Thank you to Mithun for cosponsoring ARCADE's website and e-newsletter.
Tomorrow 28 Mar
by AIGA Seattle
6:30 – 8:30pm
Come shake off the winter blues and welcome the first week of spring with your local AIGA Seattle community
This Wednesday 29 Mar
by Civilization, Show + Tell
6:30 – 8:30pm
Sign up to discuss your project and get on-the-spot feedback from your peers
This Wednesday 29 Mar
by International Interior Design Association Northern Pacific Chapter
7 – 9:30am
Breakfast presentation and networking with insights of thought leaders from within and beyond the interior design industry
This Thursday 30 Mar
by Blink UX
5:30 – 8pm
at Blink UX
Presentations on the UX of chatbots and VR along with artist's reception. VR devices available for guests to demo.
Saturday 1 Apr
by University of Washington Department of Architecture
5:30 – 10pm
at 415 Westlake
This bi-annual event recognizes the significant contribution made by alumni of UW Department of Architecture program
Thursday 6 Apr
by SMPS Seattle
4:30 – 7:30pm
Trivia Night is an exciting opportunity to quiz your knowledge while networking and meeting new business professionals in the area
Wednesday 12 Apr
by Peter Miller Books
4 – 8pm
Book signing at the NEW shop location for "Five Ways to Cook Asparagus (and Other Recipes)"
Wednesday 12 Apr
by Seattle Art Museum, Northwest African American Museum
7 – 9pm
Part of a recurring series pairing Seattle community members in conversations to tackle themes inspired by an exhibition
Friday 14 Apr
by Northwest Film Forum, ARCADE
7:30 – 9:30pm
Documentary film captures the intense battle between activist Jane Jacobs and the Trumpian “master builder” of New York, Robert Moses
Tuesday 18 Apr
by Seattle Architecture Foundation
6:30 – 8pm
Lecture on PNW materials then and now
Thursday 20 Apr
5:30 – 7:30pm
at Harvard Exit
Join us as we celebrate the release of our spring 2017 issue, ARCADE 35.1, Generation Anthropocene
Friday 21 Apr –
Saturday 29 Apr
by Design Week Portland
at various locations in Portland
A week-long, city-wide series of programs exploring the process, craft, and practice of design across all disciplines
Thursday 27 Apr
by IIDA Northern Pacific Chapter
10am – 6:30pm
Product expo promoting new products, education, and networking for the commercial interiors industry
Friday 12 May
Summit will focus on the unique challenges and accomplishments of women in design by learning from other fields
Through Sunday 12 Nov
by Wing Luke Museum
Tuesday – Sunday, 10am – 5pm
First Thursday of the month, 10am – 8pm
Through oral histories, artwork and poetry, explore the ways in which Indigenous and Pacific communities are looking at oceanic climate change
Through Sunday 2 Apr
by Henry Art Gallery
Wed, Fri, Sat, Sun: 11am – 4pm
Thurs: 11am – 9pm
Mon, Tues: Closed
First comprehensive survey of the photographic work by renowned American artist Chuck Close
Through Sunday 10 Sep
Daily, 10am – 5pm
First Thursday of the month (free), 10am – 8pm
Exhibit of how Seattleites eat in their city and how urban palates have developed over the years
Through Wednesday 24 May
by STG Presents
Opening Reception, 19th Jan, 7 – 10pm
Exhibit aims to elevate the presence and availability of work created by Indigenous artists
Through Sunday 23 Apr
by Seattle Art Museum (SAM)
Wednesday, Friday – Sunday, 10am – 5pm
Thursday, 10am – 9pm
Monday and Tuesday closed
Exhibit brings together all 60 panels of Lawrence’s masterwork in commemoration of the 100th anniversary of the artist’s birth
Through Sunday 28 May
by Northwest African American Museum (NAAM)
Wednesday – Sunday 11am-5pm
Open late on Thursday until 7pm
Closed Monday and Tuesday
Exhibit articulates the layered narratives of the Green family who settled in the Central District during the Great Migration
Through Thursday 6 Apr
by Milton Glaser, Mirko Ilic and Civilization
Opening Reception: February 2, 5:30 – 9pm
Gallery Hours: Monday – Saturday, 11am – 6pm
Display of graphic works of social and political protest spanning the last 50 years addressing war, racism, human rights, poverty and more
Through Sunday 23 Apr
Open daily 10am – 5pm
First comprehensive retrospective of Goldberg’s 72-year career
Through Thursday 30 Mar
by AIGA Seattle
6 – 8:30pm on these Thursdays:
at Various locations in Seattle
A 5-part series where local designers will share their thoughts on what it means to be bold and vulnerable leaders
Wyatt O’Day and Adam Pazan
Since the Monterey Pop Festival in 1967, thousands of people all over the world have been journeying to music festivals every year. In part influenced by electronic music hitting the mainstage and the commercialization of underground rave culture at the turn of the millennium, festivals have become one of the fastest growing getaways for young adults. And while some large festivals are located in cities, others take place in sparsely populated, rural areas. The figure-ground diagrams shown here represent four such festivals, largely built overnight, where attendees leave their permanent dwellings to take part in these impermanent communities.
To meet the sudden influx of thousands of temporary inhabitants, these rurally located festivals are equipped with bathrooms, showers, food vendors, medical aids, security, bars, Wi-Fi, and sometimes even airports — infrastructure found in modern day cities. And like our cities, each festival site is designed and affected by specific constraints. Features such as polo fields, farm irrigation, sun patterns, and forest groves shape their patterns and typologies. Even without knowing it, each festivalgoer becomes part of a larger, densified, urban community. The way these communities are designed not only affects the experience of each inhabitant, but also the way they interact with one another.
People attend these festivals for a variety of reasons — most importantly music, art, entertainment, and self-expression —but also for a sense of community, escape, and pleasure. Is there something these festivals provide that our cities lack? What can designers learn from these impermanent cities of music?
Sasquatch! Music Festival
25,000 attendees over four days
Sasquatch is situated along the picturesque Columbia River. Located on farmland, the “bull’s-eye” shaped camping area follows a pattern created by the center pivot irrigation system that waters the land year round.
Black Rock City, Nevada
70,000 attendees over nine days
Burning Man takes place in Nevada’s Black Rock Desert. When populated, “Black Rock City” becomes Nevada’s fifth largest city. Organized around solar movement, the site’s “streets” are named after times of day (2 a.m. to 10 p.m.). Unlike other festivals, Burning Man’s music stages are created by attendees and dispersed around camping sites rather than distinct music zones.
Happy Valley, Oregon
3,500 attendees over three days
Pickathon is located 40 minutes outside of Portland at Pendarvis Farm, and Pickathoners camp under large tree canopies on a rolling hillside. Some music stages are inside the forest canopy, but most are on open farmland.
99,000 attendees over three days
A fast growing festival, Coachella takes place in the California desert at the pristine Empire Polo Club. Camping areas take on the fields’ large, rectangular shapes, while tents and cars occupy roads that filter into a street leading to the entrance.
Tuesday 14th Mar 2017
Put on by ARCADE
Update: This event is now sold out.
Join ARCADE for an interactive visual lecture on the work of Edward Burtynsky, whose riveting photographs document human impacts on the natural landscape. Erin Langner, editor of our December issue feature "Undeniable: Edward Burtynsky's Photographs of a Changing World" discusses Burtynsky's imagery from an artistic perspective, and ecology professor Josh Lawler explores his work through a scientific lens with an emphasis on climate change. Together, these complimentary viewpoints form a holistic vision of our world at a unique period in history in which human activity is the dominant influence on climate and the environment.
Erin Langner writes arts criticism and creative nonfiction. She has also worked in nonprofit arts education at organizations including the Simpson Center for the Humanities, Seattle Arts & Lectures and the Seattle Art Museum.
Josh Lawler is a Denman Professor of Sustainable Resource Sciences and Co-Director of the Center for Creative Conservation at the University of Washington. His research primarily focuses on the impacts of large scale human forces like climate change and land-use change on plants and animals. He was a lead author of the most recent National Climate Assessment and a contributing author to the most recent Intergovernmental Panel on Climate Change Assessment Report.
Save the date! ARCADE's spring 2017 issue launch party + community celebration is 4/20, 5:30-8pm at Harvard Exit
In 2017, ARCADE is celebrating its 35th anniversary. Founded in 1981 by a group of recent architecture-school graduates, ARCADE now includes a staff of three, a dedicated board of trustees, a cadre of generous and enthusiastic committee members and volunteers, and many talented creative contributors.
A fun fact about ARCADE (why it appears in ALL CAPS) is that the name is an acronym:
Design in the
Over the last 34 years ARCADE’s programming has expanded well beyond architecture to comprise ideas from all allied design fields, art, culture, and the environments we live in. Aiming to strengthen connections between various creative groups and design disciplines, we invite all to participate and collectively add to the greater whole.
For the design of volume 35, we are pleased to announce our design partnership with Seattle’s Graphiti Associates.
ARCADE publishes three times a year in the spring, fall, and winter. Our columns cover a range of design-minded topics, and each issue includes a themed feature. Among its 2017 editorial offerings ARCADE will examine climate change from the perspective of today’s youth, and the city of Auckland, New Zealand, as a case study for design-led city building.
Issue 35.1 / April 2017
Feature Editor: Charles Tonderai Mudede
In 2012, Rex Tillerson, the former CEO of ExxonMobil and current US Secretary of State, admitted climate change is real but not really a problem because we humans can easily adapt to changing environments. He, of course, will not be around to do any of this adapting—that work will be left to future generations. This ARCADE feature is dedicated to today's youth, many of whom, in coming decades, will be forced to deal with a radically different planet. These pages will present words and images from those who have to make sense of the first human-altered climate in the long history of life on Earth.
Issue 35.2 / September 2017
Auckland - A City to Love - Visions of a Public Realm
Feature Editors: 2015 -2016 University of Washington Runstad Fellows (Ben Broesamle, Joe David, Genevieve Hale-Case, Amy Hartman, Giovanni Migliaccio, Rick Mohler, and Barbara Swift)
The people of Auckland, New Zealand, are brilliantly grappling with core issues we all share. This is a story to learn from with powerful optimistic results achieved through a holistic, visionary approach to city building and resiliency. The 2015-16 Runstad Center Fellows spent a year investigating Auckland as a case study for place- and design-led city building. Auckland has nested together vision, financing, and love of place, economics, culture, history and vibrant city living into one multi-pronged strategy. In this ARCADE feature, the fellows will share their findings.
Issue 35.3 / December 2017, Feature TBD
For our 35th anniversary, ARCADE will host several events—from lectures to salons to our highly-anticipated magazine launch parties—to bring our community together to connect face-to-face through engaging, inspiring programming.
February 26, Partner event: Town Hall Past and Future
March 14, Undeniable: An Art and Science Lecture on Edward Burtynsky’s Photographs with Erin Langner and Josh Lawler
April 20, Issue 35.1 Launch Party + Community Celebration
May, Salon/lecture on issue 35.1 topic
Summer, 35 Years of ARCADE Exhibit + BBQ at Peter Miller Books
September 7, Issue 35.2 Launch Party + Community Celebration
October, Salon/lecture on issue 35.2 topic
December 7, Issue 35.3 Launch Party, Community Celebration + Holiday Auction
January 2018, Salon/lecture on issue 35.3 topic
February 2018, ARCADE Awards
Thank you for supporting ARCADE for 34 years. We look forward to celebrating our 35th anniversary with you this year!
Erin Kendig, Managing Editor
Jessica Quijada, Publishing & Marketing Coordinator
Kelly Rodriguez, Executive Director, Editor
Board of Trustees
Jason Bergevin, President
Bill Sleeth, Vice President
George Lampe, Treasurer
Ray Calabro, Acting Secretary
Drew Giblin, Ex-Officio
Thank you to Andrew Buchanan/Subtle Light Photography for co-sponsoring ARCADE's website and e-newsletter.
For each new volume of ARCADE, we work with a different graphic designer. We do this to keep the design of the magazine fresh while highlighting the breadth of design approaches, styles, and perspectives among our talented design community.
Volume 34 of ARCADE—issues 34.1/spring, 34.2/fall, and 34.3/winter—was designed by Seattle-based Lucia|Marquand, whose practice has specialized in fine-art book design for over 30 years, and their sophisticated aesthetic sensibilities are present throughout the volume.
Each designer brings a unique perspective to their volume of ARCADE. Here, Ryan Polich, design director at Lucia|Marquand, shares a behind-the-scenes look at the process and vision that shaped volume 34:
"Our design approach for ARCADE volume 34 centered around a controlled focus on typography, use of the grid, and visual consistency throughout the three issues. We often design books in series at Lucia|Marquand, and it's critical that there's a sense of continuity throughout; this attitude drove much of our decision-making during the initial design stages.
"ARCADE is generally printed in two colors: process black and a series of Pantone colors chosen by the designer. When we established the volume’s color palette, we had loose notions of the feature themes for each issue, which helped guide our decisions; we also tried to choose colors that hadn't yet appeared in ARCADE. Our palette became a series of bright off-tones—the aim being to introduce as much color complexity as a two-color design would permit.
"ARCADE’s editorial content is broken into two distinct sections: a themed feature unique to each issue and regular columns (“the wrap”). The columns appear in the front and back of the magazine, “wrapping” around a long feature in the center.
"We began by focusing on the wrap. Because this portion of the magazine is present in every issue and comprises articles that a familiar reader might expect, clarity and coherence were our goals. Typefaces were chosen for readability and efficient use of space. We used Meta Serif, a practical and slightly narrow serif face, for body text and Slate, a round geometric sans, for display type and secondary typesetting.
"We built the grid for flexibility, accommodating a variety of imagery but preserving a familiar layout. ARCADE’s content varies greatly, and it was crucial to us that readers be able to open the magazine anywhere and immediately get their bearings. Headers, titles, footers, and folios were assigned strict locations.
"While predictability and consistency dominate the design of the wrap, the three feature sections are more variable. The design treatment for the issue 34.1 feature, Visiting the Past, Designing the Future: Reflections on Influence derived from the wrap but employed a broader use of color and drew attention to text and images as elements locked in a grid—the goal being to reveal the influence of the content on the design itself, and vice versa. The cover neatly ties the concept of the entire design together by showcasing an illustration from an article within titled “Form Follows Function.”
"The issue 34.2 feature, Architectures of Migration: A Survey of Displacements, Routes, and Arrivals, presented a prescient and political topic calling for a bold design, reflected in the aggressive use of bright yellow and the striking, sharp-featured typeface Fazeta. The content fell into three sections tracing stages of human migrations—“Displacement,” “En route,” and “Arrival.” The design is intended to evoke a sense of disorientation and movement. A shifting motif of topographic lines moves across the cover and the borders of the feature section as a connection to the many ties to geography in the content.
"The issue 34.3 feature, Undeniable: Edward Burtynsky’s Photographs of a Changing World, presented a welcome design challenge: the section would include a series of full-color photographs by the artist with an accompanying essay.
"Our endeavor became to smoothly nestle a gallery of full-color works into an existing two-color design. Serendipitously, the fiery red color chosen for the issue months before underscored the focal photograph of the feature essay, which we also used for the cover—a neon red river of chemical tailings from a nickel mine. At the brilliant suggestion of ARCADE staff, the cover was stripped of all typography save for the masthead—a bold, if bleak, statement. The feature’s strong display typography (set in Tungsten) conveys the scale and inevitability of the content, which centered on climate change and human damage to the environment."
Thank you to Lucia|Marquand for your hard work on volume 34!
With our spring 2017 issue ARCADE launches volume 35, celebrating our 35th anniversary! We are excited to announce our design partnership with Seattle’s Graphiti Associates, a boutique full-service agency that helps brands tell their stories.
Subscribe to ARCADE today to receive our magazine in print. You can start your subscription with issue 34.3, released in December, or our April issue, which kicks off volume 35. ARCADE is made possible by the generous support of our enthusiastic, design-minded community. If you like what you see and read, and aren't already supporting ARCADE, please consider joining us as a subscriber / donor.
Giving and receiving critique is vital to any creative design practice, but soliciting and accepting feedback is easier said than done. In “How to Survive Critique: Part 1 + Part 2” I made several suggestions for navigating the minefield of design critique. Of course, no academic guide would be complete without homework—in this case, a reading list. The following four books examine the psychology behind critique experiences and offer helpful advice for both what to do (and what not to do) in order to maximize learning.
By Donald A. Schön
Donald Schön was one of the first scholars in education to examine the hidden dimensions of a design critique. In several of his books, he describes a desk critique between an architecture professor (Quist) and a student (Petra). In their interaction, Quist draws upon his previous experience and larger repertoire of design patterns to show Petra how her project might be framed and reframed in order to develop a more satisfactory design solution. Schön’s analysis of this critique is considered groundbreaking because he recognized and articulated, perhaps for the first time, the fluid nature of the design process as “reflection in action”—a cycle of doing and thinking where each activity feeds the other.
Schön’s description is also notable for its clear description of a classic apprentice-master scenario, in which Petra (the student) is tacitly expected to absorb and accept the suggestions of Quist (the tutor). Her role is to first observe the master’s performance, then to adapt and develop his concept, making it her own. This top-down model for instruction stands in contrast to more contemporary, collaborative methods for critique and feedback described by others below.
2) Liz Lerman's Critical Response Process: A Method for Getting Useful Feedback on Anything You Make, from Dance to Dessert
By Liz Lerman and John Borstel
Liz Lerman is a MacArthur award-winning choreographer and founder of the Liz Lerman Dance Exchange. In Lerman’s four-stage “critical response process” the artist is responsible for formulating questions about his or her own work—questions that will generate feedback to improve. Responders are generally restricted to answering the artist’s questions; they may offer unsolicited opinions only if they first ask for permission. Lerman suggests the following script: “I have an opinion about ______, would you like to hear it?” (The artist has the option to say no.)
However, responders are allowed to ask neutral questions about the work. Neutral questions do not presuppose or imply criticism. For example, “What kind of texture were you going for” is considered neutral, but “Why is this cake so dry?” is considered critical. Lerman’s method focuses on creating a safe place for artists to solicit and receive critical feedback.
By Douglas Stone and Sheila Heen
Methods for accepting criticism are examined in even greater depth in this best-selling book by Douglas Stone and Sheila Heen, two lecturers at Harvard Law School. Their book is an entertaining self-help guide to becoming a more effective recipient of feedback. Using examples and research from the fields of psychology and education, Stone and Heen use plain language and gently humorous case studies to explain why getting feedback can be painful—and to provide methods for becoming less defensive and more self-aware. They also offer specific suggestions for how to give feedback that will be accepted by others.
Edited by David Boud and Elizabeth Molloy
Boud and Molloy are Australian scholars in the field of education, and their edited compilation of 13 research papers thoroughly examines the problems of giving and receiving feedback from a research-orientated perspective. The field of design is not covered specifically, but chapters on the “impact of emotions on feedback” and the “role of peers in feedback processes” have obvious relevance to design critiques. Any university or college-level faculty member with teaching responsibilities would be well-served by reading this book. Best practices for facilitating learning from feedback are clearly presented and made accessible to teachers from all fields of study.
This last October, I was talking with one of my wife’s colleagues at the Department of Bioethics and Humanities at the University of Washington. I was describing how in my architecture practice, for the last 10 years, I’ve worked in dialogue with biologists and scientists to apply lessons from nature to buildings and communities. I was discussing a current project I’ve been working on: designing an orphanage, clinic, and administrative center in Haiti. The center will be an island of resilience in Port-au-Prince, providing more energy and water than it uses, while serving as a place of refuge during crisis. I paused for a moment, and my wife’s colleague said, “So what you are doing is modeling the future.”
We know global warming is happening faster than our ability to react. Nature has areas of climate refugia: locations where biodiversity can retreat, persist, and possibly even thrive under changing climate conditions, and projects such as the Yale Data Basin are trying to identify and preserve them. At the same time, we humans will also need to create our own refuges. After all, cities are human-made ecosystems — complex, rooted, yet changing. Everything we do should integrate thinking deeply about modeling the future for a rapidly changing world.
The design for the new building for Fondation Enfant Jesus, which lost an orphanage in the 2010 earthquake in Haiti, was initiated by the US Green Building Council. I had been leading the pro bono design work for the project at HOK and am now doing so at my new firm. The William Jefferson Clinton Children’s Center is finally under construction, wholly funded through donations.
Our first priority was to provide a safe, nurturing place, as the youngest and most vulnerable infants begin life there. But we also wanted to design a model that gives hope.
LOOKING TO THE FUTURE AND THE PAST
When we began designing, earthquake resiliency was foremost in our minds, followed by creating a safe haven during other disasters, such as hurricanes. It raised the question: How do we do this simply, durably?
We used an approach that prioritizes the principles of passive design and pushes them into a new context informed by nature, leading to innovations. In the past I’ve worked with Biomimicry 3.8 (cofounded by Janine Benyus), and the frequent goal of our collaborations was to understand complex systems and translate them to human-made problems.
In addition, we looked for patterns in the country’s landscape and culture that could inform us. For instance, ecologically and culturally, trees are highly valued within Haitian culture. The kapok tree is revered, representing the intersection of the horizontal (the physical) and the vertical (the spiritual). Also, the historic wooden “gingerbread houses” in Haiti fared better in the 2010 earthquake than buildings made from concrete. Unfortunately, Haiti has been heavily deforested, and importing wood for building is not generally feasible. I thought trees — and thus wood — somehow needed to be part of this building’s resiliency story, even as we built with concrete, as Haitians typically do today. While Haiti was once the richest nation in the Caribbean, it’s now the poorest in the Western Hemisphere, and the plight of trees and the human condition seem intertwined.
Also, as we continued our research, we learned that 98% of the rubble from the 2010 earthquake had still not been cleared away. We thought it would be practical and responsible to incorporate this into our new concrete mix as a building material.
RESILIENCY WITH FEW MOVING PARTS
Infrastructure in Haiti ranges from brittle to none. The more independent and easy to maintain we could make the building, the more financial resources the foundation could focus on children and families.
Human comfort was paramount. Keeping the orphanage’s concrete cool was critical. We arranged rooms over three levels along an exterior corridor facing the area’s prevalent trade winds. These rooms embrace the two-story training and administration wing. Wood louvers, most of which are fixed for durability and predictable daylighting, provide ventilation through all rooms. At the vision line, they open for views and close for privacy. The deep-corridor approach, where living spaces unfold onto galleries facing a garden, enjoys a rich tradition.
In a disaster, the entire ground floor can be shuttered, supporting 50 people, with battery storage for three days and an emergency water mode that can provide drinking water to the larger community. Through a system designed by scientists at the Global Water Center, rainwater mixes with groundwater, reducing hardness and treatments required.
INSPIRATION FROM NATURE
In December 2011 I was home for the holidays, and an NPR story on the 26th featured the resiliency of trees in hurricanes. The story described how trees do well in hurricanes by virtue of mother-daughter branching, in which the tree’s mass is distributed vertically through a bifurcation at each branch, providing the tree with flexibly as it reaches upward. Regarding the orphanage, mother-daughter branching seemed powerful symbolically and functionally — why not architecturally?
I brought this inspiration back to our team, and we explored how this simple empirical formula might unfold. The result — an architectural structure around the courtyard which draws inspiration from the mother-daughter pattern of mass distribution — symbolically represents what Fondation Enfant Jesus does in the rebuilding of children’s and families’ lives, with a strong cultural tie-in to trees.
Other things also started to come together. Weeks before, the database AskNature provided insights into how tree bark selectively admits a beneficial spectrum of heat while rejecting the rest. We decided our goal was to reject heat and instead admit air. We translated this simply: low mass horizontal wood rods that reject high sun angles are spaced to allow airflow through. A rush of creativity resulted.
In the end, the building’s design emerged from many sources, some from within the traditional domain of design and others from without. Fewer moving parts, more simplicity, and a building that tells a story were the results.
NOT FAST ENOUGH, YET
“So what you are doing is modeling the future.”
Reflecting on the words of my wife’s colleague makes me hopeful. They help me remember that even as scientists are also modeling the future — one in which climate change creates more and more damaging conditions — designers must work towards solutions to meet these challenges.
But as I write this, it’s mid-October. Last week, Hurricane Matthew stormed through. The death toll in Haiti is 1,000 and rising. The aftermath from loss of crops, illness due to flooding, and unsanitary conditions will worsen. Our building wasn’t finished soon enough to help.
We in Seattle live in a place where technology (Amazon/Microsoft); research (some of the world’s greatest universities); global health, cultural, and environmental organizations (the Gates, Allen, and Bullitt Foundations); and the design fields have a rare opportunity to converge. Can the Puget Sound region become a place of climate refuge? If so, what would our buildings, landscapes, and communities look like? I think, and hope, a lot more like nature.
Thank you to Mithun for co-sponsoring ARCADE's website and e-newsletter.