Tim Shremshock from the BAC...

Portfolio: Studio Introduction, Research & Exploration, & Concept Statement

2007-11-02T12:09:00.001-07:00

Portfolio: Site, Roof Plan, & Site Analysis

2007-11-02T12:07:00.002-07:00

Portfolio: Floor Plans

2007-11-02T12:07:00.001-07:00

Portfolio: Sections

2007-11-02T12:06:00.000-07:00

Portfolio: Elevations

2007-11-02T12:05:00.002-07:00

Portfolio: Model

2007-11-02T12:05:00.001-07:00

Final Studio Image One

2007-02-15T12:24:00.000-08:00

The visit to the Apple Store at the Galleria Mall inspired me to pursue transparency through diverse spatial experiences and circulation. I felt that these concepts modeled themselves well with Apple’s commitment to user friendly “hands- on” exploration of their products. I have made this the core theme of my design. I looked toward the Chicago El Train as a source of transportation that promotes a plethora of views as you move through space. If you have ever been on the El you will have experienced traveling through tight corridors between high rises as well as traveling through larger scaled open spaces.

Transparency is achieved by allowing unfettered views both from the exterior to the interior of the store and from the interior to the exterior places that surround Copley Square.

Final Studio Image Two

2007-02-15T12:23:00.002-08:00

The building site is very important to Copley Square and the rich historic tradition found within. With buildings by H.H. Richardson and I.M. Pei nearby, I felt compelled to incorporate them within my space by creating perspective views to them from the central circulation spine, shown here as the raised roof element on axis with the intersection of the two facades. Other views to Copley square are provided to the Apple shoppers as well.

Final Studio Image Three

2007-02-15T12:23:00.001-08:00

The floor plan was established to provide a series a opaque and transparent exterior walls. This was done to provide storefront merchandising opportunities as well as managing the views to the exterior. Product would be placed upon millwork displays along the opaque surfaces. Shoppers act as living mannequins working away at the Apple products much the same as you see at any Apple mall store.

The circulation core bisects the building on axis with Trinity Church and the Hancock Building. The location allows for a variety of different spaces and experiences. Along the spine are located smaller, more intimate display areas, I have dubbed the "Tea Rooms". These are accessed via the stair platform and by the elevators located on each end of the spine.

There are six floors to the design, Each having different configurations to allow for the spatial diversity that I intended. A large trellised skylight caps the building allowing light to filter through the varying spaces down to the ground floor, continually changing patterns throughout the day.

Final Studio Image Four

2007-02-15T12:22:00.000-08:00

The Boylston Street elevation is the gateway to the store. The entrance is located between two six story white marble wall planes that frame the gateway. The elevation is layered with a series of glazed surfaces and stone surfaces. The circulation core is defined by the use of predominately clear 12 x 12 glass block. These are used to provide human scale to an otherwise massive structure. Randomly placed colored units provide reflections of color throughout the interior spaces.

This element was designed to be a three dimensional vertical element, much like the multi-story bay window towers seen throughout the Back Bay Area.

I have also elected to use other glazing systems to provide scale and diversity. Framed curtain wall is used through as the predominant fenestration system, but frameless curtain wall is used above each doorway sloping towards Copley Square to further establish the gateway as the focal element of the Boylston facade.

Adjustable louvres are used on the curtain wall glazing to allow control of the natural light. This not only adds to the diverse light and shadow affects attainable within the space but also will provide control of unwanted glare within certain areas.

Final Studio Image Five

2007-02-15T12:21:00.000-08:00

The Dartmouth facade was designed under the same principles as the Boylston facade with multiple glazing systems integrated within the prinstine white wall surfaces. Here again, glass block construction is speckled with colored units to provide ever changing reflections within the store.

At the sixth floor, access to an exterior gathering space is provided with views of the Boston Public Library and the corridor of Dartmouth Street. The trellised skylight extends to provide sun shade over a portion of the deck.

Final Studio Image Six

2007-02-15T12:20:00.000-08:00

I designed the entry element with the

overriding theme of my building in mind. The storefront doors are located on each side of the front elevator. The elevator is designed as an open platform with a high tension stainless steel floor system anchored in the center with a glass capped, steel tension ring. This elevator was inspired to promote the sense of transparency and movement through a variety of spaces.

Final Studio Image Seven

2007-02-15T12:19:00.000-08:00

The wall section illustrates the movement through the open central core of the building. The "Tea Rooms" are flanked between the stair platforms. The wall surfaces of the "Tea Rooms" are constructed of reinforced concrete, perforated aluminum panels, and clear glazing. These were chosen for their varying degrees of light transmittance and reflectance. The perforated aluminum also provides a human scale reference within this large central space.

Final Studio Image Eight

2007-02-15T12:17:00.000-08:00

This photo shot from my massing model illustrates several key factors of my design intention. The view towards Copley Square is seen framed at the end of the stair platform.

The spaces of the "Tea Rooms" are evident along the circulation spine while the larger open display floor is seen beyond.

The different values of light, shadow and reflectance are evident as they find their way through the spaces along with the shoppers enjoying their Apple products and hopefully enjoying the building designed to showcase them.

Building Section Two

2007-02-13T21:00:00.001-08:00

Ground Floor Plan

2007-02-13T18:03:00.001-08:00

Second Floor Plan

2007-02-13T18:02:00.001-08:00

Roof Plan

2007-02-13T15:38:00.000-08:00

Elevation Two

2007-02-13T11:49:00.001-08:00

Elevation One

2007-02-12T21:54:00.000-08:00

Building Section One

2007-02-12T15:14:00.000-08:00

Sunday's Progress

2007-02-11T21:30:00.000-08:00

Further Ground Floor Plan development.

Sunday's Progress

2007-02-11T21:22:00.000-08:00

Building section development.

Sunday's Progress

2007-02-11T21:16:00.000-08:00

Section at storefront elevator platform

Sunday's Progress

2007-02-11T20:48:00.000-08:00

Plan view of second elevator, stair platform and "tea room".

Storefront/Elevator Detail

2007-02-11T07:11:00.000-08:00

Final Studio Progress - Ground Floor Plan

2007-02-09T10:51:00.002-08:00

Final Studio Progress - Second Floor Plan

2007-02-09T10:51:00.001-08:00

Final Studio Progress - Third Floor Plan

2007-02-09T10:50:00.000-08:00

Final Studio Progress - Fourth Floor Plan

2007-02-09T10:49:00.002-08:00

Final Studio Progress - Fifth Floor Plan

2007-02-09T10:49:00.001-08:00

Final Studio Progress - Sixth Floor Plan

2007-02-09T10:37:00.000-08:00

Signature Element - Plan

2007-02-06T06:12:00.000-08:00

The signature element within my Apple Store is the circulation spine. I have integrated the use of smaller and more intimate shopping areas, “Tea Rooms", within the spine by placing them between the circulation elements. These elements consist of two elevator towers and two stair platforms. The spine acts to divide the interior into a variety of different spatial experiences, both horizontally and vertically, while providing a sense of organization and order. My intention was to provide transparency within the Apple Store.

A shopper should be able to see many spaces from any given point of perspective, but should not necessarily be able to visually see the path to each space. The shopper does know that by returning to the circulation spine, access to these spaces is acheivable.

Signature Element - Plan Detail

2007-02-06T06:11:00.000-08:00

The elevators are constructed with glass walls to maintain transparency through the space.

Signature Element - Plan Detail

2007-02-06T06:09:00.000-08:00

They are placed at each end of the spine to promote ease of circulation to the six levels and to provide access to the "Tea Room" shopping experience without the use of the stair platforms.

Signature Element - Elevation

2007-02-06T06:06:00.000-08:00

The spine itself is constructed of reinforced concrete pilasters from which the stair platforms are cantilevered. The glass elevator towers visually anchor the structure within the open central core of the store.

Signature Element - Elevation Detail

2007-02-06T06:03:00.000-08:00

A skylight is located over the spine to provide natural light to the core and to provide a contrasting experience of light and shadows throughout the spaces.

Signature Element - Elevation Detail

2007-02-05T21:04:00.000-08:00

The "Tea Rooms" walls are constructed with the reinforced concrete pilasters, perforated aluminum panels, and glass. These materials were chosen for their varying degrees of transparency and quality of light transmittance and reflectance.

Studio - Signature Element

2007-02-01T13:01:00.000-08:00

My signature element is definately the circulation spline that bisects the store. This concept has been within my design from the beginning story board with the intention to use it to create a variety of spatial experiences and movement within the store. It is also something with which I am struggling with right now. I am also exploring different floor plates to add vertical (3-D) diversity which suggests that I change the circulation along this spline from the switchback relationship to a more varied relationship. Any feedback regarding this idea would be appreciated. Here are some diagram sketches I have been considering:

Sketch One

Sketch Two

Sketches one and two maintain circulation along the spline and add circulation at alternate floors along the edge.

Sketch Three

Sketch Three has circulation starting along the spline then locates circulation within various spaces on the floors depending upon the desired views from within to the exterior and with relation to the different interior spaces I am trying to acheive.

My dilemma focuses on abandoning the spline.

H&T -

2007-02-01T11:37:00.000-08:00

I was just returning from a meeting and heard a radio adverstisement that I had to share. The add was from General Steel Co. and they were selling design services to the public for buildings at lower cost and half the construction time. They offered a range of exterior finishes from stucco to brick to metal panels. What they never mentioned was the fact that they are a metal building company selling proprietary metal buildings which I would have no objection to. What they were selling was architecture and engineering services with no mention of these professionals. I "googled" them and actually got a different company. They seemed to be selling the same thing. This quote is from Steel Co. website, www.steelcobuildings.net:

"No matter the size of the project we believe that each and every SteelCo building should be unique not only in appearance, but also in function. Often, individuals will come to us with their specific requests and inspirations and we are able to work with them without additional help. But on occasion, professional architects and engineers are needed to assist on a project. SteelCo works with architects who have an extensive knowledge of steel structures and offer complete services at a much lower price than you might find locally. This allows you to save a significant amount of money that could be used elsewhere, whether back into your pocket or on stunning extras for your building."

This is another example of how architects are valued within some parts of the industry.

Studio Intensive - The AppleStore at Copley Square

2007-01-25T13:52:00.000-08:00

Having visited the AppleStore, I was impressed with the transparency and circulation that the space plan provided for shoppers. The open accessible plan and the ability for shoppers to freely see through the space promoted the "hands on" shopping experience that Apple intended. I wanted to explore this within my design plan. I was inspired to look into the public transit system which allows for efficient travel from point to point. I wanted to reinforce the AppleStore's sense of activity that you experience on the train within the space.

One of the areas that I felt could be improved within the AppleStore at Cambidgeside Galleria is the lack of diversity within the space plan. As we have been discussing in H/T class, the lack of diversity can lead to stagnation. There are many products sold within an AppleStore, yet only one sense of place was provided within the design. I looked to to the traditional tea house as an inspiration to provide a similar "hands on" experience that Apple tries to promote, but in a more communal and intimate environment.

I also looked at more traditional street marketplace experience to be added such as you will find in China Town.

The new feature that I would like to add to the AppleStore is a classroom/workshop space for Apple to make available to the software vendors. The vendors could then provide direct softaware training to the Apple customers. This bridges the gap from the customer to the software designer and should provide Apple with new opprtunities to network marketing their products. For example, Adobe Photoshop could hold Saturday classes targeted to the new

"scrapbooking" craze and provide training to interested customers on a detailed level. Perhaps, it is a three day training period over three weeks time and they could run a promo to bring a friend for half price.

I would like the space dedicated to this function to be an informal workshop type space and maintain that sense of transparency to both the interior of the store as well as the exterior pubic space; again for the purpose of showcasing the diversity of spaces and activities that will occur within.

In developing the spaces and places within the model I have striven to follow the original concept of circulation through "transparant" space while positioning the elements within the six story building to reflect visual corridors into and out of the space. There is a strong central circulation spline that is on axis to provide sight lines to Copley Square, Trinity Church and the Hancock Building. This spline fuctions to provide vertical circulation to the six floors and bisects the building to provide sight lines northward dowm Dartmouth St. Atrium space is positioned along the spline to provide the open plan.

Exterior shots of Model II

The following comments were added from the studio crit:

1. I think you got away from the gateway entry. Alley entry draws you in better. I see your point. The recess created in the alley is a natural gateway. But I think the gateway affect can be acheived by the juxtaposition of differnt forms and materials. The entire spline which includes the reccess, the ramp, and glass tower element should act togehter.

2. Louvres are great - in general your building is very site specific, which I think is great. But the experience is the same on each floor except at the top. What inspires me to keep going? I agree. I intend to explore variation in form vertically thru the floors.

3. Very attractive form...I am interested in seeing how the spaces will be different from each other. Try and think of them individually and not in terms of floor plates. I think my exploration of vertical variation will help.

4. I really appreciate the thoughts of the surrounding context. Keep going. The forms used within the model may be contextual from an abstracted perspective. I will explore using materials from the area buildings.

5. Maybe too many attempts to relate to view/site/context. Be careful. It needs to work as a store too. Agreed, the experience of views must be compatible with the function as an Apple Store.

6. Look into 3D modeling to analyze light and shadow or use photos with lamps. OK.

7. Maybe there can be deep wedges along this area to help capture the light or direct it during the coldness of seasons. Please clarify your comment.

8. Your model really pulled the site into the design. The spaces are diverse and varied. Maybe the marketplace or tea room has to do with fixtures or color/material. Or you could re-define the concept which I think is perfectly fine. I do intend to investigate the varied spaces as part of the architecture.

9. Views thru and from. Good ideas. Engaging site to advantage. Thank you.

Interior shots of Model II

"...Victor, where would you lead them?" - Victor Wooten's mom

2007-01-23T18:22:00.000-08:00

Has the architectural profession turned its back on itself? Was there ever a true sense of community among architects? If so, how did we lose it and how do we get it back?

I work in an office of approximately sixty architectural professionals, ten engineering professionals, and marketing, accounting and administrative staff. Of the architectural staff; eight are registered architects, approximately fifteen are graduates active in IPD or at some stage of registration and the rest are interior designers and drafting support. Of that total population, only three individuals are active within the AIA and I am not one of them. That is something that I intend to change this week. In fact, I have already begun the process. Another disturbing fact… none of the three active members is among our registered professionals. I do not believe that the ratio of active AIA membership within my office is too far from the norm. This is something that I would like to investigate.

Architects should be alarmed if this is anywhere near the typical percentage of support for our profession’s only national organization. We already seem to be in a shrinking profession. The number of professionals becoming registered is in decline and architects have, at best, a weak collective voice by which our profession can effectively champion the causes that everyone here may hold dear to their hearts.

The profession of architecture has continued to evolve over time. Natural evolution proceeds along the path to either strengthen the species or eliminate the species. It seems that architecture may be headed along the path of the latter. The days of the master architect/builder are long gone. The days of the general practitioner seem to be disappearing now. Architects are becoming very specialized. There are many firms today that practice only in school development, hospitals, multi-family housing, retail, etc. Has this narrow focus contributed to the lack of solidarity within architecture?

Architects also seem to be losing control over the build process. Within the State of Ohio, many public projects of certain budgets are being mandated to follow construction management delivery systems for construction. The architect’s role is diminished with this contract arrangement. The architect is no longer the interdisciplinary team leader that our college professors worked so hard to foster. Instead, Owner decisions will be lead by a construction manager’s influence and perspective; both of which may be contrary to that of the architect’s design intent. What has lead to this development; poor performance from architects to actively monitor budget and schedule? Why do we allow this degradation of our services to occur? Why doesn’t our profession instead try to correct the deficiencies? Do surgeons hand off the scalpel midway through an operation? Do attorneys hand over their case to junior staff before closing arguments? I don’t think so.

Have technological advancements contributed to these trends? The Building Information Management concept is somewhat alarming to me. Is it possible that future software will be developed that will allow Owners to answer a program questionnaire, enter a site location, enter a budget, this information will then be fed into a data base that is tied into the national building code and wa-la… out prints your new middle school? This may seem far fetched, but isn’t that the trend of technology; to take the human out of the equation? Did you ever think that a service industry position could be completed by a robot, like many of our manufacturing positions have been? Ten years ago, I could not have imagined it. Today I can.

Society has shown that it believes art is dispensable. Does society feel the same way about architecture? Is architecture without art, B.I.M. in ten years? Doesn’t that scare you? It does me.

But we can’t blame it all on outside influences. Architects actively erode their own profession. Why do architects employ “headhunters” to steal away employees from those firms with enough wisdom to train and mentor young professionals with the promise of an extra dollar an hour. And you employees willing to jump for an extra buck, do you really want to work for a firm not willing to provide their own mentorship? What value will they place on you, when the project is complete?

Architects are all too willing to turn our profession into the K-Mart special of professions by continually undercutting each other, forcing firms to reduce services after award of the contract, thus further degrading the reputation of our profession in the eyes of the Owner and thus leading to such things as construction managers. If we were provided a fair wage, what firm wouldn’t want to provide full services through construction?

How can we affect change? Do we look to the leaders of our profession, those that hold the public spotlight, people like Moshe Safdie, Frank Gehry, Renzo Piano, etc. Perhaps they could lead a public symposium on the value of architecture. Show the public what the world would be like without them? Yes, we need to enlighten the public, but we have to start within our own ranks first. We need to instill a sense of responsibility for our profession and for each other as member sisters and brothers. Join your local AIA, become active, mentor the new graduate, and teach more than just theory, professional practice should not be an afterthought; community service should be a course requirement not eight hours of documented service to a non-profit organization to be turned in for graduation.

These are the topics I would like to investigate in Thesis. This is where I would like to lead them Mrs. Wooten.

Peter DeIulius commented –

1. Is this a cultural problem? “The grass is always greener” type thinking. Can we encourage our employees to feel a sense of loyalty so that everything isn’t about an extra buck an hour? What about the intangibles?

2. Look at the typical studio culture in architectural education; individual students competing for recognition/advanced placement. There is not enough teamwork in school and there isn’t enough one to one mentoring in the workplace. We aren’t taught to work together.

3. In broad general terms, contractors and cm’s are typically more aggressive than architects. The industry lets itself get bossed around which results in a loss of authority. We need to clearly articulate our value to the public and regain our status. As long as our service is considered expendable, we will always be fighting an uphill battle.

4. The industry is changing and that is unavoidable. How can we change with it?

Paul Garland commented –

I think it is just as you mentioned. Getting the AIA a stronger voice, team, camaraderie. Thanks to attorney’s, architects have let the risk factor go to the cm and with that, indirectly, the authoritative nature of the architect. I have heard said in this profession, “Why should I speak when no one listens to me”. Get that voice back.

Seen, but not observed...

2007-01-10T18:40:00.000-08:00

I saw an award winning design in a magazine (Faith & Forum) at work today that sparked some good conversation. One of the award winning entries for new religious spaces is the Setre Chapel in Kobe, Japan. There is an interior photo shot of the sanctuary that is stunning.

Very cool space. But I think Underhill would have shredded it with yesterdays credit card applications. Sitting on the highly polished-glass like floor, are actual "glass" chairs (no plumbers here please), the walls are unadorned, hard and reflective as is the hard surface of the ceilings high above. At the end of the aisle is an altar behind which soars a clear-glass curtain wall open to the blue skies beyond. Though a cool space, nothing seems to be designed with the intent to satify the needs of the users. The chairs are almost invisible. Think of the problems that will cause for one's depth perception, how about Grandma's perception. And that is not all the abuse your sight will suffer here. Try staring at the altar for an hour with the glare of the noon-day sky in the backround. The contrast is probably so bad you'd have a headache by the time they pass the hat. I can't imagine the acoustics are that great either.

It seems pretty easy to know when a space is not successful in achieving Underhills level of harmony. I guess Underhill would evaluate success of the space based on a practical approach like...what percentage of growth has the parish experienced since moving into the new space. Have they been able to attract and keep new families within the parish. Maybe the design is inspiring enough to overcome the deficiencies. I know I'd like to visit.

Studio Week 2

2007-01-09T19:16:00.000-08:00

I have further diagramed the HOH Room to better grasp the essence of the space created in Week 1 before starting the Week 2 assignment.

From this effort, I have analyzed the space to a more basic essence.The space is created by a dominant central figure. The use of furniture and wall decor create a strong backdrop which helps to ground and frame the figure as the central point of perspective from the public space. The public space surrounds the figure on three sides. This space functions in two ways. First, an open public gathering space at the foot of the figure is provided from which there is narrow and limited access to the private space along each edge.

"Plan 1" depicts space dominated by a central figure. The figure creates a space of hierarchy. Perspectives change dramatically depending on placement. The perspective from the figure shown in red provides a broad view of the ground space. Perpective from the ground space is focused on the gateway located at the head of the figure. This perspective is narrow in field to reinforce the sense of subordination to the space governed by the figure. I placed the gateway at the original headboard location from the screenshot to reinforce the power held by the HOH.

"Section 1" is designed to reinforce the concept of the 3-D analysis. The ground space is kept subordinate by terracing away from the figure space. The perspective relationship shown in plan is reinforced in the vertical plane; the figure perspective is broad while the ground perspective remains narrow. I have elevated the roof over the figure to further enforce the hierarchy of the space.

"Plan 2" is designed to follow the principles of the 3-D analysis by emphasizing the figure in transparent space yet maintaining a dominant position by it's intersection with the strong backdrop to create a cross-axis at the focal point. The perspective in the groung space is kept at a distance by a large field in the foreground. The cross-axis perspective is kept broad and the ground perspective is kept narrow.

"Section 2" is designed to create hierarchy by use of different spatial form and material. The dominant figure is designed to frame space as opposed to occupying space as in "Section 1" . Hierarchy is still established by vertical differences of perspective. Ground perspective is kept distant by creating a reflecting pool which surrounds the glass tower. The pool reflects the material of the dominant figure into the ground space to emphasize the spatial inequality that occurs.

History & Theory Week 2

2007-01-09T05:07:00.000-08:00

"The Science of Shopping" - I have begun reading this week's assignment and it has really been an eye opener so far. I am struck by the multitude and layers of experience that one navigates when shopping, starting with the drive into the parking lot and ending when you leave the lot. I have never realized the complexity involved and the number of opportunities designers have at their disposal to help promote the retail program.

Studio Week 1

2007-01-07T17:26:00.000-08:00

The space in this clip is developed utilizing the strong figure of the bed as a central element. The use of wall hangings, furniture placement, color and texture further define and enforce the focal point. The symmetrically placed side tables and wall hangings frame the figure of the bed enforcing its place of prominence. Color is used to create a neutral background with tones of gray. The contrasting dark blue of the area rug provides a strong base for the bed. The only warm color used within the space is at the headboard. The warm color and soft texture of the headboard becomes the focal point of the space.

I chose this second clip because it creates a similar space as in Clip 1 but in a different manner. This room also has a strong central axis to a focal point. However, the space defined draws in the observer as opposed to Clip 1, which keeps the observer to the outside of the space. Color and rhythm are also used here. The two-way mirrors create a rhythm on axis to the corner of the room. Two Green chairs occupy this space and are flanked by three white chairs on each side. The coffee table is located on axis with the corner of the room. The forms and colors of the coffee table create a datum line. This provides a visual thread to the point of focus.

The space in this clip is strongly defined by the raised wood deck, which establishes the perimeter of the outdoor patio. The large square deck is reduced in scale by the use of a square grid in which the smaller square forms of the fire pit, the coffee table, and the seating are arranged. The space created is “democratic” in its function. Every occupant will have equal access to the flat work surface of the table, equal visual access to the fire pit, and unimpeded interaction with their neighbors. As the fire pit is a point of focus, I represented it literally as a pit to ensure it remained unoccupied.

This space is created by the overlay of furniture on a cross axis over a central circular ground. The space promotes interaction from the concentric edge, defined by the furniture. The space created by the cross-axis over the area rug is more difficult to occupy. Someone located here will not have sight lines to all occupants of the perimeter and will be in a position of exposure and vulnerability. It takes more effort to occupy this space. Therefore, I projected a figure in place of the void to demonstrate the greater effort required to occupy the center. The perimeter is left open to promote free access around the center.

History & Theory - Assignment 1

2007-01-03T20:22:00.000-08:00

I found Susan Bickford's essay, "Constructing Inequality: City Spaces and the Architecture of Citizenship" to be quite provocative. Her assessment of the degradation of the democratic polity in America seems very true, the causes very plausible, and the solutions worthy of pursuit.

Susan contends that a truly democratic polity is a community defined by social, economic and ethnic diversity, with all individuals equally empowered to affect the decisions of the community. Meaning no single sub-class of the society holds more control than another. She points out that American society today is inegalitarian and undemocratic as a result of a middle class trend to avoid risk and exposure to the unknown. This has manifested itself in the creation of suburbia and the proliferation of local government to the detriment of diversity, complexity, and democracy for the regional community as a whole. It has lead to increased segregation and subjugation of the "undesirable classes" by the middle class.

It is hard to disagree with this assessment. I live in middle class suburbia, in a cookie cutter development, in a cookie cutter house, with cookie cutter neighbors, (God bless them all). I look around and see all the "gates" that Susan claims have been erected to keep us safe "inside" and to keep others "outside". If you look at any of the houses in my neighborhood you will see such a "gate" proudly emblazzoned in the front windows, "This House Protected by ADT Security". What this really says is, "if your a stranger and can read this sign, your not welcome on my lawn". And if that is not enough, when you get back to the sidewalk and look up, you will see a sign stating, "This Neighborhood is Protected by the Neighborhood Watch". What this really says is, "your not welcome here, get out of my neighborhood". I hadn't really thought about that before and I find it quite disturbing. But that is not the worst of it. There are probably 75 to 100 homes in my neighborhood. I know some of my neighbors but I do not know most of my neighbors. Unfortunately, I can probably tell you which FEW houses are owned by minorities.

I agree that the concentration of the middle class is the result of a combination of factors that Susan discusses in her essay; developer strategies to market housing , the creation of smaller governing authorities able to affect policy to futher propogate segregation, the side affect of these resulting in the establishment of economically depressed ghettos. I would argue though that Susan may have missed a very influential factor. That is the ideology of the American Dream, to own a plot of land with a house and to raise a family. Doesn't most of America strive for this and doesn't this attract multitudes of immigrants to our shores? This is part of the impetus behind the urban development that Susan explains has been occuring since WWII. And unfortunately, or maybe fortunately, I think it has become a culture ingrained in the subconsciuos of the middle class. It is a self-perpetuating ideology with each new generation. I don't believe that the middle class as a whole is knowingly pursuing this type of class isolation.

Susan offers several strategies as solutions; raise the collective conscious of the middle class to be more courageuos in the face of the unknown, revise the decision making institutions to become more regionalized and less local - less "intersubjective", provide multilayered urban and suburban spaces, redefine the sense of "home" to resist the urge to purge conflict, even enact legislation to limit CID's and gated communities for the betterment of the polity. Her most poignant solution for architects maybe that as we have created the problem through design of undemocratic spaces so we should be able to design spaces that promote the integration of econmic, cultural and social diversity. I believe this would help lead to the enlightenment of the middle class, but for a sustainable solution the fix needs to be interdisciplinary in nature.