feedback is more constructive. Clients may disapprove of a direction but generally remain focused on collaboration and solutions rather than harsh criticism.

Observing this difference makes it clear that real-world practice has a different energy. Clients are typically excited about seeing their projects come to life, so even criticisms come with a sense of forward momentum. The school environment aims to push students to learn quickly but can feel negative in its intensity. While both experiences offer valuable lessons,

The act of creating architecture is a fairly unique process and the manner in which you learn how to think both creatively and technically is a skill that requires certain training and nurturing to develop. When young and eager architects in training head off to college, this development will take place in the architecture studio. This is a topic that – shockingly - we haven’t pointedly discussed on the podcast before and today, that is going to change. Welcome to Episode 169: Architecture Studio

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I’m excited to dive into a conversation that centers on the architecture studio—a pivotal experience in any architecture student’s life. I get a lot of questions about how studio differs from traditional classes like structures or history, and how it transitions into the real world of practice. In the upcoming discussion, Andrew and I will explore how studio life shapes a student’s creative mindset, sets the tone for collaboration (and sometimes competition), and can either inspire a lifelong passion or push someone to walk away entirely. Drawing on my own experiences and numerous inquiries I’ve received over the years, I want to shine a light on the essential lessons and challenges that make studio the heart of an architect’s education—and, ultimately, guide how we thrive once we leave the academic environment.

All-Nighters jump to 04:26

When we started discussing the concept of all-nighters in architecture school, I was reminded of just how universal that experience is - or at least was when we were in college. Whether you’re pulling your very first late night as a new architecture student, or reminiscing about it decades later, the all-nighter stands out as singularly stupid rite of passage—one that I believe can (and should) be avoided. Not because I don’t value hard work, but because I don’t think anyone produces their best ideas at 3:00 am, most likely just a continuing marathon session in the studio that started hours previously. Time management, especially for younger students, is often a serious challenge. We’re learning how to generate designs, how to collaborate, and how to gauge how long things will take. That last part trips up almost everyone (but to be fair, this is something that takes YEARS to get a grip on...)

Still, part of the appeal—and the chaos—of studio is that it’s a highly social place. I remember plenty of late nights where conversation drifted from design critiques to philosophical debates about architecture and back again. Those interactions were frequently more illuminating than formal lectures, because there’s an energy in a room full of tired, passionate, slightly delirious architecture students. Unfortunately, that reality today is different. Technology has enabled students to work wherever they want, which is more convenient, but it also fragments the collaborative spirit that was once a hallmark of studio culture. While I have never been on the all-nighter bandwagon, I feel like there is something missing when students pack up their tools (or in most cases, fold their computers closed) and retreat to their dorms and apartments to complete their assignments

Last Minute Changes jump to 13:05

I strongly believe that last-minute changes often create “negative work”- which is effort that doesn’t actually help you finish your project. It’s tempting to keep designing if that’s your passion, but in school (and in the professional world), you need to set realistic deadlines and work backward to decide how much time to devote to each phase. If you don’t leave enough time for making models or preparing drawings, you’ll end up with amazing ideas that you can’t effectively present. I’ve seen students come to critiques with almost nothing pinned up, talking about what they intended to do, and as someone sitting there looking at your finger pointing at some scribbles telling me what you were going to do, I can assure you that nobody cares and you are wasting everyone's time. In a real work environment, you simply wouldn’t get away with that, so it’s best to practice being prepared now.

We spent some time discussing that a bad presentation alone won’t sink your entire grade. Your professors have seen your work and know the effort you’ve put in throughout the semester, and reviewers like me are only seeing a small snapshot. If you forget to mention something or someone on the panel doesn’t like your concept, it doesn’t erase everything you’ve done. What truly matters is that you have tangible deliverables to show, back up your design decisions, and demonstrate that you respect everyone’s time by being ready. That professionalism will serve you well long after you leave school.

Jury Reviews jump to 20:17

Many architecture students have the wrong idea about jury reviews. They usually see them as a chance to show off their designs and soak up a few pearls of "wisdom" from guest jurors. In reality, the real benefit is the chance to practice your communication skills under pressure. Standing in front of a group of people—faculty, visitors, guest jurors, and classmates - and presenting yourself as the expert on your own project is an essential experience. You need to know how to speak with confidence, explain your objectives and strategies, and persuade the room that what you’ve created is both purposeful and well thought out. In my own career, I wish I’d learned sooner that the ability to communicate effectively often outweighs raw design talent in professional settings.

Another thing I’ve noticed is that many aspiring architects believe that “good design sells itself.” That just isn’t the case. Clients usually aren’t architects and they need concepts broken down in a way that’s easy to understand and relate to. Mastering that skill—framing design decisions around a client’s priorities, illustrating how different solutions address different needs, and avoiding academic jargon - can make the difference between a brilliant idea that never gets built and a successful project. Ultimately, the jury review isn’t just about receiving criticism or praise; it’s about refining your ability to convey why your work matters. That skill will keep you at the table, land you more opportunities, and set you up for lasting success in the field.

Portfolio Lifespan jump to 27:14

Architecture portfolios have a finite lifespan—about three years for most people. When you’re still in school preparing to graduate, or within the first couple of years of working, you rely heavily on your portfolio to help you find meaningful employment. It showcases your academic projects and convinces employers you have the basic skills to function in a professional environment. But once you’ve been out of school for around five years, a portfolio full of old class assignments loses its credibility. Employers want to see real-world experience by that point, and they’ll question why you’re still showcasing studio projects. In my own practice, I see it as a red flag when someone with years of experience only has schoolwork to share.

Another issue I’ve noticed is that students often misunderstand what people like me look for in a portfolio. Many schools have their students work on identical or team-based projects, so reviewers end up seeing the same design brief interpreted by multiple candidates. If all your work is team-based, I can’t know if you did the renderings, the diagrams, or came up with the concept. What I can evaluate is how you designed the pages of your portfolio—your layout choices, typography, and how you’ve organized the information. That’s why I stress that students think carefully about the entire presentation. In the end, if your early-career portfolio captures your ability to communicate visually and you retire it once you’ve gained real work experience, you’ll be in good shape.

The role of an architectural portfolio is critical to help formulate a path for students, and as a result, this is a topic that has been touched on a few times here. A dedicated podcast Episode 60: The Perfect Portfolio which touches on the aspects of a portfolio, and then there was the systematic breakdown of one of my favorite portfolios of all time from former employee and current all-star Danielle Anderson which can be found here:

http://lifeofanarchitect.com/architectural-portfolios/

Hard Work is Easy to See jump to 31:48

I believe that you can spot genuine hard work a mile away. In my experience, there’s a world of difference between someone who’s actually putting in the hours—growing, learning, improving—and someone who’s just trying to appear busy. The truth emerges when it’s time to present or pin work on the wall. Suddenly, all those superficial efforts collapse, and you can tell who’s really committed to their craft. It’s not about pulling all-nighters or loudly proclaiming how much you “live and breathe architecture.” If you’re sleeping in class and bragging about how you never stop, it won’t take long for everyone—your professors, your peers, even future employers—to see through it.

I often share a personal anecdote about my daughter, who is currently preparing for grad school. She’s extremely intelligent, but what I want her to remember is that hard work will always trump raw talent. My father used to say he’d rather have a diligent worker than a supposed superstar, and it’s something I’ve carried with me my whole life. You can be the smartest person in the room, but if you don’t apply yourself, it won’t matter. That’s why I encourage her with the mantra, “You are better, so be better” - embrace the talents you have and back them up with genuine effort. I’ve seen students who flip the switch from simply doing enough to get by, to pushing themselves to reach their full potential. That’s when real growth happens, and that’s when your work ethic becomes unmistakable.

The Big Idea jump to 35:57

Building upon our last episode when we discussed the path we have taken to get where we are, how unpredictable and in some cases, how circuitous that path can take, what we didn’t really talk about was if the journey was what we wanted. It’s all fine and dandy to look back and make lemonade from lemons, but now that we are decades into our careers as architect, there is another question we want to ask … Episode 168: Architectural Career – Is It Worth It?

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I am going to start by defining, at least or me, what “it” might mean to help shape this conversation. It starts right out of the gate with quality of life – which I would presume is the case for most people. I don’t need to be rich and I have been fortunate enough that money for the most part does not influence the decisions I’ve made in my life. The most important thing for me is that I want to be a part of something. I want what I do to matter – which admittedly, “who it matters to” can and has changed. Some things I do matter to me, but as I’ve aged in my career, making things better for other people has worked its way into my motivation. When your activities have an impact on others, there is validation that occurs of your decisions, and your behavior. I do want to address the money consideration for a minute. I said it doesn’t influence me, but that’s really because I make a pretty decent living. I don’t care what other people doing other jobs make – good for them. Money simply represents freedom to make certain decisions and to present options.

http://lifeofanarchitect.com/golden-handcuffs-a-lesson-learned/

For those of you who might be new here, or just stumbled on to this article, I shared the post I wrote a long time ago about “Golden Handcuffs” and an experience I had at the beginning of my career (when I wasn’t actually making very much money) where I learned the lesson that money does not bring fulfillment and if you can learn what you need to exist, you can stop the process of chasing a paycheck and focus on being the best version of yourself … which will typically bring with it that larger paycheck.

Now that some baselines are in place, let’s get into the first section ...

The Realities of the Architectural Dream jump to 10:19

When I look back on my career in architecture, I remember how I started out with some enthusiasm. I was convinced I would spend my days doing creative work, designing amazing spaces, and leaving my mark on the world. Now, over three decades later, I can see how that vision of my career evolved in ways I never predicted. The essence of that passion is still there—I love what I do—but the daily realities are far more nuanced than what I imagined as a student. Architecture turned out to be about more than just design; it involves project management, mentorship, business considerations, and sometimes grappling with budgets and fees that don’t always reflect the effort we put in. Despite these challenges, I still believe it’s worth it.

One topic I’ve discussed a lot with Andrew, and with the mentees in my firm, is how the “dream” compares to the “reality.” In architecture school, we’re immersed in design theory and creative exercises; it’s easy to believe that’s your entire future. But then you join a firm, and someone hands you a stack of construction documents or code research spreadsheets. It can feel jarring—I’ve seen many young professionals struggle with the gap between what they thought they’d do and what they actually end up doing. At the same time, that early shock is often what expands your skill set the most. As you handle real-world challenges, your perspective grows, and you start to see the broader impact of architecture beyond just the initial creative spark.

Part of the dream is also about the work having meaning beyond yourself. Architects generally don’t go into this field to make big money; if you truly wanted that, there are probably easier ways to get it. Instead, we’re motivated by the chance to affect how people live, work, and interact with buildings. It’s about being able to point to something and say, “I helped make that.” It’s that deeper fulfillment that often keeps us going even when the pay or day-to-day tasks aren’t everything we hoped. We have that drive to keep pushing forward, to refine our craft, and to keep learning.

Andrew spends some time talking about how important it is to remain flexible. You might go into school thinking you’ll specialize in healthcare, or hospitality, or some other focus, only to discover the reality of that niche isn’t what you imagined. It’s not a failure to pivot to something else; it’s part of the discovery process. My role now includes mentoring younger architects, helping them navigate these twists and turns. Seeing them work through those early realizations—often the same ones I had long ago—reminds me that architecture is a lifelong journey. It’s a journey that involves both practical adaptation and rekindling the passion that brought us here in the first place.

Stories from the Trenches jump to 26:21

I recently ran a poll on my Instagram to get a reality check on whether people think a career in architecture is worth it. It turned out 318 people responded, and about three-quarters said “yes,” while one-quarter said “no.” That ratio initially surprised me—I didn’t expect a quarter of respondents to feel it wasn’t worth their time - I expected that number to be a little higher. Most of the “no” votes came from people in the early stages of their careers, which makes some sense. You might struggle with the transition from school to the working world, or be discouraged by the starting pay and you never get to the point where you find your place.

Following up on the first question, I asked folks to explain their “yes” or “no.” I was heartened that a lot of them see architecture as a fulfilling, creative endeavor that engages both the left and right sides of the brain. People mentioned how every day is different, how there’s a unique joy in seeing a design come to life in the built environment, and how there’s always something new to learn. Some also pointed out that it’s not always sunshine and roses: the work can be demanding, the hours can be long, and the pay isn’t necessarily stellar when you’re just starting out. Yet, even those who said they wished they earned more still found the work deeply rewarding.

Another factor that came up often was the sense of purpose. Whether it’s designing schools that impact hundreds of students daily or tackling projects aimed at creating a better community space, there’s a clear altruistic aspect that resonates with many architects. That ties into the idea that if you see your work as making a positive difference, you won’t focus as much on the financial side. I totally get that. I’ve been around long enough to see how this kind of passion can sustain those of us who stay in the profession for the long run.

I also noticed that architects who stick with it beyond, say, the first ten years tend to do quite well professionally. You reach a point where you’re not just surviving; you’re thriving. And the best part is that the work doesn’t get old. You’re constantly learning about new tools, new methods, new design challenges. You never feel stagnant. That’s probably why architects often stay in the profession for as long as they can—some even joke that architects don’t retire, they simply “stop breathing.” With so much variety and the chance to leave a real mark in the world, it’s hard to walk away once you’re in it.

I thought it would be interesting to share some of what the 88 people who took the time to tell me why they responded yes or no – here is a very small sample to get us started (and I threw some disenfranchised people in here to keep the list honest).

- No, architects have given away control to the contractors & others in a fee race to the bottom.

- It took me forever to answer. It is such a frustratingly rewarding profession.

- Shared perspectives of the beauty in life, both built and natural.

- People I've worked with, breadth of roles available in the field.

- It's challenging but very rewarding to see a concept or design come to life.

- Because people in the industry are awesome.

- Always at the mercy of someone else's whims.

- Science and art, tangible making of things, always learning. Beauty.

- The gift of creating.

- No. Not worth it financially.

- Extremely rewarding work. Very Creative but technical as well. Work on some cool projects. Well paid.

- You make it what you want it to be. The sky is the limit.

There is a common thread to most of these comments, that despite the roles and responsibilities varying so much, the reasons people join, remain motivated, and continue to work in this profession are very similar.

Measuring Worth jump to 35:21

When Andrew and I got to the part where we discussed the idea of measuring worth, I knew it would be a complicated conversation. After all, my definition of “worth” has shifted drastically over the course of my career, so why wouldn’t this be true for everyone? Early on, I was primarily concerned with proving myself, honing my design skills, and making sure I was financially stable enough to support my family’s needs. At one point, I was bringing in enough fees on residential projects to think seriously about going out on my own. The money might have worked out fine, but the idea of giving up the daily camaraderie and collaboration I enjoy so much was a deal-breaker. That connection is critical for me, and I realized I wasn’t willing to sacrifice it—even if I could potentially make more running a small firm by myself.

Moreover, my family’s well-being played a huge role in my decisions. My daughter started a college preparatory school in seventh grade,

It is the start of a New Year, everything still smells fresh and most things looking forward are theoretically in place for an amazing year … at least I think so. Since it is first podcast episode of 2025, today’s conversation is more of an introspective look into a career and just how bad or good things have gone over the last 30+ years. While this is not a look into my own personal diary, it should provide you with a framework when you decide to look at whatever it is you’ve got going on as well. Welcome to Episode 167: How Did We Get Here?

[Note: If you are reading this via email, click here to access the on-site audio player]

I have a guest on today’s episode as my typical co-host Andrew Hawkins, who was supposed to be in Japan during the time we needed to record, fell sick enough that he had to cancel this trip and is currently recovering at home. To that end, I have another good friend of mine sitting in to play point/counterpoint in today’s conversation. I have asked friend, neighbor, and just like me, a Principal and Senior Project Designer at BOKA Powell, and 3-time participant on the podcast Lane Acree to sit in and hopefully not point out just how dumb I am. Given today’s topic, I thought it would be interesting to see how two people who didn’t even know each other a few years ago both ended up in the same place, despite the reasons behind the journey being completely different.

Bob Borson one fateful Christmas morning ...

The Beginning jump to 05:06

When I reflect on how I got started in architecture, it all goes back to the moment my dad gave me a drawing table at age five. From that day on, I knew I wanted to be an architect (he might have been angling for engineer but that's on him for not being more specific). I never questioned whether I would go to college—it was a given in my house—but I did face doubts that the profession that I had decided on might not be the right fit for me once I actually started my freshman year. I wasn’t as driven as my classmates, and I began to worry that I wasn’t cut out for architecture after all. Looking back, it wasn’t that I lacked ability; I just wasn’t putting in the same level of commitment. My parents had been strict, so when I got to Austin, I had all this freedom and indulged in everything the city had to offer.

Eventually, I hit crisis point at the end of my freshman year and and took a year off from design studio during my sophomore year. I continued my other classes, but I needed that break to figure out what I truly wanted. When my junior year began, something clicked. I realized I wasn’t actually bad at design—I just needed to put in the work. That realization changed everything. It was a lesson in prioritizing my goals, a skill that still matters to me to this day.

Meanwhile, Lane took a different path. He discovered architecture at a young age—around sixth grade—when he witnessed the process of designing his family’s home with a draftsman. From that point on, he immersed himself in art classes and drafting throughout high school and then once in college, he ended up landing a job at a small architecture office where he spent every summer and holiday break. That real-world experience gave him a big advantage over classmates who never set foot in a firm until after graduation.

I find Lane’s background intriguing because he gravitated towards the use of computers, even when some of his professors believed technology stifled creativity. He taught himself tools like 3D Studio Max and came out of school with cutting-edge skills at a time when most people were still using the drafting board. By contrast, we didn't even have the option to use computer software while I was in college (despite only being only 10 years older than Lane). My focus was never on starting my own firm ... I just had 3 goals for myself once I graduated. I wanted to make a good living (which meant a yearly salary of $100,000), see one of my buildings get published in a history book, and—believe it or not—buy a jet ski. I don't know a jet ski made the list considering that I had never ridden one at that time and here I am 30+ years later and I have still never ridden one!

Lane Acree with his wife Mary, and Daughters Ella and Anna

Making Decisions jump to 28:54

When I look back on the phase of my life where the considerations of other, as well as non-architecture related life goals start coming up, it’s all about coming to terms with the reality that not everything I planned. In school, I thought I’d jump right into groundbreaking design work and immediately start checking off my life goals. Instead, I found myself in a small firm, meeting with clients on my own and cobbling together entire sets of drawings from old files. I felt simultaneously exhilarated by how fast my responsibilities were growing and completely out of my depth because I didn’t have a clue how to do half of what was suddenly on my plate.

During this period, life decisions started colliding with my career path. I got married, dreamed of buying a house, and suddenly realized that a steady, decent salary mattered a lot more to me than I expected. I jumped from job to job, chasing raises and opportunities, only to discover that money alone couldn’t make me feel fulfilled. By the time I was 30, I’d handled design work, billing, contract writing—you name it. Ironically, having learned those higher-level tasks so early sometimes worked against me when I looked for new opportunities. Employers wanted someone to knock out construction drawings; they already had people for contracts and business operations and these skills that I had unintentionally being developing were not valued, at least not in the marketplace of those looking to hire a 30-something architect.

Meanwhile, Lane was going through a big life shift of his own. He graduated, married his wife, and had his first daughter in quick succession. He took a good offer from a small firm that recognized his value, but ultimately decided to move to Dallas for bigger project opportunities. We both realized that while architecture school might give you broad aspirations—maybe you want to do skyscrapers or iconic museums—what you actually end up doing can be shaped by where you land and the life choices you make in the meantime.

Looking back, I see how easy it is to get swept up in dreams of “grand design” or high-profile projects. It’s also easy to dismiss residential or small-scale work until you realize how much you can learn about every facet of architecture by rolling up your sleeves in a tiny office. Ultimately, all these experiences taught me that there isn’t a single right way to build a career in architecture—there are countless paths, each full of twists you rarely see coming. And sometimes, even goals that at the time seemed incredibly important (like buying that jet ski) take a back seat while you figure out how to balance ambition, family, and the next big move life will throw your way.

Change in Direction jump to 38:38

The starting point for this phase was the realization that I was ready for a change. I’d worked at a firm I respected, but I wanted more: more responsibility, more leadership responsibilities, and a say in how the business was run. Ultimately, I went back to work with a long-time employer, and in some ways conspirator, where I was exposed to more of the ins and outs of running a small firm—from billing to design to overall business strategy. Eventually, that situation began to wear on me because I began to disagree fundamentally with some of the choices being made. For the record, and since I am the one writing this post, I am completely aware of how this makes me appear ... demanding, uncooperative, and possibly demanding in a way that I hadn't earned. I don't believe any of those things are actually true, I just hadn't found the right place where my thoughts on the things that were starting to matter to me aligned with other people in a leadership/ownership position.

I eventually reached out to Andrew Bennett—one of the owners at BOKA Powell, where I now work. Despite Andrew and I both going to the same college, we never met in school and he reached out to me because of this website. He and I had connected a few times by this point and with the questions I was asking myself, I reached out to him to get some advice on how to make a change. I wasn’t sure if my wide-ranging small-firm experience would translate to a larger operation. Much to my surprise, Andrew told me I was a good fit for a bigger firm like BOKA Powell, and I started to see how my skill set could be an asset rather than a liability.

By this time, I had started to recognize that what mattered most to me wasn’t just designing buildings (although I love it still); it was figuring out how to shape a practice that treats its people well and fosters a culture of growth. Over time, I’d discovered that I actually love the management and mentorship side of architecture. It’s thrilling to pop into a design charrette and help move a project forward, but it’s equally fulfilling to set up policies, refine processes, and ensure employees thrive. I believe that these thoughts and aspirations are a direct result of the years of time I spent writing blog posts for this site. The development of communication skills, while learning that I experience great satisfaction from helping others, lead to a fundamental shift - or maybe a recognition - in how I wanted to start spending more and more of my time.

Lane was on a parallel track, transitioning from being a pure “maker” to a leader who guides others. We both recognized how much bigger the goals become once you shift your focus from my success to our success. Rather than obsess over individual projects, I now see them as milestones in the evolution of the entire firm. At this stage, I’m less concerned with my own design ego and more interested in how we can collectively become greater than the sum of our parts.

December 2024, and Andrew and I find ourselves in front of the microphone for the final time until 2025 – from my perspective a mere 28 days away. It is the annual state of the state address where we look back at all the interesting bits and pieces covered over the last 12 months while providing a sneak peak at the adventures to come in 2025. . …  Welcome to EP 166: 2024 Yearapalooza.

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Today we are wrapping up the 2024 podcast season. I don’t know about you but I am ready for a break. Any part of wrapping up should include some sort of reflection but we will also be spending a portion of the show – presumably towards the end – of looking forward, what do we think we are doing and what might we be talking about.

I built todays conversation based on a similar format to how we wrapped up 2023 – a pulling back of the curtain to talk about what matters – at least where this website and podcast are concerned, and what we are thinking for next year. In an effort to look forward, I am a believer that you have to look back, take a look at what work – and what didn’t – so that you can modify behavior in a way that is beneficial and meaningful to all those involved (us as creators, you the listener as participants.)

impossible to read but even at this size, this is only 4 of the 8 years worth of downloads

By the Numbers jump to 6:56

I will admit that I used to be obsessed with the numbers associated with the blog site - and eventually the podcast - but the reality is that I don't care so much anymore. That doesn't meant that I don't ever look, but my reasons for looking have less to do with how the show or site is performing and more about what topics and discussion are of interest to the people who visit this site and listen to the podcast. While I still end up choosing topics that represent my current activities and interests, it's interesting to know what people think is worth their attention.

Since there is a lot of secrecy surrounding the true metrics of how podcasts perform, most of the benchmarks I refer to are fairly generic and all are free to access. The gold standard to determine how a podcast is performing is how many downloads an episode has at the 30 day mark, and according to data commonly cited by platforms like Libsyn and Buzzsprout, this is where ALL podcast (regardless of genre or topics) fall based on that standard:

Podcast Performance by Percentile

Top 50%: ~30 downloads per episode in 30 days.

Explanation: This is the median—half of all podcasts achieve fewer than 30 downloads within 30 days.

Top 25%: ~100 downloads per episode in 30 days.

Explanation: Podcasts in this range are doing better than 75% of shows and likely have a niche audience with consistent engagement.

Top 10%: ~400-500 downloads per episode in 30 days.

Explanation: These podcasts are often well-established and attract a steady audience, making them appealing to niche advertisers or sponsors.

Top 5%: ~1,000 downloads per episode in 30 days.

Explanation: At this level, a podcast is highly successful in its niche, with a strong following and the potential for premium sponsorships or monetization.

Top 3%: ~3,000 downloads per episode in 30 days.

Explanation: These podcasts are industry leaders within their category and are often approaching mainstream popularity.

Top 1%: ~5,000+ downloads per episode in 30 days.

Explanation: These podcasts are typically professional productions with large budgets or significant marketing reach. They often attract substantial sponsorship deals and are highly recognized within the industry.

For the 2024 season, the Life of an Architect podcast averaged 4,847 downloads per episode at the 30 day mark ...which puts us just shy of hitting the Top 1% of all podcasts. Andrew and I are obviously proud of this accomplishment but the reality is that neither one of us can properly explain how this came to be. We work hard, we try to keep things sounding professional (at least in terms of audio quality) and we are constantly reevaluating what we do so that we don't a) become stagnant in what we do, and b) cover topics that are current and relevant to the people in this industry that do the exact same things and most likely have similar experiences and questions that we have.

The Blog jump to 28:33

One of the questions that I have, and I would be surprised if any one else had this question, is how many people are aware of the podcast but AREN'T aware of the blog site (and vice-versa). I know there is some percentage that falls into this category but I can't help but wonder how much value the written version of these podcast episodes bring to the mix. As an example, Andrew and I finished recording today's podcast episode 12 days ago, but then we recorded the sponsor spot just 5 days ago, but the entire thing was assembled and completed before the start of the weekend. For the record, it is Sunday morning at 11:10am CST and this is the second day in a row that I have spent a few hours making the graphics and writing this blog post. If there was no blog post, this episode would have been done ages ago. I often ask myself the question if these blog posts are worth the time and if more than a handful of people read them.

To that end, and maybe to help reinforce my point, the 27 blog posts that were prepared this year had 63,606 total words. To put that in perspective, last years blog post word count was 57,977 words, a difference of 5,629 words … apparently I am wordier this year. Here is a list of classic novels that I could have written (if I was actually one of the great novelists of our time) at least in word count:

"The Scarlet Letter" by Nathaniel Hawthorne – Approximately 63,000 words. A classic piece of American literature.

"Lord of the Flies" by William Golding – Approximately 60,000 words. A powerful allegory and essential reading in schools.

"Fight Club" by Chuck Palahniuk – Approximately 61,000 words. A modern cult classic.

"Flowers for Algernon" by Daniel Keyes – Approximately 60,000 words. A moving tale of intelligence and humanity.

"The Perks of Being a Wallflower" by Stephen Chbosky – Approximately 62,000 words. A deeply personal and resonant novel.

"The Catcher in the Rye" by J.D. Salinger – Approximately 61,000 words. An iconic coming-of-age novel.

"Ender's Game" by Orson Scott Card – Approximately 63,000 words. A classic in science fiction.

For fun, here are the two blog posts with the most extreme word counts  - from most to least:

http://lifeofanarchitect.com/ep-163-architectural-wanderlust/

Most Words: 4,542 - Ep 163: Architectural Wanderlust

http://lifeofanarchitect.com/ep-155-optimism/

Least Words: 1,543 - Ep 155: Optimism

Sadly, I don't think that word count equates to effort - some topics are just more difficult to write about than others.

The Graphics jump to 31:15

For the 2024 season, we ended up making 176 custom made graphics ... of which 54 (just over 30%) were created using AI generated graphics. Andrew and I both have some mixed feelings about using platforms like MidJourney to create supporting images for the site - most of the time it isn't anywhere near as quick and easy as you might think. I will confess that it is almost always fun since trying to beat the program to have it generate exactly the sort of image you want, at time, can be hilarious. The results are frequently ridiculous ... but I still have a deadline and an objective to accomplish and half the time I don't want to spend 2 hours trying to get an image of futuristic robots facing off in a pool while riding inflatable flamingoes. Fun - yes. Constructive? Most of the time it is not.

How Do We Chose Our Topics jump to 34:32

It's not as complicated as you might think (or maybe it should be a little more complicated than we make it ...) but mostly it’s based on the work we are currently undertaking. I take the workload I am currently tackling and try and make those efforts work for what I need for the podcast. Since the show is literally based on what it is like to be an architect (and work with one) sharing what we do on a day-to-day basis seems fundamental to our objectives.

What do we want to accomplish? More guesstimating on the show … but here’s the problem with guests …

Topics that we (Andrew and myself) care about.

Writing the blog post is considerably harder

Coordinating schedules (since we record off work hours)

Avoiding someone else’s agenda aka, one big advert

Andrew and I are going to make an effort to expand our prejudices on having guests on the show - we are committed to making this happen. - BUT - if you are some media person looking to place your client on the show to advance their accomplishments or talk about how amazing they are ... please don't contact me. I will still be trying to follow the 4 items listed just above.

Would You Rather / Hypothetical / What's The Rank ... jump to 46:23

The question is "Do we keep doing these questions?" ... Andrew and I would like some feedback, even though I will most likely reach out through Instagram to get a poll started, to help us determine if these end of show questions are worth doing. We can tell that the people who listen to this show fall into two distinct categories:

Those that listen to the entire episode, and

Those that exit the podcast once we get to the question portion.

I will admit that I like doing them, despite the challenges of coming up with the question for each episode. As an academic pursuit, I can see that through practice (and attempting to foil Andrew's attempt at finding the loophole in the question) that this is a good exercise in process-oriented thinking. Even if we do end up removing them from the show,

We’re going to explore some of the most common myths about architects and peel back the layers to reveal what this profession is really about.

It’s almost that gift-giving time of the year and if you have an architect in your life, you know that getting them a gift is possibly among the most agonizing experiences possible – but that’s why we’re here. Now in its 15th consecutive year, Life of an Architect is putting out the increasingly difficult yet still definitive gift guide for architects so that you don’t have to figure these things out completely by yourself. Welcome to Episode 164 Holiday Gift Guide for Architects 2024

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Disclosure: We only recommend products that we would use ourselves and all opinions expressed here are our own. This post may contain affiliate links that add no additional cost to you and a small commission may be earned. These commissions go towards paying the operational costs associated with 'Life of an Architect'. Please consider using them as a way of supporting the content on this site.

Like last year, Andrew and I had the same categories to select a gift. For some of the items selected for this year's list, they were extremely easy additions, whereas others were extremely difficult. I will also go on record – right at the beginning of the show – that I either already have these things (and therefore Bob verified and approved) or I want them … which means if you buy them, we are both at some risk. Am I going to tell you which one is which? Maybe

We are going to do the big reveal to one another and then talk about them – we are going to take turns, and Andrew is going to kick things off with:

Best Gift for your Bar jump to 7:10

Whiskey Peaks Rocks Glasses 

Andrew's Selection -$38

I recently wanted some new whiskey type glasses or low balls. So, I took a mountain biking trip a summer or two ago and when I started looking I came across these glasses and they resonated with me for that reason. These glasses are a typical low ball glass, but have a “special feature” in the bottom of the glass. There is a topographical 3D form of a mountain range in the bottom. There are several different mountain ranges to choose from depending on your preference. While these are not anything extremely fancy or extravagant, I don’t think they are a unique and cool item. As mentioned they do not work well with iced drinks or on the rocks, unless you have pebble ice. But you can also put any mixed or shaken drink in them that is already cold.

Higonokami VG10 Folding Knife

Bob's Selection - $80

Coming up with just a single gift selection for your bar was probably the most difficult choice I had to make on this list. I make my fair share of craft cocktails, and more times than not there are people watching me at work. I was gifted a handmade knife a few years ago by Joshua Hiett and it has been AMAZING ... but it is showing the effects of a lot of use (don't judge me) and I need to send it back to him for some repairs to the edge. As a result, I have been on the hunt for another cool knife that I can use in my bar and I stumbled onto this Higonokami knife. The issue with this particular knife is that you can't get it yet. If you follow the link provided, there are all sorts of other knives you can choose from if you aren't willing (or capable) of waiting. You can also join the waiting list like me.

Best Gift for your Desk jump to 12:02

Dual Monitor Stand

Bob's Selection - $125

Is a monitor stand an exciting gift? Yes - if it is someone who spends a lot of time at their desk and appreciates the freedom of moving their monitors wherever they want while enjoying the luxury of reclaiming the entirety of their work surface. I spent a fair amount of time looking for these (which I do not own but currently want ... badly) because of two very important details. First, I can attach very large monitors to this stand - 35", and secondly, I can move each monitor independently IN ALL DIRECTIONS! The stand I currently have does not allow me to move my monitors independently in the vertical axis. Do not underestimate the freedom that comes with this level of control.

Logitech Vertical Mouse

Andrew's Selection - $70

After years of “things” for your desk I decided to go with a more pragmatic gift for your desk. Something that you use every day and that you most definitely need. This mouse is just a rotation of the typical mouse. But I have used this one a few times and it is very comfortable. It is better for your wrist while still maintaining almost the same feeling. The buttons are still used by the same fingers and the operation is still normal. While it is a rather expensive mouse, I think it is worth the cost. I do not own this one yet, but it is in my cart. It will most likely be my gift to myself this year.

Best Gift for your Kitchen jump to 17:06

CAROTE Cookware Set

Andrew's Selection -$135

I needed to replace my cookware this year. I had been eye-balling this set for a while and finally purchased in the summer. This is an affordable set of non-stick cookware that works fantastically. I enjoy cooking with these pots and pans. I think the only drawback is that they cannot go from stovetop to oven as some of my cooking requires. But other than that, this set is awesome. It is free from all the bad non-stick chemicals and has a nice finish and look. It does come in a few other “granite-like” finishes.

Electric Mason Jar Vacuum Sealer

Bob's Selection - $24

Speaking of exciting gifts ... this is a cool gift that most people don't even realize they would use. I have this exact sealer and I like using it so much that I find that I am vacuum sealing stuff I don't need to! Since Ball jars are relatively inexpensive, anything that I would store in a ziplock bag has been going into a jar where I can now seal and reseal over and over and over again so I am not concerned about the length of time in which I am storing things. I just like having my stuff fresh ... as you should.

Best Gift Under $20 jump to 30:41

OXO Brew Twisting Tea Ball Infuser

Bob's Selection - $11

I drink a lot of tea - at least in terms of quantity. While I have enjoyed the occasional hot tea, over the last 18 months I have gotten to the point where I have tea every single day. At home, I have a kettle and a teapot and I brew a huge travel mug first thing. The problem started in the early afternoon when I am ready for a refill and I don't have all my gear - that's where this tea infuser wand comes into play. Simple, easy to use, easier to clean and I can manage to make my tea without and sort of challenges or fussiness.

Since I mentioned posting the link in the podcast episode, this is the tea that I use (here) and at less that $1.00 per ounce for excellent loose tea, this is a good deal and excellent for both seasoned and people new to drinking tea.

Hot Chili Oil Sauces

Andrew's Selection - $10+

I bought this originally due to a ramen recipe I found online. But now I use this sauce for a touch of added spice on many other dishes. But it is just a nice culinary addition. I have included two of them that I like and they are my go to chili oil. One I can get locally, the other I only get through amazon. Your luck may vary. If you are not a fan of spicy foods, these may not be for you. If you want spicier, they both have an “extra spicy” version that you can find that kicks up the heat a notch. I have tried those and while I like them, they are not my standard choice. Hot Crispy Oil + Fly by Jing

Best Tech Gift jump to 37:39

Toshiba Canvio 2TB External Hard Drive

Andrew's Selection -$70-80

Now I know this may be a bit more of an “old school” idea, but I have recently found a need to utilize this type of storage due to a few workings of my devices. Also this type of technology has gotten much less expensive in recent years. So I use this portable drive as a way to transport files that I work on constantly between my home and office. The main issue that predicated that is my need to constantly download and upload files from the cloud to work on them and then update them. If I accidently forgot to upload the file to the cloud while I was at work, then I could not work on it at home. This is mainly used for larger files that I cannot work on through the cloud without some seriously lag issues or just flat out unable to work. At 2TB I can have a large portion of my cloud drive on here, at least all the truly important files.

Hatch Restore 2 Sunrise Clock

Bob's Selection - $170

This exact alarm is what my junior-in-college daughter uses every day and she SWEARS by this thing. To put some perspective on it, she is a typical college kid (and we all know what that means) in terms of how her sleep scheduled goes (chaos) but she has a full course class load, has a position at her sorority, AND she has a full time job. What makes this even more bananas, is that she is a trainer for the University of Connecticut football team and she has to report to work around 5:00 am so getting up early despite going to be late is a regular occurrence. Since switching to this sunrise alarm clock (which slowly gets brighter and brighter and then eventually will start playing sounds) wakes you up peacefully and as a result, you don't feel like you were punched in the gut the moment your alarm klaxon goes off.

This clock will do more than wake you up in a beautifully peaceful manner, it can also help you go to sleep. You set everything up using your phone so there is a high level of control and specificity you can program into this clock and it comes Kate Borson approved.

Best Gift for a Young Architect jump to 44:08

Le Chateau Wine Decanter

Bob's Selection - $48

While this gift might seem odd for a young architect, hear me out. For my purposes, "young" is still mid-late 20s so an alcohol based gift is not out of line.

One of the most enjoyable activities is traveling on vacation – at least for most people, but it takes a special sort of individual who actually loves to plan the activities when it comes to traveling. I know I don’t love it, but I am also willing to admit that I have opinions on where to go and what to see. Today we are going to have a conversation where wanted interest and unwanted responsibility intersect. …  Welcome to EP 163: Architectural Wanderlust.

[Note: If you are reading this via email, click here to access the on-site audio player]

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Today Andrew and I are going to talk about traveling for architects and how certain technologies have emerged that have made the process of planning excursions and itineraries a joy. Gone is the laborious process of buying travel books, searching the various “activities” based websites, where you are hoping that the comment and review from Frank from when he visited Bilboa last September actually is in some alignment with your own perceptions (or even values … is Frank an Architect?)

The premise for today's post and conversation are simple ... what happens when you use Artificial Intelligence to plan a vacation for you? What does the problem solving process look like, what sort of questions should you ask, and finally, a look about the sort of returns you get in response.

Question #1 jump to 6:02

Prompt Entered:

You are an architect going on vacation with the goal of selecting a place that is rich in its architectural culture as well as the opportunities to visit and experience significant architectural projects and properties. Once we have completed this exercise, I will ask you to put together a daily itinerary of things to see and places to visit. We will start this exercise by having you recommend 10 potential destinations for me to visit, but I want you to ask me a series of questions to make sure that you have the information and guidance you need to make an appropriate recommendation.

The Response:

To recommend the perfect architectural destination for your vacation, I’ll need to ask you a few questions to better tailor the suggestions to your preferences:

Style of Architecture: Do you have a specific architectural style you're most interested in (e.g., modernism, classical, vernacular, sustainable design, etc.)?

Cultural Experience: Would you like to immerse yourself in a place with a deep historical architectural legacy, or do you prefer contemporary and cutting-edge architecture?

Travel Comfort: Are you comfortable with long-distance travel, or do you prefer something closer (considering travel time as part of the week)?

Interests Beyond Architecture: Would you like a mix of architectural exploration with other cultural experiences, such as museums, cuisine, or natural landscapes?

Activity Level: Do you prefer a more relaxed trip with guided tours and time to reflect on the buildings, or are you looking for an immersive, on-the-go experience?

Sustainability: Would you like to visit places known for sustainable architecture and environmentally conscious design, or is this not a priority for you?

The prompt above was a good starting place to begin this exercise. To better understand your holiday objectives, getting the program to engage with about what you hope to accomplish is a great place to start. You could get as specific as you want here, adding in all sorts of parameters, but for my process, I wanted to keep this fairly high level in order to potentially discover some place I should be visiting that I might not be considering.

Question #2 jump to 13:10

I asked ChatGPT to prepare a World map indicating the locations that were selected ... this was a completely failed experiment. This image is the result of 11 attempts.

Prompt Entered:

For each of these cities, can you rate how safe they are for tourists on a scale from 1-10 based on the US State department travel announcements?

The Response:

Barcelona, Spain

Safety Rating: 7/10

The advisory for Spain is at Level 2: Exercise Increased Caution due to terrorism and civil unrest​.

Rome, Italy

Safety Rating: 8/10

Italy has a Level 2 advisory, recommending caution due to potential risks from terrorism, but it is generally considered safe for tourists​.

Kyoto, Japan

Safety Rating: 10/10

Japan, including Kyoto, is at Level 1: Exercise Normal Precautions, making it one of the safest destinations on the list​.

Chicago, USA

Safety Rating: 6/10

While popular with tourists, Chicago does experience elevated crime in certain areas. It is important to stay in well-traveled areas​.

Berlin, Germany

Safety Rating: 9/10

Berlin is under Level 1: Exercise Normal Precautions. It is generally safe with occasional demonstrations, but tourists are usually unaffected​.

Paris, France

Safety Rating: 7/10

France has a Level 2 advisory due to the potential for terrorism and civil unrest, particularly in large urban areas like Paris​.

Copenhagen, Denmark

Safety Rating: 10/10

Denmark is considered very safe with a Level 1 advisory, making it a top choice for travelers looking for security​.

Vienna, Austria

Safety Rating: 10/10

Austria is under Level 1: Exercise Normal Precautions, and Vienna is known for being very safe for tourists​.

Lisbon, Portugal

Safety Rating: 9/10

Portugal is generally safe with a Level 1 advisory, although petty crime like pickpocketing can occur in tourist-heavy areas​.

Mexico City, Mexico

Safety Rating: 5/10

Mexico has a Level 2 advisory due to elevated crime in certain areas, though central areas of Mexico City are safer than other regions​.

While asking about the relative safety of the places you are potentially traveling might not be a priority for you, I was curious not only to see how the system would rank these cities, but the criteria used for this evaluation. In the end, I didn't get much value from this step other than generating a few raised eyebrow moments and the occasional "....... really?"

Question #3 jump to 2:30

Prompt Entered:

Compare and contrast the pro's and con's for traveling to each of these destinations and rank them on all previously evaluated criteria from worst to best.

The Response:

Mexico City, Mexico

Pros: Mexico City is home to a rich blend of pre-Colombian, colonial, and modern architecture, including iconic works by Luis Barragán and the stunning Soumaya Museum. Its vibrant culture, cuisine, and art scenes add immense value.

Cons: Mexico City suffers from a higher crime rate, and while central areas are generally safe, there are parts of the city tourists should avoid​.

Rank: The combination of safety concerns and the need for vigilance in certain areas brings it lower on the list.

Rating: 6/10

Chicago, USA

Pros: A birthplace of modern architecture, with famous skyscrapers, the Chicago Riverwalk, and the legacy of Frank Lloyd Wright. Culturally, it offers great museums and music scenes.

Cons: Like Mexico City, crime can be an issue in specific areas, though central tourist locations remain relatively safe. Weather can also be unpredictable, especially in winter​.

Rank: Amazing architecture but somewhat affected by safety concerns.

Rating: 6.5/10

Lisbon, Portugal

Pros: Lisbon offers a charming mix of Gothic, Baroque, and modern architecture, with highlights like the Belém Tower and MAAT Museum. The city’s hills, viewpoints, and rich history make it attractive to visitors.

Cons: Petty crimes like pickpocketing can be an issue in busy tourist spots​. The city can also be physically challenging to navigate due to its steep hills.

Rank: Rich in culture and architecture, but lower due to minor safety and logistical issues.

Rating: 7/10

Barcelona, Spain

Pros: Iconic works by Antoni Gaudí, such as the Sagrada Familia and Park Güell, make Barcelona an architectural gem. The blend of Gothic and modernist architecture is captivating, and the city has a vibrant cultural and culinary scene.

Cons: Barcelona faces challenges with petty crime, particularly pickpocketing, and can be crowded with tourists, which detracts from the experience​.

Rank: Spectacular architecture but ranked lower due to safety and crowd issues.

Rating: 7.5/10

Rome, Italy

Pros: Few cities in the world can rival Rome’s historical depth, with iconic landmarks such as the Colosseum, the Pantheon, and Vatican City. It offers an incredible blend of ancient and Renaissance architecture.

Cons: Rome can be overwhelming due to large crowds and the challenge of navigating its busy streets. Petty theft is also an issue in tourist areas​.

Rank: While Rome’s historical significance is unmatched, the challenges posed by crowds and tourist scams bring it down slightly.

Rating: 8/10

Berlin, Germany

Pros: A city steeped in history, Berlin offers a unique blend of neoclassical, brutalist, and contemporary architecture. Highlights include the Brandenburg Gate, Reichstag, and Bauhaus Archive. The city is also known for its vibrant arts and cultural scenes.

Cons: Berlin can feel a bit sprawling and less walkable compared to other European cities, though public transport is excellent​.

Rank: Historically rich and culturally vibrant, but slightly less accessible due to its size.

Rating: 8.5/10

Paris, France

Pros: Paris is an architectural paradise, offering centuries of landmarks such as the Eiffel Tower, Notre-Dame, and the Louvre. It also boasts modern architectural marvels like the Centre Pompidou.

Cons: Paris can be expensive, and it faces challenges with pickpockets and large tourist crowds​.

Rank: Paris’s unparalleled blend of historical and modern architecture makes it a top destination, but practical travel issues bring it down slightly.

Rating: 9/10

Copenhagen, Denmark

Pros: Known for modern, sustainable design, Copenhagen is a hub of contemporary architecture, featuring works by Bjarke Ingels and others. It’s also one of the most walkable and bike-friendly cities in the world, with a relaxed,

Some things are cool – even if you don’t know it yet. Andrew and I have prepared some stories today about some things you are probably familiar with but probably don’t actually know the whole story. We have each selected two things and we are going to share with you what we believe are some amazing stories …  Welcome to EP 162: Objects of Design

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Today we are going to share with you something we feel is meaningful to us and why, maybe, it should be meaningful to you. Rather than making this a list of things we like – and by extension – things we think you should like as well, we are going to dig a bit deeper and talk about the story behind each item we discuss today. In a sense, it’s that story that should make today’s podcast interesting … just that fact that WE think it’s interesting probably isn’t good enough, so we are stepping up our game.

Objects of Design - Bob #1 jump to 2:30

Evolution of Coca-Cola Bottles (image source)

The Coca-Cola bottle is one of the most recognizable designs in the world, and this story kicks off in 1915, at a time when Coca-Cola was exploding in popularity across the U.S. But they had a problem: competitors were copying their bottles and confusing consumers. They needed something unique, a design that wasn’t just about looking different, but one that could be identified by touch alone!

That’s when Coca-Cola issued a design challenge to glass manufacturers: come up with a bottle that would stand out, even in the dark or if it shattered on the ground. Enter Earl R. Dean from the Root Glass Company in Terre Haute, Indiana. His team turned to an unexpected source of inspiration—the cocoa pod. Sure, the sexy and curvaceous cocoa pod had nothing to do with the ingredients of Coca-Cola, but it had the perfect form and ridges that made for a unique, tactile experience. The result? The “contour bottle,” a masterpiece of industrial design. Its exaggerated curves and slim waist immediately set it apart from anything else on the market. Patented in 1915, by 1916 it became the Coca-Cola bottle—the one we all know today.

But the story doesn’t end with the creation of this iconic design. In fact, things really start getting interesting right around this point.

A Global Symbol and Wartime Necessity

As Coca-Cola became a part of everyday American life, it wasn’t long before it spread globally. And during World War II, Coca-Cola made a brilliant strategic move: they supported American troops by providing them with Coca-Cola wherever they were stationed. They even set up mobile bottling plants in war zones to make sure soldiers could get “a taste of home,” no matter how far from home they were. This wasn’t just about quenching thirst; Coca-Cola became a symbol of American culture and morale during one of the darkest periods in history.

By the end of the war, Coca-Cola had solidified its dominance, but with that success came new problems. Overseas, as Coca-Cola became a prized commodity, counterfeiters jumped at the chance to exploit its popularity. What’s even more fascinating (and scandalous) is just how involved the black market became in producing fake Coca-Cola. This is one of those lesser-known stories, but at the time, it had a major impact.

The Black Markets and Counterfeiting Rings

During WWII, many countries were hit with strict rationing and import restrictions, especially those under the control of the Axis powers (Germany, Italy, Japan). Western goods became scarce, and Coca-Cola was no exception. But where there’s scarcity, there’s demand—and the black market was all too happy to step in. In regions where American goods were banned or heavily restricted, underground factories started churning out fake Coca-Cola. These counterfeit operations were selling everything from watered-down soda to dangerous concoctions disguised as Coca-Cola, charging sky-high prices on the black market.

Here’s the kicker: Coca-Cola’s iconic bottle design was both a blessing and a curse. On one hand, it made the real thing easy to spot in a sea of knockoffs. On the other, counterfeiters began mimicking the contour shape, producing knockoffs that were hard to distinguish from the original. And the most outrageous part? In occupied Europe, some of these black-market operations were run by organized crime syndicates who used Coca-Cola as a front for smuggling contraband—everything from weapons to drugs to secret messages. Some fake Coca-Cola bottles were even used for espionage purposes. Imagine that: a simple soda bottle becoming an unlikely tool of wartime espionage. And yes, in some cases, even Nazi soldiers unwittingly drank the counterfeit product.

These black-market rings didn’t disappear after the war either. As Coca-Cola expanded into developing countries during the Cold War, counterfeiting ramped up in places where the genuine article was difficult to get. Coca-Cola had to pour resources into protecting its brand, suing counterfeit operations, and going after rogue bottlers in regions where they expanded.

Post-War Coca-Cola and Its Cultural Legacy

Despite all the drama with counterfeiting and the black market, Coca-Cola came out of the war stronger than ever. The bottle that had once been the target of so much imitation was now a global icon. In the years following the war, the Coca-Cola bottle wasn’t just a container for soda—it was a symbol of freedom, democracy, and American culture. It made appearances in ads, films, and pop art. Andy Warhol immortalized it in his paintings, turning the simple bottle into a symbol of American consumerism in the 20th century.

Today, the Coca-Cola bottle is more than just packaging; it’s a design object with a rich, layered history. It’s where branding, industrial design, and global politics intersect. From black-market espionage to pop-culture stardom, it’s a reminder of how even the most mundane objects can take on extraordinary significance given the right circumstances. Whether in times of war or peace, the Coca-Cola bottle remains one of the world’s most recognizable and celebrated design icons.

Supporting Links and References:

Coca-Cola's historical significance and the bottle’s origin story: https://www.coca-colacompany.com/about-us/history/the-history-of-the-coca-cola-contour-bottle

Coca-Cola sold in glass bottles for the First Time: https://www.history.com/this-day-in-history/coca-cola-sold-in-glass-bottles-for-first-time

Objects of Design - Andrew#1 jump to 21:38

Josef Pallweber Patent Images 1890 flip clock (image source)

My first Object is one that I had when I was probably in my early teens. It was a very popular item in the 1970s and 80s. The object is typically called a “Flip Clock” but also is known as a “flap clock” or even a “split-flap clock.” I have always thought this was a very interesting and simply cool design for time keeping. The version that I owned was probably a Sony or Panasonic brand that also included an AM/FM radio. Originally I supposed that this was a creation of the 1950s or 60s. But I would soon learn how incorrect I was. The first version of this flip style clock was created 1890 in Germany by Austrian watchmaker Josef Pallweber. He created a jump-hour mechanism that was the early predecessor to the flip clock technology. It was used in pocket watches and also produced in aa large clock format by Lenzkirch Clock Factory between 1893-1894.

Cifra 3 Model Red Flip Clock 1956 (image source)

The next phase of development was not much later as a mechanism was patented in 1903 by Friedrich W Heine. This mechanism did use a flap system to display time and worked with a rotating mechanism. This could be considered the first version of the modern style flip clock. Then in 1920 an American Eugene Fitch patents the rotating drum clock. The style of clock then goes along for several decades before there is resurgence in 1956 when Italian architect and designer created the Cifra 3 flip clock. This new sleek modern version introduced the split flap version where each of the numbers are all separate and split into separate flipping mechanisms. This clock design was thrust into mainstream culture due to its “big brother” the Cifra 5 that was used in airports, train stations, and schools and other methods of publicly displayed time pieces. The Cifra 3 is the version that most people probably imagine when thinking of a flip clock. The Cifra 3 is considered the height of flip clocks and has an original versions kept in the permanent collections of Museum of Modern Art in New York and the Design Museum of London.

GE Flip Clock Model 7-4305 1980s (image source)

This design hid the flipping drum mechanism within a cylinder type enclosure that would eventually be replaced by a “box” style enclosure as the clock worked into mass production. In the 1960s, 70s, and 80s many manufacturers produced flip clock for public consumption. Companies like Panasonic, Sony, GE, and Toshiba began producing affordable pieces for consumers. Again many of these began to incorporate elements like radios, glowing numbers, or lighted versions. Eventually in the mid-1980s the flip clock begins to be replaced with true digital LED and LCD digital clocks. I am sure we all can remember those red light numerical clocks as well. In 2018, the Cifra 3 clock began production again and can be purchased for a pretty penny of $600. Feel free to send me one as a holiday gift. I think this style of time-keeping device is definitely a unique Object of Design and I was astounded by its early origins and extensive history. So much so, that as mentioned in the podcast, there are now “digital” versions of this device on your phone or tablet. Iconic.

Objects of Design - Bob #2 jump to 31:18

Buckminster Fuller (image source)

Fuller, an architect and inventor, always aimed to rethink how we live, and in 1945, he introduced the Dymaxion House.

It happens on every project – sometimes you know exactly what it is because you had a hand in bring it into existence. Other times, you might be visiting the work of another architect, or really, you could just be going to a nice restaurant … but if you look around, you can always find that something special that seemed to get just a little more attention than the rest of the project. Andrew and I are going to dive into this idea a bit today Welcome to EP 161: Wow Moments

[Note: If you are reading this via email, click here to access the on-site audio player]

[hoops name="top1"]

Andrew and I are going to be talking about wow moments in architecture. This is really about their existence and if possible, I wanted to use this conversation to like to look for some sort of pattern in my own thinking – whether or not it obviously presents itself. The reason today’s topic came into existence is that I taught a professional practice class last week and the professor asked me to discuss a pretty wide range of topics as part of that presentation. Most of the discussed topics were not really related to one another so I was challenged a little more than normal to develop a way to move from one topic to the next in a way that made sense … at least, that was the goal so I settled in on trying to make it interesting and to hold the attention of these college seniors for a 2-hour lecture.

It's All in the Details jump to 5:55

I’ve always thought the front door of a house holds a lot of potential as a "wow moment." In fact, the first time I wrote about it was back in October 2010, not long after I started my website, and that article in particular was about a spec house I designed for a developer - which means that there was no specific client in mind. When you're designing for a client who's really the developer and not the end user—it changes how you think. There’s a certain amount of "lowest common denominator" thinking involved, not in terms of cheap materials, but in the sense that the house needs to appeal to a broad audience. You don’t want one person to love it; you want a lot of people to like it. In the example above, we concluded that this special moment should be one of the very first architectural items you encounter ... the front door. To make things even more interesting, we added an exterior  skylight just above the entry door.

I believe that the front door "experience" can do a lot of heavy lifting. It's the porch, the steps leading up to it, the space around it—it all plays a role. I wanted to do something different for this spec house, so we decided to add a skylight right at the entrance. You’re still outside, but you get this incredible natural light coming through, which makes the whole area feel open and welcoming. And on top of that, we built in a strip light fixture so even at night, or on a cloudy day, the space feels bright and inviting—not like you’re walking into a dark tunnel. It turned out great. The detail worked exactly how I envisioned it. I think that’s when it really hit me—if you’re going to create a wow moment in a house, make it something most people are going to experience. Almost everyone who visits is going to come through the front door. That’s why I focus on that space. You’re not going to get the same reaction by putting all your effort into something like the kitchen pulls, which not everyone will even notice.

So apparently, as a result of the first front door experience, a seed was planted in my brain that this entry experience should be something special on all projects. The drawing above was a custom steel and wood infill door that really read more as a wall than the front door. Measuring in at 5'-7 1/2" wide, this was not a normal door and we wanted everyone who it to experience just how special this moment was - from the act of walking up to it, as well as the manner in which is swung open, revealing the passageway into the main social area of the house.

Steel Trellis jump to 15:26

This steel trellis is included since it is really an extension of the large front door I just highlighted. The addition of this element - which was on the front of the house and is actually the first architectural element you experience (you can see more in this really awesome post on "floating sidewalk pads").

There is actually an entire post dedicated to the design, fabrication, and installation of this trellis (Modern Steel Trellis) and I go into a lot more detail on why AND how this moment was created. The version Andrew and I discuss on the podcast today had to do with complimenting the front door experience with an entire entry sequence - focusing as much on the journey to the front door and the door itself.

WORK214 Stairs jump to 18:01

The "wow" moment we created in a project WORK 214, was centered around solving an interesting design challenge. It was a generic 1970s office building, elevated with parking underneath, and my clients wanted to turn it into a co-working space. One of the moments we focused on was the entry experience - which at this point should be obvious that I value this first walk-up moment to a project. We had to deal with code requirements like fire-rated stairwells, but we didn’t want the experience of entering the building to feel sterile or utilitarian. Instead, we aimed to create a moment experience by designing a monumental three-story stairway as the focal point of the space. Since we couldn’t add any square footage due to code and zoning restrictions, we had to place an open-air stair on the front of the building—something that could have looked unremarkable but instead became a design highlight.

We went all out with the design: a cast-in-place concrete wall with cool windows, metal stairs, and a plastic wall illuminated with changing colors for different occasions. We had to be mindful of the budget, so we focused all of our extra resources on making this entryway impactful. Even though it meant cutting back on some other ideas, we decided to invest in this moment because it was what would truly define the building’s character. I often find that monumental stairs become the natural focus of "wow" moments in commercial projects, and this was no exception. Despite the challenges, we created something that made a lasting impression.

The Entry Experience - Hill Häus jump to 25:58

One of the projects I worked on that had an amazing moment was a residential project that I still think about, especially since it didn’t come to fruition. This project feel into a handful of residential projects that I have come to call "the Covid Era Project". Unfortunately, due to the pandemic and all the associated challenges with contractor availability, supply-chain issues, not to mention that everybody was trying to improve their house and contractors decided to charge exorbitant rates for their services ... the project died after we completed construction drawings. What should have been a relatively affordable house ended up ballooning in price because contractors were scarce, and materials were insanely expensive—plywood alone was going for about $79 a sheet at the time. We had trouble finding anyone willing to take on the job, and the few contractors who did were quoting astronomical prices, some as high as $680 per square foot.

The house was on a hilly site, and we designed a unique entry experience that I thought would create a special moment for the owners and their arriving guests. As you approached the house, you’d walk across the entire front, with the site sloping down, so by the time you reached the front door, you were about five feet above ground. We thought, why not put a fish pond under the walkway, spanning across the front of the house? The idea was to have the sidewalk stretch over the pond, and as you approached the living room, the pond would even extend underneath the room itself, giving you the feeling of floating above the water when you stood at the window. The husband loved it, calling it his "James Bond villain" entry, which really captured the cool, sophisticated vibe we were going for.

The whole thing was relatively affordable in the context of the overall budget—around $60-75k—and I thought it was a perfect investment to create a memorable, standout feature in an otherwise simple, efficient design. But despite all the planning and excitement, the project didn’t happen the way we envisioned, and it still hurts me that this amazing idea never saw the light of day. I often think that a house doesn’t need to be "wow" all over; instead, it’s about having one or two standout moments that really make an impact. This entryway could have been one of those moments, and it’s one of the missed opportunities I regret the most.

Oculus jump to 31:36

There was a phase in my career where I became really fascinated with the idea of incorporating an oculus into a project, and I found myself incorporating them into a two different projects in a small window of time. The first time I did this was for the KHouse, (this project was featured heavily here on the website - look here for all sorts of information regarding this project) a project that wasn’t actually mine—it was my partner’s. He didn’t draw, so I, along with another colleague, took on the responsibility of detailing everything. The house itself was very modern, and we had to be meticulous with the brick sizing to avoid any cuts around windows. It was one of those projects where everything had to align perfectly, and the client, who was a really interesting guy, wanted the design to be functional and thoughtful.

But one of the design challenges we faced was the large covered patio between the main house and the back structure. It was about 25 feet deep and 20 feet wide, and being so far under the roof, it was going to be dark and uninviting. So, I decided to just go ahead and draw in an oculus. I hadn’t asked anyone for permission; it just seemed like the right move.