Glen LeRoy Architecture Presentation


Uploaded by GRCCtv on 07.10.2011

Transcript:
>> DAVE DYE.
I'M AN ARCHITECT HERE.
I ALSO TEACH HERE.
AND ALSO, I COORDINATE THE GRCC PROGRAM WITH LAWRENCE TECH,
AND ALSO RAY HINKLE AND CHARLOTTE PEASE HELPED ME OUT TO COORDINATE THIS.
AND TONIGHT, WE HAVE GLEN LEROY,
WHO'S A FELLOW WITH AMERICAN INSTITUTE OF ARCHITECTS,
A FELLOW WITH THE AMERICAN INSTITUTE OF CERTIFIED PLANNERS,
BUT MOST IMPORTANTLY, HE'S DEAN OF THE COLLEGE OF ARCHITECTURE DESIGN
AT LAWRENCE TECH,
AND HE'S BEEN DEAN THERE, HE SAYS, FOR SEVEN YEARS, SINCE JULY OF '05.
>> THIS IS MY SEVENTH. >> HIS SEVENTH YEAR.
AND BEFORE JOINING LAWRENCE TECH,
HE WAS A PRINCIPAL AT GOULD EVANS ASSOCIATES
IN KANSAS CITY.
AND TO GIVE YOU A LITTLE BIT OF BACKGROUND,
BECAUSE HE TALKS A LOT ABOUT TEACHING.
HE TAUGHT FOR 22 YEARS AT THE SCHOOL OF ARCHITECTURE AND URBAN DESIGN
AT THE UNIVERSITY OF KANSAS.
HE LED THE KANSAS CITY URBAN DESIGN PROGRAM
FROM 1987 TO 2002.
YOU'LL ALSO FIND OUT HE'S HIGHLY ACTIVE IN THE AMERICAN INSTITUTE OF ARCHITECTS
AND AMERICAN PLANNING ASSOCIATION, AND HE WAS PRESIDENT, 1986,
OF THE AMERICAN PLANNING ASSOCIATION OF KANSAS CITY,
AND WAS ALSO ELECTED PRESIDENT
OF THE AMERICAN INSTITUTE OF ARCHITECTS IN KANSAS CITY.
SO, WITH HIS ACADEMIC BACKGROUND AND WITH HIS PROFESSIONAL BACKGROUND,
HE SEES BOTH THE GREAT OPPORTUNITIES AND CHALLENGES FOR DESIGN EDUCATION.
NOW, UP THERE, YOU CAN SEE IT SAYS "LAWRENCE TECH THEORY AND PRACTICE."
WELL, HE IS WELL-VERSED IN THEORY AND PRACTICE.
THEORY AND PRACTICE EMBRACES THE DUAL RESPONSIBILITIES
FOR CONTEMPORARY DESIGN EDUCATION AND "GETTING IT DONE NOW."
UM...
NOW, THE COLLEGE OF ARCHITECTURE AND DESIGN
AT LAWRENCE TECHNOLOGICAL UNIVERSITY,
YOU'LL ALSO SEE, OFFERS PROGRAMS NOT ONLY IN ARCHITECTURE,
BUT IN INTERIOR ARCHITECTURE, ARCHITECTURAL IMAGING,
GRAPHIC DESIGN, TRANSPORTATION PLANNING, AND FACILITIES MANAGEMENT.
AND GLEN WILL TALK ALL ABOUT THAT STUFF THIS EVENING.
UM...
THE OTHER THING I WANNA MENTION IS THAT I'VE BEEN AN ARCHITECT NOW,
IN MICHIGAN, FOR 30-PLUS YEARS,
AND I ALWAYS REMEMBER RUNNING INTO A LAWRENCE TECH GRAD.
AND THEY WERE ALWAYS HIGHLY-REGARDED PROFESSIONAL--
THEY WERE ALWAYS WELL-PREPARED, PROFESSIONALLY.
AND I ALWAYS FELT IT WAS A BIG COMPETITION BETWEEN ME,
FROM ANOTHER SCHOOL,
AND A LAWRENCE TECH PERSON.
BUT YOU FIND OUT THAT 44 PERCENT OF ALL LICENSED ARCHITECTS
IN THE STATE OF MICHIGAN HOLD DEGREES FROM LAWRENCE TECH.
SOME OF THE HALLMARKS
OF LAWRENCE TECH'S OFFERINGS ARE THE DETROIT URBAN STUDIO,
THEIR PARIS STUDY ABROAD, AND YOU ALSO HAVE A STUDIO IN SHANGHAI.
SO, THEY GET AROUND.
AND THEY ALSO HAVE A DEEP COMMITMENT FOR SUSTAINABILITY IN DESIGN AND CONSTRUCTION.
AND I ALSO WOULD LIKE TO THANK GLEN LEROY
FOR BRINGING THE MASTERS OF ARCHITECTURE PROGRAM TO WEST MICHIGAN.
YOU WILL FIND OUT THIS EVENING, THIS FIRST TWO YEARS
OF THE MASTER OF ARCHITECTURE PROGRAM CAN BE DONE HERE,
ALONG WITH THE INTEGRATED DESIGN STUDIO,
AND WE HAVE, ALSO, TO LET YOU KNOW,
WE HAVE A NUMBER OF STUDENTS
FROM THAT INTEGRATED DESIGN STUDIO HERE TONIGHT.
SO, IF YOU HAVE QUESTIONS ABOUT WHAT'S GOING ON WITH THAT, ASK THEM.
UM...
AND SO, WE'LL TALK ABOUT THAT... (laughing) THIS EVENING.
AND...
THE FIRST TWO YEARS HERE,
AND THEN THE OTHER THREE YEARS AT LAWRENCE TECH IN SOUTHFIELD.
SO, WITHOUT FURTHER INTRODUC--
NOW, I'D LIKE TO INTRODUCE GLEN
TO TALK ABOUT THE PROGRAM AT LAWRENCE TECH.
THANK YOU.
(applause)
>> THANK YOU, DAVID. >> OH, SURE.
>> I'M GONNA UNCORK SOME WATER HERE,
BECAUSE I'M GOING TO BE TALKING FOR A LITTLE WHILE.
I-- BEFORE, WHEN PEOPLE WERE ENTERING, I WAS ASKING HOW MANY OF YOU WERE,
YOU KNOW, HIGH SCHOOL STUDENTS--
BUT THERE'S MORE PEOPLE THAT HAVE ENTERED.
HOW MANY OF YOU ARE HIGH SCHOOL STUDENTS?
OKAY.
HOLD YOUR HAND HIGH.
(laughing) OKAY.
HOW MANY OF YOU ARE IN FIRST YEAR, HERE?
OKAY, SO A GOOD NUMBER.
AND THEN SECOND YEAR HERE, WE HAVE SEVEN PEOPLE
THAT ARE ACTUALLY CO-ENROLLED AT GRCC AND LAWRENCE TECH, SIMULTANEOUSLY.
YOU KNOW, KINDA STRANGE PEOPLE OVER HERE, BUT WE LIKE 'EM.
(laughing)
OKAY, SO I'M GONNA TALK MOSTLY ABOUT LAWRENCE TECH,
BUT RECOGNIZE THAT THE CURRICULUM THAT'S HERE AT GRCC
IS THE LAWRENCE TECH CURRICULUM, AND IT'S COMPLETELY TRANSFERABLE.
YOU KNOW, WE DO HAVE PEOPLE THAT, I GUESS, COULD START AT LAWRENCE TECH
AND COME HERE FOR THE SECOND YEAR,
BUT WE DON'T HAVE A LOT OF PEOPLE THAT DO THAT.
MOST PEOPLE GO THROUGH A PRETTY CONVENTIONAL WAY, WE THINK.
IN THE FUTURE, IT'LL BE THAT WAY.
WE HAVE A LONG-STANDING RELATIONSHIP LIKE THIS WITH LANSING.
AND THEY FIND IT A VERY CONVENIENT WAY TO STAY AT HOME
FOR THEIR FIRST COUPLE OF YEARS,
AND THEN, ULTIMATELY, MOVE OVER.
WHY WOULD YOU DO THIS, THOUGH?
WELL, HOW MANY OF YOU ARE CONSIDERING A CAREER IN ARCHITECTURE?
OKAY, MOST OF THE PEOPLE HERE.
OKAY.
WE'LL ASK YOU ABOUT YOURS IN A FEW MINUTES.
(laughing) BUT, UH, OKAY, IF YOU'RE SIT--
IF YOU WANT TO BE AN ARCHITECT, YOU NEED A...
AN ACCREDITED ARCHITECTURE DEGREE, WHICH IN THIS COUNTRY, BY AND LARGE,
IS THE MASTER'S DEGREE OF ARCHITECTURE.
SO, YOU CAN COME TO A COLLEGE LIKE GRAND RAPIDS COMMUNITY COLLEGE,
GET A ARCHITECTURAL TECHNOLOGY DEGREE,
BUT YOU CAN'T BE AN ARCHITECT WITH THAT DEGREE.
YOU HAVE TO GO TO A SCHOOL OF ARCHITECTURE,
FINISH OFF YOUR EDUCATION, GET THE ACCREDITED DEGREE--
AND THERE ARE A COUPLE OF SCHOOLS THAT STILL HAVE THE BACHELOR'S DEGREE--
STILL A FIVE-YEAR BACHELOR'S.
ALTHOUGH, YOU CAN GET, AT OUR SCHOOL, A FIVE-YEAR MASTER'S DEGREE--
MUCH BETTER DEAL.
AND THEN, GET YOUR ACCREDITED DEGREE.
SO, WE'LL TALK ABOUT THESE SORTS OF THINGS ALONG,
BUT REALLY, WHAT I WANT TO TALK ABOUT WITH YOU TONIGHT...
IS THE BIGGER CONTEXT IN WHICH WE--
IN WHICH WE HAVE TO LOOK AT DESIGN.
OKAY, THERE WE GO.
I'M GOING TO TALK ABOUT THE EVOLUTION OF THE PROFESSION.
AS THE 21st CENTURY HAS COME AROUND,
THE PROFESSION IS EVOLVING FASTER THAN ANYONE CAN IMAGINE.
I'M TALKING ABOUT ALL DESIGN PROFESSIONS.
UH, AND I'M NOT JUST TALKING ABOUT ARCHITECTURE TONIGHT--
I'M TALKING ABOUT ALL DESIGN PROFESSIONS.
YOU ALL-- YOU ALL, PARTICULARLY IN HIGH SCHOOL,
YOU HAVE A SELECTION PROCESS THAT YOU'RE GOING THROUGH.
YOU KNOW, WHERE DO YOU WANT TO GO TO COLLEGE?
WHAT PATH DO YOU WANT TO TAKE?
SO, WE'RE GONNA TALK ABOUT THAT WITH YOU ALL.
THIRD, WE'LL TALK ABOUT OUR PROGRAMS AND OUR APPROACHES,
AND THEN, FOR THOSE OF YOU, AGAIN, IN HIGH SCHOOL,
OR EVEN THOSE OF YOU THAT ARE IN FIRST YEAR, HERE,
TALK ABOUT THE KNOWLEDGE THAT YOU HAVE TO HAVE
IN ORDER TO APPROACH A DESIGN EDUCATION...
AND THE SKILLS THAT YOU HAVE TO HAVE.
NOW...
LET ME START OFF WITH SOME CONCEPTS ABOUT ARCHITECTURE AND DESIGN.
HOW MANY OF YOU HAVE HEARD OF VITRUVIUS?
ALL RIGHT.
THE PEOPLE-- OKAY.
VITRUVIUS, REMEMBER?
WHAT WAS HE?
A FIRST-CENTURY ROMAN ARCHITECT, MAYBE?
OKAY. (laughing)
HE WROTE-- YOU KNOW, HE WROTE THE ORIGINAL BOOKS--
TEN BOOKS ON ARCHITECTURE, "DE ARCHITECTURA."
EXCUSE MY LATIN, BUT THAT'S-- IT'S PRONOUNCED SOMETHING LIKE THAT.
AND HE TALKED ABOUT THREE CONCEPTS.
AND CONCEPTS THAT WE CAN STILL UNDERSTAND CONTEMPORARY ARCHITECTURE IN.
"FIRMNESS"-- THAT IS THE STRENGTH AND DURABILITY
OF THE ARCHITECTURE THAT'S PRODUCED.
"COMMODITY," WHICH IS THE FUNCTION AND UTILITY.
"DOES IT WORK-- DOES IT FUNCTION FOR YOU WELL?"
AND THEN, "DELIGHT"-- THE AESTHETIC BEAUTY.
AND WITH THOSE THREE PRINCIPLES,
YOU CAN JUDGE THE EFFECTIVENESS OF AN ARCHITECTURAL COMPOSITION.
FIRMNESS, COMMODITY, AND DELIGHT.
YOU MAY NOT LEARN ABOUT THAT IN HIGH SCHOOL, BUT YOU'RE GONNA--
MOST-- ONCE YOU GET INTO YOUR COLLEGE DESIGN HISTORY,
YOU'RE GONNA LEARN ABOUT VITRUVIUS.
ON ABOUT THE 15th-16th CENTURY,
YOU HAVE LEONARDO DA VINCI.
HOW MANY PEOPLE HAVE HEARD OF LEONARDO DA VINCI?
OKAY, ALMOST EVERYONE HERE.
YOU KNOW, YOU KNOW HIM FROM THE MONA LISA AND ARTWORKS,
BUT HE WAS ALSO AN INVENTOR.
HE WAS AN ARCHITECT.
HE-- YOU KNOW, HE WAS--
I GUESS THEY CALLED HIM A "RENAISSANCE MAN,"
BECAUSE HE WAS IN THE RENAISSANCE.
BUT... HE WROTE ABOUT THE "DIVINE PROPORTION."
THAT IS, THAT THE GEOMETRIC RELATIONSHIPS OF ELEMENTS TO FORM COMPOSITION.
AND THEN, WE HAVE--
I ALWAYS LIKE TO PULL OUT ANDY WARHOL, 20th CENTURY POP ARTIST.
THE CAMPBELL SOUP CAN ARTIST.
AND HE WAS ALSO A PRINTMAKER AND A FILMMAKER,
WHERE HE SAID, "EVERYONE WILL BE FAMOUS FOR 15 MINUTES."
THAT WAS HIS FAMOUS QUOTE.
"EVERYONE WILL BE FAMOUS FOR 15 MINUTES."
SOMEWHERE BETWEEN FIRMNESS, COMMODITY, AND DELIGHT OF VITRUVIUS,
WHICH WAS 2000 YEARS AGO,
TO NOW, "YOU'LL BE FAMOUS FOR 15 MINUTES,"
WE'VE HAD QUITE A TRANSITION...
UH, IN...
IN THE WAY THAT WE THINK ABOUT DESIGN AND ABOUT LIFE.
LIFE IS VERY TRANSITORY.
IT'S CHANGING SO RAPIDLY.
THE WORLD THAT VITRUVIUS SAW
WAS A WORLD THAT WAS LASTING FOR A LONG TIME,
AND YOU'RE CREATING MONUMENTS THAT WILL LAST A LONG TIME.
THE WAY THAT ANDY WARHOL-- HE SAW IT AS TRANSITORY...
AND WILL EVER CHANGE.
AND WE'RE ALL ABOUT FLEETING FAME, FLEETING EXISTENCE,
AND IT'S A DIFFERENT WAY OF LOOKING AT THE WORLD
FROM THE 1st CENTURY TO THE 21st CENTURY.
NOW, I WANNA TALK ABOUT DESIGN AND ITS BIGGER RELATIONSHIP.
THAT ALL DESIGN, ALL ART, IS INTERRELATED.
AND, UM, OKAY, WHO CAN TELL ME WHO PAINTED THAT PICTURE RIGHT THERE?
THAT PAINTING?
ANYONE, ANYONE?
OKAY, GO AHEAD. >> (inaudible speaking).
>> MONDRIAN-- RIGHT.
VERY GOOD.
UM, FRENCH PAINTER.
AND YOU KNOW, THE KEY IS-- PIET-- PIET MONDRIAN--
YOU COULDN'T SEE IT FROM THERE. (laughing)
BUT WHO CAN SEE THE COMPOSITIONAL SIMILARITIES
BETWEEN THAT AND THIS HOUSE?
I MEAN, CAN YOU SEE?
I MEAN, YOU CAN SEE THE GRID-LIKE STRUCTURE,
THE FRAMING OF THE BLACK ELEMENTS,
WITH THE INTERSPERSING OF THE PRIMARY COLORS.
THIS WAS DONE BY AN ARCHITECT-- HE WAS ACTUALLY AN ARTIST AND DESIGNER--
CAN ANYONE TELL ME WHO?
VERY FAMOUS HOUSE IN THE UNITED STATES.
IN CALIFORNIA-- LOS ANGELES AREA.
OKAY, IT WAS DONE BY CHARLES EAMES.
NOW, THAT'S A FAMOUS MICHIGAN NAME,
BECAUSE HE DESIGNED A LOT OF FURNITURE THAT WAS BUILT
ON THE WEST COAST OF MICHIGAN.
PRACTICED OUT OF CRANBROOK ACADEMY FOR QUITE A WHILE.
THAT'S HIS HOUSE IN CALIFORNIA,
BASED VERY MUCH ON THE PRINCIPLES OF MONDRIAN.
SO, A RELATIONSHIP BETWEEN ART AND ARCHITECTURE.
WHO CAN NAME THIS BUILDING?
GO AHEAD.
TRY IT. >> (inaudible speaking).
>> OKAY, SAME ARCHITECT.
FRANK GEHRY.
THAT'S THE DISNEY CONCERT HALL IN LOS ANGELES.
SO, OKAY, YOU'RE GOOD.
YOU'RE RIGHT ON THE RIGHT ARCHITECT.
YEAH. (laughing)
YEAH? >> (inaudible speaking).
>> OKAY-- NO, IT IS THE DISNEY IN LOS ANGELES.
(laughing) AND SAME ARCHITECT.
HE-- I MEAN, YOU KNOW, HE'S THE "STARCHITECT."
THAT'S WHAT THEY'RE CALLED-- STARCHITECTS.
AND, YOU KNOW, ANOTHER MUSIC HALL BEFORE THE SYDNEY OPERA HOUSE--
I MEAN, YOU CAN SEE THAT THERE'S AN EVOLVING FORM.
NOW, THE DIFFERENCE BETWEEN THIS FORM THAT YOU CAN SEE, WHICH IS CERT--
WAS IN ITS TIME-- AND IT'S THE SYDNEY OPERA HOUSE--
WAS A VERY MUCH, UH... EXPERIMENTAL.
COST OVERRUNS, ALL THAT STUFF,
TO THIS, IS ACTUALLY EMBODIED IN THAT PICTURE ABOVE...
WHICH IS A PARAMETRIC DESIGN PROGRAM.
AND PARAMETRIC DESIGN IS...
IS WHAT YOU CAN DO-- IN FACT, IN THE AUTOMOBILE COMPANIES,
THEY HAVE A PROGRAM CALLED CATIA,
WHICH IS HOW THEY GET AUTOMOBILE SHAPES AND FORMS.
IT'S NOT THE-- YOU KNOW, YOU DON'T JUST DO A CLAY MODEL...
(chuckling) AND THEN, THEY BUILD IT FROM THAT.
THEY ACTUALLY BUILD IT IN A COMPUTER,
USUALLY A PARAMETRIC DESIGN PROGRAM,
WITHOUT WHICH FRANK GEHRY COULD NOT GET THOSE FORMS,
AND THEY COULD NOT BUILD THEM.
SO, THERE'S ART PROGRAMS TURNING INTO ENGINEERING PROGRAMS
TURNING INTO ARCHITECTURE.
THAT INTERRELATIONSHIP OF ELEMENTS--
AND THIS CARRIES OUT THROUGH AUTOMOTIVE DESIGN, THROUGH--
I MEAN, THE SAME PROGRAM THAT CREATES THAT BUILDING,
CREATES THAT CAR...
WHICH IS DESIGNED-- I'M NOT GONNA ASK THE DESIGNER, (indistinct),
WAS NAME OF THE ITALIAN DESIGNER THAT DOES THE PORSCHE.
>> FERRARI. >> FERRARI?
YEAH-- OH, POR-- YEAH, NOT FERRARI--
ER, NOT PORSCHE-- FERRARI.
AND I STAND CORRECTED AND HUMBLED BY YOU.
YOU KNOW, SO ANYWAY,
ART AND ARCHITECTURE AND DESIGN--
ALL ASPECTS OF THEM ARE INTERRELATED...
JUST POINT NUMBER ONE.
AS WE LOOK AT THE EVOLUTION OF THE PROFESSIONS--
FOR WELL-- FROM ANCIENT TIMES, WELL INTO THE 21st CENTURY,
WE EVOLVED PROFESSIONALLY THROUGH APPRENTICESHIP.
OKAY, WHO CAN TELL ME THIS PAINTING RIGHT HERE?
IN THE MIDDLE-- WHO DID THAT?
ONE OF THE MOST FAMOUS PAINTINGS IN THE WORLD.
GO AHEAD. >> SISTINE CHAPEL.
>> SISTINE CHAPEL-- EXACTLY.
VATICAN CITY, SISTINE CHAPEL.
AND, UM, THAT WAS DONE BY MICHELANGELO...
AND HE DID IT UNDER AN AP-- UNDER--
FIRST OF ALL, HE WOULD HAVE STUDIED AS AN APPRENTICE,
BUT THEN, CAME UP THROUGH THE PATRON--
YOU KNOW, HE HAD A PATRON, WHO WAS THE POPE, IN THIS CASE.
OTHER PEOPLE, YOU KNOW-- THE ARTISTS IN FLORENCE HAD THE MEDICI FAMILY.
SO, YOU HAD PATRONS WHO PURCHASED THE WORK OF ARTISTS AND ARCHITECTS.
AND...
THERE WASN'T A FORMAL PROFESSIONAL EDUCATION IN ARCHITECTURE, CERTAINLY,
UNTIL THE 19th CENTURY IN PARIS, A SCHOOL CALLED (indistinct).
IT'S THE FIRST ARCHITECTURE SCHOOL OF THE UNITED STATES
WAS MASSACHUSETTS INSTITUTE OF TECHNOLOGY, ALL LATE 19th CENTURY.
AND, UM...
SO, BEFORE THEN, IT WAS ALL DONE BY APPRENTICESHIP.
FRANK LLOYD WRIGHT-- UP TOP-- THAT WAS HIS SCHOOL AT TALIESIN,
AND THAT WAS HIS PROPOSAL FOR BROADACRE CITY.
AND ALL THE PEOPLE THAT WORKED AT THE SCHOOL
WERE ACTUALLY CALLED APPRENTICES,
BECAUSE WRIGHT HIMSELF CAME UP THROUGH APPRENTICESHIP.
SO, WE HAVE MOVED NOW FROM THIS, IN LESS THAN 100 YEARS--
THE FIRST THOUSANDS OF YEARS OF OUR EXISTENCE
IN DESIGN AND ARCHITECTURE
WAS THROUGH AN APPRENTICESHIP PROCESS--
AND IN ABOUT THE LAST 100 YEARS,
WE'VE MOVED INTO A DIFFERENT FORM OF PRACTICE
AND A DIFFERENT FORM OF EDUCATION-- MORE FORMAL EDUCATION.
TODAY, WE PRACTICE IN SMALL FIRMS, LARGE FIRMS,
MULTIDISCIPLINARY MEGA-FIRMS, AND BOUTIQUE FIRMS.
NOW, SMALL FIRMS-- THERE'S SOME DEFINITIONS OF THAT.
BUT NORMALLY, I MEAN, WE HAVE--
TWO-THIRDS OF ALL THE ARCHITECTS IN THE UNITED STATES
PRACTICE IN SMALL FIRMS.
I TAKE THAT BACK.
TWO-THIRDS OF ALL THE FIRMS ARE SMALL FIRMS.
TWO-THIRDS OF ALL THE FIRMS IN THE UNITED STATES ARE SMALL FIRMS.
ONE, TWO, THREE, FOUR PEOPLE.
TWO-THIRDS OF ALL THE ARCHITECTS IN THE UNITED STATES TODAY
PRACTICE IN LARGE FIRMS.
SO, FEWER LARGE FIRMS, BUT THEY'RE BIGGER,
AND MOST OF THE PEOPLE PRACTICE IN LARGE FIRMS.
NOW...
THE MULTIDISCIPLINARY MEGA-FIRMS--
WHEN I WAS COMING UP THROUGH THE PROFESSION,
A "BIG FIRM" HAD 75 PEOPLE.
THAT WAS A HUGE FIRM IN THOSE DAYS.
I MEAN, WE'RE TALKING ABOUT THE MIDDLE AGES OF ARCHITECTURE NOW,
WHEN I WAS YOUNG.
BUT, YOU KNOW, A 100-PERSON FIRM-- THAT WAS A GIGANTIC FIRM.
UM, MOST OF THE FIRMS-- IF YOU LOOKED AT THE PHONEBOOK,
MOST OF THE FIRMS, IF YOU CALLED THEM, THEY'D BE 13, 14 PEOPLE.
THAT WAS CALLED A "MEDIUM-SIZED" FIRM, IN THOSE DAYS.
NOW, IT'S A SMALL FIRM.
BUT...
THE FIRMS ARE GETTING HUGE NOW.
THERE'S A FIRM, AECOM.
THEY'RE GOING AND BUYING ALL THE DESIGN FIRMS
IN THE UNITED STATES-- 42,000 PEOPLE WORKING FOR A SINGLE DESIGN FIRM.
UM... JOHNSON...
JOHNSON ENGINEERING HAS BOUGHT NUMEROUS DESIGN FIRMS--
62,000 PEOPLE.
OKAY, SO THOSE ARE THE MEGA-FIRMS,
AND THEY'RE ALL MULTIDISCIPLINARY.
THEY'RE BUYING FINANCIAL CONSULTING ARMS TO THEM,
THERE ARE REAL ESTATE ARMS, LANDSCAPE, ARCHITECTURE,
ARCHITECTURE, BOOM BOOM BOOM, ALL THOSE THINGS.
MULTIDISCIPLINARY MEGA-FIRMS.
BUT STILL, YOU HAVE PEOPLE THAT SAY, "WELL, I'M GONNA HAVE A SMALL FIRM
"AND I'M GONNA PRACTICE AS A BOUTIQUE PRACTICE."
I'LL SHOW YOU A COUPLE OF EXAMPLES OF THAT IN A MINUTE.
THE THING THAT'S GOVERNING WHAT WE DO TODAY IS LICENSURE.
THE STATES-- EVERY STATE IN THE UNITED STATES
AND ALL THE TERRITORIES REQUIRE ARCHITECTS TO BE LICENSED.
THAT MEANS THAT THE STATE EMPOWERS YOU TO PRACTICE ARCHITECTURE.
YOU CAN'T CALL YOURSELF AN ARCHITECT LEGALLY
UNLESS YOU HOLD ONE OF THESE LICENSES.
THE WAY TO GET TO YOUR LICENSE IS THE ACCREDITED DEGREE.
YOU CAN'T SIT FOR THE EXAM WITHOUT THE ACCREDITED DEGREE,
EXCEPT FOR A COUPLE STATES WHERE YOU CAN STILL DO IT,
WISCONSIN BEING ONE OF THEM.
THEY STILL WORK BY APPRENTICESHIP THERE.
YOU CAN DO IT THROUGH A LICENSED DEGREE, BUT IF YOU DON'T HAVE ONE--
APPRENTICESHIP, TEN YEARS.
UM... BUT...
THAT'S THE CHANGING WORLD THAT WE'RE WORKING OUT OF.
LICENSURE DIDN'T EXIST IN A LOT OF PLACES UNTIL THE 20th CENTURY.
BUT THAT'S THE CUT-OFF LINE FROM THOSE PATRONS
AND ELITE-SPONSORED MASTERS, TO WHAT WE HAVE TODAY.
OKAY, I TALKED ABOUT 'IM.
EVERYONE KNOW WHO THE PERSON TO THE LEFT IS?
FRANK LLOYD WRIGHT.
IT'S FUNNY.
YOU GO ANYWHERE IN THE WORLD-- EVERYONE KNOWS FRANK LLOYD WRIGHT.
IF I GAVE THIS LECTURE IN CHINA, AND I DID-- AND I DON'T SPEAK CHINESE--
I HAD A TRANSLATOR-- (laughing)
BUT YOU PUT UP THE PICTURE...
EVERYONE KNOWS FRANK LLOYD WRIGHT.
I WENT INTO ONE OF THEIR DESIGN STUDIOS IN CHINA
AND THEY HAD A PICTURE OF...
GERMAN-AMERICAN ARCHITECT MIES VAN DER ROHE,
AND UNDER IT, THEY HAD THE CAPTION, "FRANK LLOYD WRIGHT,"
BECAUSE THAT'S WHO THEY KNOW. (all laughing)
UM...
AND OF COURSE, THAT'S "FALLINGWATER," ONE OF HIS MOST FAMOUS BUILDINGS...
IF NOT HIS MOST FAMOUS BUILDING.
BY THE WAY, WE OWN-- MY COLLEGE OWNS THE AFFLECK HOUSE,
WHICH IS ANOTHER FRANK LLOYD WRIGHT HOUSE,
WHICH IS-- IT'S NOT THAT BUILDING,
BUT IT'S LOOSELY BASED ON THE CONCEPT OF THAT BUILDING,
WHICH IS REALLY KIND OF NEAT.
AND IT'S FEATURED, IF YOU CAN CALL IT UP--
THERE'S A CHRYSLER COMMERCIAL THAT'S COMING ON TV RIGHT NOW,
IF YOU'RE WATCHING THE BASEBALL PLAY-OFFS.
THEY HAVE A CHRYSLER DRIVING THROUGH DETROIT.
THE VERY LAST SCENE IS THEM DRIVING UP TO A HOUSE...
AND THAT'S THE AFFLECK HOUSE.
THAT'S THE HOUSE OUR COLLEGE OWNS.
WHO CAN NAME THE ARCHITECT TO THE RIGHT?
>> LE CORBUSIER. >> YOU GUYS ARE GOOD.
IT'S 'CAUSE HARDLY ANY-- NO ONE-- OR DID--
WAS THAT YOU GUYS THAT SAID IT?
WHO ELSE SAID IT OVER HERE?
ALL RIGHT... GOOD.
'CAUSE MOST PEOPLE MISS THIS ONE.
OKAY, WHAT'S THE BUILDING DOWN BELOW?
OH.
IT'S PROBABLY ONE OF HIS MOST FAMOUS BUILDINGS.
GO AHEAD.
>> RONCHAMP. >> RONCHAMP. (laughing)
IT'S A CHAPEL IN FRANCE.
NOW... WHAT?
OKAY. (laughing)
WHAT'S THE EDUCATIONAL SIMILARITY BETWEEN THESE TWO PEOPLE?
WHAT'S THAT? >> (inaudible speaking).
>> THEY BOTH CAME UP THROUGH APPRENTICE.
SO, WHAT'S THEIR FORMAL EDUCATION?
NOT MUCH.
WRIGHT HAD TWO YEARS OF ENGINEERING SCHOOL.
LE CORBUSIER CAME UP AS AN APPRENTICE.
HE WAS A WATCHCASE ENGRAVER TURNED ARCHITECT.
HE WAS A SWISS WATCHCASE ENGRAVER.
HE WAS AN ARTISAN.
THAT WAS THE WAY THAT IT USED TO WORK.
AND THEY WERE BOTH-- WELL, I DON'T KNOW ABOUT LE CORBUSIER,
BUT FRANK LLOYD WRIGHT WAS LICENSED AS AN ARCHITECT,
BUT HE DID IT THROUGH AN APPRENTICESHIP PROCESS...
WHICH TO SAY THAT IN THE EARLY 20th CENTURY
THROUGH THE MID-20th CENTURY,
YOU DIDN'T NEED A FORMAL EDUCATION.
YOU COULD STILL COME UP THROUGH APPRENTICESHIP.
BUT AS THE CENTURY WANED ON,
INCREASINGLY, YOU NEEDED THE ACCREDITED DEGREE IN ARCHITECTURE.
SO, YOU KNOW, I'VE BEEN DOING A LOT OF STUDYING AND RESEARCH
ON THE PRACTICE OF DESIGN.
AND EVERY YEAR, I GO TO A GROUP CALLED
"THE AMERICAN INSTITUTE OF ARCHITECTS LARGE-FIRM ROUNDTABLE."
IT'S THE HUNDRED LARGEST FIRMS IN THE UNITED STATES,
AND THEY PULL TOGETHER EVERY YEAR
AND THEY INVITE ABOUT TEN DEANS FROM AROUND THE COUNTRY.
MY FIRM IN KANSAS CITY USED TO BE A LARGE-FIRM ROUNDTABLE FIRM,
SO I GET INVITED AS ONE OF THE DEANS, WHICH IS REALLY COOL,
'CAUSE THEY PAY MY WAY AND ALL THAT KIND OF STUFF,
AND THEY GO TO NEAT PLACES.
BUT EVERY YEAR, WE DEBATE, "WHAT'S THE FUTURE OF THE PROFESSION?"
AND WE TALK ABOUT IT.
AND HERE'S WHAT THEY'RE SAYING--
AND THESE ARE THE HUNDRED BIGGEST FIRMS--
THAT IN THE FUTURE, WE'RE GONNA INVOLVE MANY MORE MULTIDISCIPLINARY TEAMS.
IT USED TO BE, IN THE OLD DAYS,
THE ARCHITECT WAS DOING BUILDINGS AND ONLY BUILDINGS,
AND THEY WERE WAITING FOR THE PHONE TO RING, AND THE PHONE WOULD RING
AND IT WOULD BE THE CLIENT ON THE END OF THE PHONE.
THEY WOULDN'T HAVE TO MARKET-- THEY'D JUST WAIT FOR THE PHONE TO RING.
BUT NOW, THE TEAMS ARE JUST TREMENDOUSLY COMPLEX.
TREMENDOUSLY COMPLEX.
AND ANY BUILDING WILL HAVE 16 DIFFERENT DISCIPLINES WORKING ON IT.
YOU KNOW, IN MY DAYS OF PRACTICE, THERE WAS A PERSON--
IF YOU WERE GOING TO DO A HIGH-RISE BUILDING,
YOU HAD TO HAVE A CURTAIN WALL CONSULTANT,
THE PERSON THAT DETAILS THE GLASS WALL-- WHY?
BECAUSE THEY HAD A WHOLE BUNCH OF BUILDINGS THAT WERE BUILT
AND THE GLASS WALL-- THE GLASS WAS POPPING OUT ONTO THE STREET.
YOU KNOW, FALLING-- THE JOHN HANCOCK BUILDING IN BOSTON
BEING THE MOST FAMOUS ONE, DONE BY, I BELIEVE, IT WAS I.M. PEI--
AND THE GLASS WAS POPPING OUT OF THE BUILDING,
WHICH IS NOT A GOOD THING FOR THE ARCHITECT'S LIABILITY.
SO, WHAT DO THEY DO?
THEY PASS ON THE LIABILITY TO A CURTAIN WALL CONSULTANT...
WHO GUARANTEES-- OR AT LEAST THEY HAVE THE INSURANCE THAT THE GUARANTEES
THAT THE GLASS IS GOING TO STAY IN.
THAT'S WHAT IT'S BECOME TODAY.
IT'S PASSING ON OF LIABILITY TO PEOPLE
AND PASSING ON EXPERTISE TO PEOPLE IN A MULTIDISCIPLINARY DESIGN TEAM.
GREAT FIRM COALITIONS.
YOU SEE VERY FEW BIG PROJECTS THAT ARE DONE BY--
I MEAN, TWO FIRMS THAT HAVE PERFECT CAPABILITY OF DOING THE JOB,
BUT THEY TEAM TOGETHER,
BECAUSE THEY THINK THEY HAVE A BETTER CHANCE OF GETTING IT,
IF THE FIRMS TEAM TOGETHER.
QUITE OFTEN, YOU'LL HAVE A LOCAL ARCHITECT OF RECORD
AND AN INTERNATIONAL DESIGN FIRM THAT WILL JOIN THEM.
GREAT COALITIONS OF FIRMS.
INDIVIDUAL EXPERTISE.
THE INDIVIDUAL EXPERTISE IS ALWAYS PRIZED.
WE, ACTUALLY, ARE TAUGHT AS GENERALISTS AS ARCHITECTS,
BUT WE PRACTICE IN SPECIALTIES.
SO, FOR THOSE OF YOU THAT ARE INTERESTED IN ARCHITECTURE,
YOU DON'T HAVE TO THINK OF IT NOW,
BUT EVENTUALLY, YOU'LL BE A SPECIALIST IN SOMETHING.
THE ONLY PEOPLE THAT ARE GENERALISTS NOW
ARE THE PEOPLE WORKING IN VERY SMALL FIRMS.
BUT WORKING IN VERY SMALL FIRMS,
AND DOING HOUSING AND SMALL COMMERCIAL IS ACTUALLY A SPECIALTY...
(laughing) BECAUSE YOU'RE NOT DOING BIG HOSPITALS,
YOU'RE NOT DOING--
YOU KNOW, YOU'RE NOT DOING LARGE-SCALE EDUCATIONAL BUILDINGS.
YOU'RE DOING HOUSES AND SMALL COMMERCIAL.
THAT'S YOUR SPECIALTY.
SO, YOU GEN-- PEOPLE GENERALLY PRACTICE THE SPECIALTIES NOW.
INCREASINGLY--
INCREASINGLY, PRACTICE IS GLOBAL.
THE FIRMS THAT HAVE COME OUT OF RECESSION--
AND WE'RE FINDING MANY MORE JOBS OPENING UP IN ARCHITECTURE,
YOU KNOW, IN THE COUNTRY RIGHT NOW...
EVERYONE'S-- ACTUALLY, BUILDINGS THIS YEAR IN ARCHITECTURE
ARE UP FROM LAST YEAR, WHICH IS A GOOD SIGN.
IT MEANS THAT WE MAY HAVE HIT BOTTOM,
WE'RE COMING BACK UP.
AND THE WHOLE CONSTRUCTION INDUSTRY HAS BEEN DOWN FOR THREE YEARS.
BUT WE FIND-- SIGNS ARE, FOR THOSE OF YOU THAT ARE YOUNG
AND COMING IN THE PROFESSION,
WE'RE FINDING SIGNS THAT, BY THE TIME THAT YOU GRADUATE,
THINGS ARE GOING TO BE A LOT EASIER.
ALTHOUGH, I'LL SAY THIS,
THAT 87 PERCENT OF ALL OF OUR GRADUATES LAST YEAR GOT JOBS.
WHICH IS A GOOD-- THAT'S A GOOD NUMBER.
THAT'S A GOOD, HIGH NUMBER.
NOW, YEARS AGO, THERE'D BE A LOT OF DEMAND
AND THEY'D HAVE TWO OR THREE OFFERS.
NOW, THEY'RE GETTING A JOB SOMEWHERE IN THE PROFESSION,
BUT THEY'RE GETTING A JOB.
OKAY?
GOOD SIGN, GOOD SIGN.
BUT THE TRUTH OF THE MATTER IS, THAT THE BIG FIRMS THAT ARE MAKING IT WELL,
ARE ALL PRACTICING IN MAINLY TWO PLACES--
CHINA AND THE MIDDLE EAST.
AND YOU'RE FINDING A LOT OF WESTERN FIRMS THAT ARE SUSTAINING THEIR PRACTICE--
THE PROFITABILITY OF THEIR PRACTICE BY PRACTICING IN THOSE TWO PLACES.
THAT'S WHERE THE MONEY IS RIGHT NOW, BOTH OIL AND PEOPLE...
(chuckling) AND, YOU KNOW, CHINA--
IT'S PREDICTED THAT CHINA'S GROSS NATIONAL PRODUCT WILL,
IN THE NEXT COUPLE DECADES, SURPASS OURS IN THE UNITED STATES.
SO...
IF YOU'RE GOING TO BE PRACTICING IN THE WORLD OF THE 21st CENTURY,
YOU'RE GOING TO BE PRACTICING GLOBALLY.
UM, 75 PERCENT OF THE POPULATION IN THE WORLD NOW IS URBAN.
LIVING IN CITIES.
AND MORE THAN 75 PERCENT OF THE WORK THAT YOU'LL BE DOING IS IN CITIES.
SO, YOU REALLY HAVE TO KNOW SOMETHING ABOUT CITIES.
AND LASTLY, YOU HAVE TO BE VERY AGILE.
THE CAREER THAT YOU EMBARK ON--
IT MAY NOT BE THE CAREER THAT YOU END UP WITH.
THAT YOU'LL CHANGE AND REFRAME YOUR CAREER
SEVERAL TIMES OVER, DURING YOUR CAREER.
WHICH, NUMBER ONE, MEANS THAT YOU HAVE TO APPROACH IT WITH SOME AGILITY.
YOU CAN'T BE LOCKED INTO ANY ONE THING.
BUT LIFE IS ALWAYS INTERESTING,
BECAUSE YOU'RE ALWAYS CHANGING AND GETTING NEW CHALLENGES.
WHAT THEY SAID AT THE LARGE-FIRM ROUNDTABLE
IS THAT THE VERY NATURE OF DESIGN WILL BE REDEFINED.
THEY'RE SAYING THAT, IN THE FUTURE, AS WE COME OUT OF THIS RECESSION,
WE'RE GOING TO BE WORKING WITH CLIENTS
AND THE PRODUCT OF OUR WORK MAY NOT BE A BUILDING.
NOW, THESE ARE ARCHITECTS SAYING THAT.
THE PRODUCT OF OUR WORK MAY NOT BE A BUILDING.
WE'RE GONNA--
OUR SOLUTION MAY BE FOR THAT CLIENT-- WE'RE GONNA DO A LOT OF WORK WITH 'EM,
TO FIGURE OUT HOW THEY DON'T HAVE TO DO A BUILDING.
NOW, THAT DOESN'T SOUND LIKE THE ARCHITECTURE THAT I WAS TRAINED IN.
(laughing) BUT IT'S ALL ABOUT CLIENT SERVICE NOW,
AND GETTING TO THE RIGHT SOLUTION, NOT NECESSARILY THE BUILDING SOLUTION.
WELL, THIS IS ONE OF OUR GRADUATES, DAN WINEY.
AND HE'S ONE OF OUR ALUMS FROM-- NOT LAST YEAR.
LONGER THAN THAT.
YOU CAN SEE HIS PICTURE DOWN THERE.
AND THIS IS SHANGHAI, AND THIS IS THE BUILDING THAT HE IS DOING NOW.
IT'S THE SHANGHAI TOWER.
YOU KNOW, SOMEONE TOLD HIM WHEN HE WAS IN SCHOOL THAT, YOU KNOW,
"YOU WORK HARD AND YOU MAY DO THE TALLEST BUILDING
"IN THE WORLD SOMEDAY," AND HE DIDN'T MAKE IT.
THIS IS ONLY GOING TO BE THE SECOND TALLEST BUILDING IN THE WORLD
WHEN IT'S FINISHED.
>> (inaudible speaking). >> WHAT'S THAT?
>> (indistinct) IS THE OTHER ONE. >> (laughing)
ANYWAY, HE HAS JUST BEEN NAMED THE MANAGING PRINCIPAL--
I HAVE TO CHANGE THAT TITLE-- HE IS ACTUALLY THE C.E.O. OF GENSLER,
WHICH IS THE LARGEST PURE DESIGN FIRM IN THE WORLD TODAY.
HE'S ONE OF OUR GRADUATES.
HE ACTUALLY CONTROLS, IN THE FIRM, THE ENTIRE PACIFIC RIM,
WHICH IS EVERYTHING FROM SAN FRANCISCO ALL THE WAY AROUND TO SOUTH AMERICA
AND TO ASIA, HONG KONG, SHANGHAI, SINGAPORE, TOKYO--
WHEREVER GENSLER'S OFFICES ARE.
THAT'S HIS TERRITORY.
BUT HE'S ALSO C.E.O. OF THE WHOLE FIRM.
ABOUT 6,000 PEOPLE IN THAT FIRM.
AND WHEN WE SAY-- WHEN WE COMPARE IT-- PURE DESIGN FIRM--
THAT MEANS THAT THEY DON'T HAVE ANY ENGINEERS WORKING IN THE FIRM.
EVERYONE'S A DESIGNER IN THE FIRM.
UM, SO...
HE TOLD ME... THAT WHEN THEY WERE INTERVIEWING FOR THIS JOB--
AND THIS WAS THE PLUMB JOB IN THE WORLD
THE YEAR THEY GOT IT.
UH, THE LAST TWO STANDING IN THIS COMPETITION
WERE HE AND NORMAN FOSTER...
A VERY FAMOUS BRITISH ARCHITECT.
THAT THE QUESTION THAT DEFINED THE DIFFERENCE
BETWEEN THE TWO FIRMS WAS THEY SAID,
"TELL US HOW YOU ARE GOING TO KEEP THIS JOB,"
BECAUSE THE CHINESE SAID, "TIME IS MONEY TO US.
"WE NEED TO GET THIS PROJECT DONE FAST."
"HOW ARE YOU GOING TO KEEP THE JOB IN DESIGN AND PRODUCTION,
"24 HOURS A DAY, SEVEN DAYS A WEEK,
"USING YOUR INTERNATIONAL NETWORK OF FIRMS?"
AND FOSTER DIDN'T HAVE THE ANSWER.
GENSLER HAD THE ANSWER, "WE'RE GOING TO MOVE THE PROJECT
"FROM OUR FIRM IN SHANGHAI TO OUR OFFICE IN LONDON,
"TO OUR OFFICE IN SAN FRANCISCO, AND BACK TO SHANGHAI, EVERY DAY,
"USING ELECTRONIC MEDIA.
SO, THE PROJECT IS IN DESIGN AND PRODUCTION, 24-7,
USING THEIR ELECTRONIC NETWORK.
WHOLE NEW WAY OF PRACTICE.
WHOLE NEW WAY OF DIGITAL PRACTICE.
AND THIS IS A FAR CRY FROM MICHELANGELO SITTING ON THE--
SITTING IN THE SISTINE CHAPEL, PAINTING THE CEILING WITH A PAINTBRUSH
WHILE THE PAINT DRIPS IN HIS EYE, RIGHT?
SO, THAT'S THE MASSIVE AMOUNT OF CHANGE WITH DESIGN AND ARCHITECTURE
THAT WE'VE SEEN.
COMPLETELY DIFFERENT WORLD.
WHEN I FIRST STARTED STUDYING-- AND I GRADUATED IN THE EARLIER 1970s--
WE DIDN'T HAVE COMPUTERS. (chuckling)
WE DREW BY HAND.
AND WHEN YOU WANTED TO CHANGE YOUR DRAWING--
THE CLIENT WOULD CALL AND SAY, "CAN YOU CHANGE THE DRAWING?"
YOU'D GO PULL 'EM OUT OF THE DRAWER,
YOU'D USE A LITTLE THING CALLED AN "ELECTRIC ERASER,"
YOU'D ERASE IT, YOU'D SEND IT OUT TO THE PRINTER,
YOU'D MAIL IT OUT TO THE PERSON, THEY'D GET IT FOUR DAYS LATER,
AND THEY'D BE REALLY HAPPY.
NOW, THEY WANT IT IN 14 MINUTES.
THEY WANT THE CHANGES DONE IN 14 MINUTES,
SUBMITTED TO THEM DIGITALLY.
THAT'S THE DIFFERENCE.
UH, THIS IS-- THIS IS DEIRDRE JIMENEZ, ANOTHER ONE OF OUR GRADUATES.
UM...
AND SHE'S OPERATIONS PRINCIPLE FOR JACOBS, WHICH WAS THAT OTHER FIRM--
62,000 PEOPLE IN THE FIRM.
AND, UM...
SHE IS AN ARCHITECT AND INTERIOR ARCHITECT,
AND ANYONE THAT COMES THROUGH OUR PROGRAM--
I MEAN, IF YOU COME THROUGH THE PROGRAM HERE AT GRCC,
YOU ACTUALLY HAVE A CHOICE.
YOU CAN BE AN ARCHITECT, AN INTERIOR ARCHITECT--
BECAUSE OF THE CURRICULUM IN THE FIRST TWO YEARS, WITH US,
IS VIRTUALLY THE SAME.
LITTLE BIT EASIER MATH FOR THE INTERIOR ARCHITECTURE.
THAT'S THE ONLY DIFFERENCE.
SO, TAKE THE HARDER MATH AND THEN YOU'RE COMPLETELY FLEXIBLE.
OR YOU CAN BE BOTH.
WE DO DUAL DEGREES.
AND WHAT WE'RE FINDING IS, IN ORDER TO BE A SPECIALIST,
MANY TIMES, PEOPLE WILL WANT TO HAVE THOSE DUAL DEGREES.
SO, WE DO ARCHITECTURE AND INTERIOR ARCHITECTURE,
CONSTRUCTION MANAGEMENT, UH, GRAPHIC DESIGN...
ANY NUMBERS OF PROGRAMS.
WE EVEN HAVE AN EVOLVING ONE IN ARCHITECTURE AND MEDIA COMMUNICATIONS,
WHICH IS FILM.
VIDEO AND FILM.
AND BECAUSE WE'RE FINDING THAT MANY OF THE FIRMS OUT THERE
ARE ACTUALLY USING MEDIA AND FILM
TO BOTH SELL THEIR WORK AND TO--
TO MARKET THE JOB AND TO SELL THE JOB AFTER THEY'VE DESIGNED IT.
SO-- BUT HER EXPERTISE
IS ACTUALLY IN INTERIOR ARCHITECTURE AND ARCHITECTURE.
VICTOR SAROKI, ANOTHER ONE OF OUR GRADUATES--
HE'S ON OUR BOARD OF TRUSTEES--
UM, HE PRACTICES IN A SMALL BOUTIQUE PRACTICE
IN BIRMINGHAM, MICHIGAN.
FOURTEEN PEOPLE IN THE FIRM.
NEVER WANTS TO GET ANY BIGGER-- WHY?
BECAUSE HE SAYS, "WITH 14 PEOPLE,
"WE CAN CONTROL THE DESIGN MORE EFFECTIVELY."
YOU KNOW, THE WANNA HAVE THE OLD KIND OF--
THE KIND OF FIRM WHERE EVERYONE'S INTO THE DESIGN.
BUT HE PRACTICES PRIMARILY IN BOUTIQUE SITUATIONS--
BOUTIQUE RESTAURANTS, BOUTIQUE HOTELS, THAT SORT OF THING.
AND, UH...
AND HE'S VERY HAPPY WITH THAT PRACTICE AND, EVEN THROUGH THE RECESSION,
HAS GROWN THE PRACTICE.
DOESN'T GROW IT BIG.
"BIG GROWTH," FOR HIM, IS ONE PERSON. (chuckling)
'CAUSE HE ONLY HAS A 14-PERSON FIRM.
OKAY, SO-- FOR THE--
THIS IS FOR YOU HIGH SCHOOL STUDENTS OUT THERE, OKAY?
BECAUSE THE PEOPLE HERE AT GRCC HAVE ALREADY MADE UP YOUR MINDS, I THINK.
BUT FOR YOU HIGH SCHOOL PEOPLE, YOU HAVE AN IMPORTANT DECISION TO MAKE...
HOW DO YOU GO ABOUT SELECTING A COLLEGE?
AND FOR YOU PEOPLE IN GRCC,
HOW DO YOU DECIDE WHICH COLLEGE YOU WANT TO GO TO
AFTER YOU FINISH HERE?
SO, THE THING THAT YOU HAVE TO KNOW IS THAT COLLEGES ARE NOT AT ALL ALIKE.
THERE ARE, IN FACT, IN THE ARCHITECTURE WORLD,
FOUR DIFFERENT TYPES OF COLLEGE.
AND SO, YOU HAVE TO CHOOSE THE ONE THAT'S RIGHT FOR YOU.
NOW...
BY FAR, THE BIGGEST GROUP OF COLLEGES--
AND THIS IS OVER 60 PERCENT OF ALL THE COLLEGES IN THE UNITED STATES,
OF ARCHITECTURE-- THERE'S 114 SCHOOLS OF ARCHITECTURE IN THE UNITED STATES--
OVER 60 PERCENT OF THEM ARE THEORY AND RESEARCH SCHOOLS.
YOU WENT TO-- >> THEORY AND RESEARCH SCHOOL.
>> WHICH IS KNOWN AS? >> UNIVERSITY OF MICHIGAN.
>> UNIVERSITY OF MICHIGAN, A THEORY AND RESEARCH SCHOOL.
CLEARLY, ONE OF THE BEST THEORY AND RESEARCH SCHOOLS IN THE UNITED STATES.
YOU HAVE THEM, YOU HAVE THEM, YOU HAVE BERKELEY,
YOU HAVE THEORY AND RESEARCH SCHOOLS.
THEY'RE JUST-- THEY'RE KNOWN FOR THAT...
AND THEY'RE PRIZED FOR THAT.
UM, SO YOU SEE SOME OF 'EM-- SOME OF 'EM UP THERE--
YOU KNOW, UNIVERSITY OF MICHIGAN, MINNESOTA, CALIFORNIA, BERKELEY, HARVARD,
AND THEN, THE LIST GOES ON AND ON.
THERE'S OVER 60 OF THEM.
PRIMARILY, THEY'RE STATE SCHOOLS AND IVY LEAGUE SCHOOLS.
BUT WHY STATE SCHOOLS?
I MEAN, YOU WOULD THINK THAT STATE SCHOOLS--
WOULDN'T THEY DEAL WITH THE GENERAL ARCHITECTURE--
I MEAN, THE GENERAL EDUCATION WITHIN THE STATE?
SHOULDN'T THEY BE DOING THE GENERAL EDUCATION FOR EVERYONE?
WELL, USED TO BE THAT WAY.
WHEN YOU WENT, IT WAS A PRACTICE SCHOOL.
IT WAS A PRACTICE SCHOOL.
WHERE'D YOU GO?
>> SAME SCHOOL. >> SAME SCHOOL.
WAS IT A PRACTICE SCHOOL? >> NO.
>> IT DID A TURN BY THEN, RIGHT?
OKAY, OKAY-- HERE'S WHAT HAPPENED--
ABOUT 30 YEARS AGO OR SO, IF YOU WOULD HAVE ASKED THE SCHOOLS,
"HOW MUCH OF THE TUITION..."
UH, I MEAN, YOU KNOW, "HOW MUCH DOES IT--
"WHAT PERCENTAGE OF EDUCATING A STUDENT IS PAID FOR BY THE STATE?"
AND AT THAT TIME, AROUND THE COUNTRY,
IT WOULD HAVE BEEN 60 TO 80 PERCENT.
THE REST OF IT IS PICKED UP BY TUITION, PHILANTHROPY,
AND ALL THOSE SORTS OF THINGS.
I WAS AT THE ROUND--
UH, THE LARGE-FIRM ROUNDTABLE TWO YEARS AGO
AND I SAID, "I'M JUST CURIOUS..."
I HAD ABOUT TEN DEANS AT THE TABLE WITH ME,
AND I WAS ONE OF ONLY TWO OR THREE PRIVATE SCHOOL DEANS,
SO I ASKED ALL THE PUBLIC DEANS,
"WELL, HOW MUCH OF YOUR TUITION IS PICKED UP BY THE STATE?"
THE AVERAGE WAS 12 TO 15 PERCENT.
SO, STATES-- YOU KNOW, STATES HAVE BEEN CUTTING BUDGETS RECENTLY.
WHERE DO THEY CUT IT FROM?
THEY CUT IT, PRIMARILY, FROM HIGHER EDUCATION...
WHICH MEANS THAT-- TWO WAYS OF DOING IT.
NUMBER ONE, STATE SCHOOLS HAVE TO RAISE TUITION...
AND THEY'VE BEEN DOING IT.
UH, NUMBER TWO IS THEY HAVE TO GET MORE PHILANTHROPY
AND THEY'RE DOING IT.
THREE IS THEY HAVE TO DO MORE FUNDED RESEARCH.
AND RESEARCH COFFERS--
I MEAN, YOU'VE HEARD OF THE TERM "RESEARCH I UNIVERSITY."
THESE ARE UNIVERSITIES THAT DRIVE A LOT OF THEIR BUDGET THROUGH RESEARCH.
AND THE WAY THAT THEY DO IT IS THEY GET RESEARCHERS
THAT CAN GO AFTER FUNDED RESEARCH PROJECTS,
PRIMARILY PhDS,
BECAUSE THAT WHAT IT TAKES TO GET THE RESEARCH GRANT IN THE FIRST PLACE...
AND THERE ARE PEOPLE THAT HAVE NEVER PRACTICED IN THEIR PROFESSION.
IF YOU'RE AT AN ARCHITECTURE SCHOOL,
YOU'VE PROBABLY NEVER HAVE PRACTICED ARCHITECTURE,
YOU HAVE YOUR PhD, YOU'RE A RESEARCHER,
AND YOU GO INTO THE SCHOOL,
YOU WORK WITH GRADUATE STUDENTS WHO THEN TEACH THE UNDERGRADUATE STUDENTS.
THEY HAVEN'T HAD ANY PRACTICE EITHER, BECAUSE THEY'RE STILL IN SCHOOL.
AND SO, YOU'RE HAVING A THEORY SCHOOL BEGETTING THEORISTS.
AND THEY TEACH WHAT THEY KNOW, WHICH IS THEORY AND RESEARCH.
AND SO, THAT'S HOW THE SCHOOLS END UP
PRIMARILY AS THEORY AND RESEARCH SCHOOLS,
AND THEY'RE TURNING OUT RESEARCHERS.
SO, IF YOU WANT TO GO TO A SCHOOL THAT WILL GET YOU INTO RESEARCH--
IF YOU WANT TO TEACH IN A RESEARCH I UNIVERSITY,
IF YOU WANNA WRITE ABOUT ARCHITECTURE,
IF YOU WANNA DO RESEARCH ABOUT ARCHITECTURE,
THAT'S THE SCHOOL FOR YOU!
MUCH BETTER SCHOOL THAN WE ARE...
IF THAT'S WHAT YOU WANNA DO.
LET ME JUST TELL YOU-- THERE ARE VERY FEW JOBS IN THAT AREA, THOUGH.
(audience laughing)
THERE ARE VERY FEW JOBS IN THEORY AND RESEARCH.
FAR FEWER JOBS THAN IN PRACTICE.
BUT 30 PERCENT OF THE SCHOOLS ARE PRACTICE SCHOOLS.
USED TO BE THAT 90 PERCENT WERE PRACTICE SCHOOLS.
THIRTY PERCENT ARE NOW PRACTICE SCHOOLS.
AND THE JOB OF A PRACTICE SCHOOL IS TO PREPARE PEOPLE FOR...
YOU KNOW, EMPLOYMENT IN THE JOB MARKET...
TO PREPARE PEOPLE WHO ARE PRACTICING ARCHITECTS,
WHO CAN GET LICENSED IN ARCHITECTURE
OR INTERIOR ARCHITECTURE OR ANY OF OUR FIELDS, RIGHT?
WE'RE-- DAVID WAS TALKING ABOUT THEORY AND PRACTICE.
WELL, YES, WE TEACH THEORY BECAUSE YOU HAVE TO KNOW THEORY.
BUT OUR SECOND NAME IS "PRACTICE."
YOU HAVE TO KNOW PRACTICE IF YOU WANT TO ACTUALLY DO SOMETHING
IN TERMS OF CHANGING THAT WORLD.
NOT JUST WRITING ABOUT IT, BUT ACTUALLY BEING A PRACTICING ARCHITECT.
AND, UM...
I'M NOT SAYING, BY THE WAY,
THAT PEOPLE COMING OUT OF THEORY SCHOOLS CAN'T PRACTICE.
THEY-- MANY OF THEM DO, BUT IT'S A LONGER ROAD TO GET THERE.
IT'S JUST A-- THEY HAVE TO LEARN ABOUT PRACTICE
AFTER THEY GET THEIR JOB IN THE PROFESSION
AND THEY START OFF BEHIND PEOPLE THAT COME OUT OF THE PRACTICE SCHOOLS.
SO, THESE ARE OUR PEER SCHOOLS, UH, AND YOU CAN SEE PRATT INSTITUTE,
BOSTON ARCHITECTURAL COLLEGE, DREXEL IN NEW YORK,
INSTITUTE OF TECHNOLOGY, AND UNIVERSITY OF SOUTHERN CALIFORNIA.
YOU SAY, "WELL, WAIT A MINUTE-- I GOT YOU NOW.
"UNIVERSITY OF SOUTHERN CALIFORNIA-- THAT'S A PUBLIC SCHOOL!"
NO, IT ISN'T, IT'S A PRIVATE SCHOOL. (laughing)
IT JUST HAS THE STATE'S NAME IN IT.
UH, GREAT FOOTBALL TEAM, THOUGH.
BETTER FOOTBALL TEAM THAN ANY OF THESE UP HERE.
UM, BUT YOU KNOW...
WE PROUDLY ARE IN THE PRACTICE SCHOOL CATEGORY.
NOW, HOW DO YOU IDENTIFY A PRACTICE SCHOOL,
IF YOU'RE LOOKING AROUND?
LOOK AT THE FACULTY.
WHERE YOU LOOK AT THE THEORY SCHOOL, ALMOST EVERYONE ON THE FACULTY'S A PhD...
AND A HIGH NUMBER OF FULL-TIME FACULTY, VERSUS ADJUNCT FACULTY.
IF YOU GO TO THE PRACTICE SCHOOLS, YOU'LL HAVE YOUR CADRE OF PhDS
THAT ARE THE THEORISTS AND THE HISTORIANS AND THOSE SORTS OF PEOPLE,
AND THEN YOU'LL HAVE A BUNCH OF PRACTICING, FULL-TIME FACULTY,
AND THEN YOU'LL HAVE A MUCH LARGER GROUP OF PRACTICING ADJUNCT FACULTY,
SO THAT THE PEOPLE THAT ARE TEACHING YOU
ARE ACTUALLY PEOPLE THAT ARE COMING FROM THEIR OFFICE,
WHERE THEY'RE PRACTICING, THEY'RE TEACHING YOU,
AND THEN THEY'RE GOING BACK TO THEIR OFFICE.
AND THAT'S THE MAJOR DIFFERENCE,
THAT THE PEOPLE THAT ARE TEACHING YOU ARE IN PRACTICE.
YOU HAVE A COUPLE OF OTHER SCHOOLS-- ART EMPHASIS SCHOOLS.
WELL, KENDALL...
WOULD BE AN ART EMPHASIS SCHOOL.
>> (indistinct speaking). >> WHAT?
>> THEY DON'T HAVE AN ACCREDIT--
>> NO, THEY DON'T HAVE AN ACCREDITED DEGREE,
BUT THEY'RE TRYING TO FORM A "MASTER OF ARCHITECTURE," RIGHT?
IT WILL BE AN ART EMPHASIS MASTER'S, 'CAUSE THAT'S WHAT THEY DO.
BUT TALK ABOUT SAVANNAH COLLEGE OF ART AND DESIGN, OR, UM...
YOU KNOW, RHODE ISLAND, PARSONS...
CRANBROOK DOESN'T HAVE AN ACCREDITED DEGREE,
BUT THEY HAVE A MASTER OF ARCHITECTURE THAT'S NOT ACCREDITED.
ART EMPHASIS.
YEAH.
AND WHAT THEY LEARN IS THE FORM-MAKING--
NONE OF THE TECHNOLOGY INTEGRATION OR ANYTHING LIKE THAT.
IT'S ABOUT MAKING FORM.
AND YOU HAVE THE NICHE THEORY SCHOOLS.
GUESS WHAT THEY TEACH AT FRANK LLOYD WRIGHT SCHOOL OF ARCHITECTURE?
GUESS WHAT THEY TEACH?
ANYONE HAZARD A GUESS? >> FRANK LLOYD WRIGHT.
>> FRANK LLOYD WRIGHT-- THAT'S WHAT THEY TEACH, YEAH.
I.I.T., NOT TOO FAR FROM HERE IN CHICAGO.
GUESS WHAT THEY TEACH?
>> MIESIAN. >> MIES VAN DER ROHE.
YOU KNOW, THEIR FOUNDING DEAN WAS MIES VAN DER ROHE,
AND THEY STILL ADHERE TO THE GOSPEL OF MIES VAN DER ROHE.
WE HAVE STUDENTS EVERY YEAR THAT TRY TO TRANSFER TO US,
THEY SAY, "WE NEVER KNEW THERE WAS SO MUCH BEYOND MIES VAN DER ROHE."
YOU KNOW, AND IF YOU WANNA STUDY MIES, YOU BELONG AT I.T.T.
NO, NOT I.T.T.-- I.I.T. (audience laughing)
BIG DIFFERENCE THERE.
UH, YOU KNOW, IF YOU WANNA STUDY FRANK LLOYD WRIGHT,
THE BEST PLACE IS THE FRANK LLOYD WRIGHT SCHOOL OF ARCHITECTURE.
ABOUT 25 STUDENTS IN A MASTER'S PROGRAM THERE.
UNIVERSITY OF MIAMI-- THEY TEACH SOMETHING CALLED "NEW URBANISM."
THAT'S THEIR SPECIALTY.
AND, UH, THAT HAS TO WITH THE PERSON THAT'S THE DEAN AND BROUGHT THAT THERE.
UNIVERSITY OF NOTRE DAME-- NOT TOO FAR FROM HERE--
WHAT DO THEY TEACH?
THEY TEACH CLASSICAL ARCHITECTURE.
CLASSICISM, CLASSICAL DESIGN.
NOT MODERN DESIGN-- CLASSICAL DESIGN.
IF YOU WANT TO KNOW ABOUT CLASSICAL DESIGN,
YOU GO TO NOTRE DAME.
SO, YOU CAN SEE THAT, IN THE ARRAY OF SCHOOLS,
THEY'RE ALL REALLY DIFFERENT.
THEY COME IN CATEGORIES, BUT EVERY SCHOOL IS UNIQUE.
BUT WHEN YOU CATEGORIZE THEM, YOU HAVE TO DECIDE WHAT YOU WANT TO DO.
IT'S ALL ABOUT YOU, AND WHAT YOU WANT TO DO IN YOUR LIFE AND CAREER.
IF YOU WANT TO PRACTICE ARCHITECTURE AS YOUR PRIMARY CONCERN,
YOU REALLY DO BELONG IN A PRACTICE SCHOOL.
WE MAY OR MAY NOT BE RIGHT FOR YOU.
BUT IF YOU WANT TO PRACTICE, WE ARE A RIGHT SCHOOL FOR YOU.
NOT A WRIGHT-- W-R-I-G-H-T-- BUT A RIGHT-- R-I-G-H-T.
OKAY, THESE ARE THE PROGRAMS THAT WE OFFER,
AND DAVID WAS SUGGESTING THAT WE OFFER MORE THAN JUST ARCHITECTURE, AND WE DO.
UH, WE OFFER A RANGE.
BY THE WAY, THIS IS PART OF THAT MULTI-DISCIPLINARY EDUCATION.
WE WANT TO EXPOSE YOU, FROM DAY ONE, TO MULTI-DISCIPLINARY EDUCATION.
ALL OF OUR STUDENTS START IN THE SAME PROGRAM.
DOESN'T MATTER WHETHER YOU'RE STUDYING ARCHITECTURE
OR TRANSPORTATION DESIGN-- THE DESIGN OF AUTOMOBILES--
YOU'RE IN THE SAME STUDIOS...
AND THERE'S A SAME TRUNK OF THE TREE, AND YOU BRANCH OFF.
BY THE TIME YOU HIT THIRD YEAR, YOU'RE IN YOUR OWN PROGRAM.
BUT IN THE FIRST TWO YEARS, YOU'RE IN THE SAME DESIGN PROGRAM,
MORE OR LESS, WITH A FEW LITTLE THINGS.
BUT ARCHITECTURE, INTERIOR ARCHITECTURE, IMAGING--
WHICH IS GRAPHIC DESIGN AND DIGITAL ARTS.
DIGITAL ARTS IS ABOUT TO CHANGE TO SOMETHING CALLED "INTERACTION DESIGN,"
WHICH I'LL EXPLAIN THE DIFFERENCE IN A FEW MINUTES.
GAME ART-- THAT'S THE DESIGN OF VIDEO GAMES.
UM, TRANSPORTATION DESIGN, INDUSTRIAL DESIGN,
AND ARCHITECTURAL ENGINEERING.
WE HAVE DUAL DEGREES BETWEEN ARCHITECTURE AND INTERIOR ARCHITECTURE,
GRAPHIC DESIGN, DIGITAL ARTS, UH, AND ARCHITECTURAL ENGINEERING.
SO, YOU CAN GET DEGREES IN MULTIPLE FIELDS.
THAT'S PART OF THE SPECIALIZATION.
MULTI-DISCIPLINARY DESIGN SCHOOLS.
THERE ARE SOME DESIGN SCHOOLS THAT ARE JUST SINGULAR,
LIKE AN ARCHITECTURE SCHOOL.
WE BELIEVE THAT YOU HAVE A MUCH RICHER ENVIRONMENT FOR LEARNING
IN A MULTI-DISCIPLINARY SCHOOL.
SO, IN ARCHITECTURE AND ITS RELATED FIELDS,
THE DEGREE THAT WE'RE REALLY INTERESTED IN TALKING ABOUT
IS THE MASTER OF ARCHITECTURE.
FOR THOSE OF YOU THAT COME THROUGH GRAND RAPIDS COMMUNITY COLLEGE,
YOU'RE GONNA DO TWO YEARS HERE, YOU'RE GONNA TRANSFER TO US,
AND YOU'RE GONNA BE IN A MASTER'S PROGRAM.
SO, IT'S A TWO PLUS THREE.
YOU'LL BE IN THE MASTER'S PROGRAM.
AND, UM, ALL YOU HAVE TO DO
IS KEEP YOUR GRADE POINT AVERAGE HIGH ENOUGH
TO GET INTO THE FIFTH YEAR, WHICH IS A 3.0,
AND IF YOU DON'T DO THAT,
YOU CAN STILL GET OUR BACHELOR'S OF SCIENCE.
YOU'LL GRADUATE WITH A DEGREE, AND THAT'S AFTER FOUR Y--
THAT'S A TWO PLUS TWO.
IF YOU CHOOSE TO GO TO A DIFFERENT GRADUATE SCHOOL,
YOU SAY, "WELL, LISTEN...
"I'VE BEEN THROUGH A PRACTICE SCHOOL AND, YOU KNOW,
"I WANT TO GO TO A THEORY SCHOOL."
WE HAVE A LOT OF PEOPLE THAT, IN THEIR LAST YEAR,
THEY'LL GO TO MICHIGAN, OR WE HAD PEOPLE THAT GO TO HARVARD.
AND THEY DO VERY WELL IN THOSE SCHOOLS.
MICHIGAN SAYS, "KEEP ON SENDING US YOUR STUDENTS,"
AND I SAID, "WELL, WE LIKE TO KEEP A FEW OF 'EM HERE, TOO," AND WE DO.
BUT YOU KNOW, THIS CAN BE YOUR CHOICE.
UH, YOU CAN OPT OUT OF THE MASTER'S
BY CHOOSING THE BACHELOR'S, IN OTHER WORDS.
UM, MASTER OF URBAN DESIGN, WHICH IS A SPECIALTY AREA
THAT COMBINES URBAN PLANNING AND ARCHITECTURE.
AND THEN, THE BACHELOR OF ARCHITECTURE STUDIES
FOR THOSE PEOPLE-- AND I DON'T THINK IT WOULD BE MANY PEOPLE HERE--
BUT THOSE PEOPLE THAT WANT TO DO A MORE LIBERAL ARTS-BASED
ARCHITECTURAL EDUCATION, AND THEN GO OFF TO STUDY IN SOME OTHER AREA.
IF YOU WANT TO BE A LAWYER-- A REAL ESTATE LAWYER--
OR IF YOU WANT TO BE A REAL ESTATE DEVELOPER
OR SOMETHING LIKE THAT...
AND YOU DON'T WANT TO BE AN ARCHITECT,
YOU JUST WANT KNOWLEDGE OF ARCHITECTURE
'CAUSE YOU'RE GONNA BE DEALING WITH IT, THAT WOULD BE A GOOD PROGRAM FOR YA.
WHOOPS.
JUST MESSED UP THERE.
INTERIOR ARCHITECTURE AND INTERIOR DESIGN.
INTERIOR ARCHITECTURE IS OUR UNDERGRADUATE PROGRAM.
IT IS THE ACCREDITED DEGREE.
SO, THE BACHELOR OF INTERIOR ARCHITECTURE IS THE-- IS--
QUALIFIES YOU FOR THE--
IT'S A CITA ACCREDITED DEGREE THAT QUALIFIES YOU FOR THE LICENSING EXAM--
THE N.C.I.D.Q. EXAM.
AND THAT'S THE IMPORTANT THING--
IF YOU'RE GOING TO GO TO A NON-ACCREDITED SCHOOL,
YOU'RE NOT GOING TO EASILY QUALIFY FOR THAT EXAM.
IT DEPENDS ON HOW THE STATE INTERPRETS IT, UH, THAT YOU'RE GONNA BE LICENSED IN.
BUT YOU WANT TO ALWAYS GO TO AN ACCREDITED SCHOOL.
OUR ARCHITECTURE'S N.A.E.B.,
OUR INTERIOR ARCHITECTURE'S BOTH CITA AND NASAD,
WHICH IS FINE ARTS ACCREDITED.
AND THAT IS THE...
THE ACCREDITED DEGREE.
THE INTERIOR DESIGN DEGREE IS MORE OF A FINISHING SCHOOL
FOR PEOPLE THAT WANT TO TEACH, FOR EXAMPLE, IN INTERIOR DESIGN
OR PEOPLE THAT WANT TO PRACTICE IN A SPECIALTY AREA.
IMAGING GRAPHIC DESIGN.
GRAPHIC DESIGN IS TWO-DIMENSIONAL ART,
LIKE YOU SEE IN JOURNALISM, NEWSPAPERS, MAGAZINES, THOSE SORTS OF THINGS, WEB--
UH, WEB-BASED, NOT-IN-MOTION.
UH, WE'RE FORMING A PROGRAM IN ENVIRONMENTAL GRAPHICS NOW
THAT COMBINES ARCHITECTURE AND GRAPHICS--
IT'S THE SIGNAGE AND WAVE-FINDING ASSOCIATED WITH BUILDINGS.
THAT'S A MASTER'S DEGREE PROGRAM.
IMAGING AND DIGITAL ARTS.
THAT'S ART IN MOTION.
SO, THAT WOULD BE COMPUTER ANIMATIONS, UH, AND THAT SORT OF THING.
IN ADDITION TO THAT, AN OFFSHOOT OF THAT IS GAME ART.
THAT IS THE THEMING AND STORY-DEVELOPMENT IN COMPUTER GAMES,
UH, AND THEN, WE'VE RELATED THAT PROGRAM TO A GAME DESIGN PROGRAM
IN ARTS AND SCIENCES WHERE THEY DO THE COMPUTER CODING.
SO, YOU CAN ACTUALLY LEARN BOTH ASPECTS OF IT.
WE'RE FINDING THERE'S A GROWING DEMAND IN THE GAMING--
NOT THE GAMING INDUSTRY-- THAT WOULD BE LIKE GAMBLING.
BUT IN--
BUT IN THE ART OF COMPUTER GAMES AS A GROWING NEED FOR THAT.
IN FACT, INCLUDING THE MOVIE INDUSTRY,
WHICH IS HIRING ANIMATORS FROM THE DIGITAL DESIGN PROGRAM,
AS WELL AS GAME ARTISTS.
TRANSPORTATION DESIGN-- THE DESIGN OF ALL KINDS OF VEHICLES.
AUTOMOBILES ARE THE CENTER POINT,
BUT WE LIKE TO SAY IT'S ANYTHING FROM TENNIS SHOES TO AIRPLANES,
AND EVERYTHING IN BETWEEN.
AND WE'VE JUST ALSO INCORPORATED AN INDUSTRIAL DESIGN PROGRAM TO THAT--
THAT'S THE DESIGN OF PRODUCTS.
SO, MULTI-DISCIPLINARY DESIGN SCHOOL.
ALL THIS HAPPENING IN ONE SCHOOL.
AND THE KIND OF CREATIVE SYNERGY AMONG THESE DISCIPLINES
REALLY DRIVES THE NATURE OF THE SCHOOL
AND ADDS A LOT OF ENTHUSIASM, EXCITEMENT, AND INTERPLAY.
ARCHITECTURAL ENGINEERING-- THE DESIGN OF BUILDING SYSTEMS,
WHERE THE ARCHITECT IS ACTUALLY THE ORCHESTRATOR OF THE BUILDING
AS IT'S GOING TOGETHER.
THE ARCHITECTURAL ENGINEER IS THE PERSON THAT DESIGNS THE SYSTEMS--
THE STRUCTURAL SYSTEMS, THE MECHANICAL SYSTEMS,
THE LIGHTING SYSTEMS, ALL OF THOSE THINGS THAT GO WITHIN THE BUILDING.
THEY WORK IN TEAMS WITH THE ARCHITECTS.
INTERESTING THING ABOUT THIS
IS THAT THE ARCHITECTURAL ENGINEERING CURRICULUM--
A LITTLE BIT TOUGHER MATH, BUT BY AND LARGE,
THE FIRST TWO YEARS ARE VERY CLOSE TO OUR ARCHITECTURAL PROGRAM.
THEY DO ARCHITECTURE FIRST, BEFORE THEY GO INTO ENGINEERING.
SO, IF YOU'RE INTERESTED IN THAT, TAKE THE TOUGHEST MATH YOU CAN FIND HERE
THAT CORRELATES TO ENGINEERING-- CALCULUS AND ENGINEERING, PHYSICS.
(chuckling)
AND IF YOU'RE ALREADY TWO YEARS IN THE PROGRAMS, TOO LATE FOR THAT.
(laughing)
BUT WE'LL THINK ABOUT THIS ONE IN THE FUTURE HERE.
SO, THE OTHER THING THAT WE DO,
AND THIS GETS BACK TO THE CHANGES IN THE PROFESSION...
AT LAWRENCE TECH, WE HAVE WHAT'S CALLED A "LEADERSHIP PORTFOLIO."
EVERYONE-- EVERY STUDENT IN THEIR FOURTH YEAR
HAS TO PREPARE A PORTFOLIO,
UH, SHOWING HOW THEY HAVE GOTTEN INVOLVED IN LEADERSHIP ACTIVITIES.
WE HAVE FURTHER DEFINED THAT, IN THE COLLEGE OF ARCHITECTURE AND DESIGN,
IS THAT A LEADER MUST BE INVOLVED IN TEAMWORK.
YOU HAVE TO LEARN HOW TO LEAD TEAMS
AND YOU HAVE TO LEARN HOW TO WORK WITHIN TEAMS.
I WAS A PRINCIPAL IN A FIRM AND I HAD A PROJECT MANAGER
THAT WORKED FOR ME, BUT WHEN I WAS WORKING ON THEIR PROJECT,
I WORKED FOR THEM.
SO, YOU HAVE TO LEARN HOW TO LEAD AND FOLLOW.
AND SO, I HAD SOMEONE THAT WAS-- THAT I HIRED
THAT WAS TELLING ME HOW MANY HOURS I COULD SPEND ON A PROJECT.
(laughing) BUT THAT'S WHAT WE DO.
THAT'S THE-- YOU KNOW, YOU HAVE TO LEARN HOW TO LEAD TEAMS
AND YOU HAVE TO LEARN HOW TO BE A TEAM MEMBER.
THE URBAN EXPERIENCE-- WE TALKED ABOUT THAT 75 PERCENT OF PEOPLE IN THE WORLD
BEING URBAN.
ALL OF OUR GRADUATES HAVE TO HAVE AN URBAN EXPERIENCE.
WE HAVE NUMEROUS WAYS YOU CAN DO IT.
WE HAVE A DETROIT STUDIO.
WE HAVE STUDIOS IN PARIS.
WE HAVE STUDIOS IN SHANGHAI.
UM, WE'VE DONE STUDIOS IN BEIJING.
WE HAVE ALL KINDS OF THINGS THAT YOU CAN DEMONSTRATE URBAN EXPERIENCE.
CROSS-CULTURAL EXPERIENCE-- IN GLOBAL PRACTICE,
YOU HAVE TO LEARN TO WORK WITH PEOPLE THAT ARE NOT LIKE YOU.
AND YOU KNOW, THE WHOLE CULTURE-- THE WHOLE CHINESE CULTURE--
IS DIFFERENT THAN OUR CULTURE.
I MEAN, THE CUSTOMS OF HOW YOU GREET EACH OTHER,
HOW YOU PRESENT BUSINESS CARDS-- EVERYTHING'S DIFFERENT.
AND THE BUSINESS DEALINGS OF CONTRACTS-- ALL DIFFERENT.
YOU KNOW, DON'T GO IN AND--
YOU KNOW, HERE, WE HAMMER OUT THE DEAL IN THE FIRST MEETING.
IN CHINA, IT'S GONNA TAKE THREE OR FOUR MEETINGS TO GET TO KNOW THEM.
IT'S ALL ABOUT THAT TRUST RELATIONSHIP THAT YOU HAVE TO EXPERIENCE.
WE WANT PEOPLE COMING OUT OF OUR PROGRAM TO KNOW SOMETHING
ABOUT HOW TO DEAL WITH OTHER CULTURES.
NOW, IF YOU'RE A...
IF YOU ARE A PERSON IN THE DETROIT AREA,
THAT MAY BE I'M WORKING WITH AN ETHNIC NEIGHBORHOOD IN THE DETROIT AREA
THAT'S NOT MY OWN, RIGHT?
YOU DON'T HAVE TO GO TO ANOTHER COUNTRY,
BUT IT COULD ALSO BE GOING TO THE PARIS STUDIO
OR TO THE SHANGHAI STUDIO OR WHATEVER.
SO, VERY, VERY GOOD POSSIBILITY,
BUT WE WANT EVERYONE TO HAVE CROSS-CULTURAL EXPERIENCE.
THE LAST ONE IS SERVICE LEARNING.
YOU MUST LEARN HOW TO DEAL WITH THE THINGS THAT ARE BIGGER THAN YOURSELF--
WITH HELPING PEOPLE, WITH GETTING INVOLVED WITH NOT-FOR-PROFIT ORGANIZATIONS.
I KNOW WITHIN MARKETING WITHIN MY FIRM,
MUCH OF THE WORK THAT I BROUGHT IN WAS BECAUSE I WAS ENGAGED WITH--
ON BOARDS OF DIRECTORS WITH NOT-FOR-PROFIT ORGANIZATIONS.
AND YOU MEET WITH A LOT OF PEOPLE, YOU NETWORK WITH A LOT OF PEOPLE,
BUT ALSO, YOU'RE HELPING PEOPLE.
AND, UM-- AND SO, THE ABILITY TO HELP PEOPLE THAT ARE IN NEED,
TO SOLVE PROBLEMS WORKING WITH NOT-FOR-PROFITS,
BUT ALSO, ESTABLISHING A BUSINESS NETWORK
BECAUSE OF YOUR HELPING OF OTHER PEOPLE.
THEY ALL WORK HAND IN HAND.
THIS-- YOU'RE EDUCATING THE COMPLETE PERSON,
NOT A PERSON THAT CAN ONLY DO BUSINESS OR CAN ONLY DO NOT-FOR-PROFIT WORK,
BUT PEOPLE THAT CAN OPERATE IN MANY SPHERES.
THIS IS WHAT WE DO HAVE, IN TERMS OF THE GLOBAL APPROACH.
WE'VE ACTUALLY, AT OUR GRADUATE LEVEL,
WE HAVE A CONCENTRATION THAT DEALS WITH GLOBAL PRACTICE,
AND WE WILL SET PEOPLE UP WITH AN INTERNSHIP OVERSEAS...
UM, AND, YOU KNOW, WE HAVE SOMEONE IN BRAZIL RIGHT NOW,
UH, SHANGHAI, COSTA RICA, ABU DHABI.
YOU KNOW, SO, IF YOU WANNA SEE THE WORLD,
THIS IS A SIX MONTH JOB IN A FIRM SOMEWHERE IN THE WORLD.
YOU HAVE TO BE ACCEPTED INTO THAT ONE-- YOU CAN'T JUST CHOOSE IT.
YOU HAVE TO HAVE TO HAVE A GREAT PORTFOLIO TO BE ACCEPTED BY ONE OF THOSE FIRMS.
PARIS STUDIOS, SUMMER TRAVEL ABROAD-- WE HAVE A STUDIO IN FLORENCE.
WE HAVE JOINT STUDIOS BOTH IN CHINA AND IN KOREA.
FROM TIME TO TIME, IN KOREA, BUT EVERY YEAR IN THE SUMMER, WE DO ONE.
WE'VE DONE EXHIBITIONS-- OUR STUDENTS HAVE EXHIBITED ABROAD.
AND ALSO, WE HAVE A RELATIONSHIP WITH A COLLEGE
NAMED HARLIXTON COLLEGE IN ENGLAND.
IF YOU WANTED TO DO A SEMESTER ABROAD AND STUDY IN A PLACE
THAT LOOKS SORT OF HOGWARTS,
THAT'S WHAT HARLIXTON COLLEGE IS.
IT'S A MANOR ABOUT AN HOUR OUTSIDE OF ENGLAND BY TRAIN.
REALLY-- IT'S NOT THE KIND OF TRAIN FROM HARRY POTTER.
IT'S ACTUALLY A HIGH-SPEED TRAIN THAT COMES OUT OF LONDON,
BUT IT REALLY IS A NEAT PLACE.
AND I GOT TO STAY THERE AND IT'S LIKE HOGWARTS.
NOT THE MOVING PICTURES AND EVERYTHING, BUT IT'S ONE OF THE OLD ENGLISH MANORS.
UM...
YOU KNOW, STUDY AT A PLACE THAT HAS A DISTINGUISHED FACULTY...
FACULTY WHO HAVE BEEN OUT THERE PUBLISHING AND GETTING AWARDS
AND GIVING PAPERS AROUND THE COUNTRY AND AROUND THE WORLD,
THAT THEY'RE GOOD MENTORS FOR YOU
BECAUSE THEY'RE ACTIVELY INVOLVED IN THE COMMUNITY.
SO, THAT'S OUR FACULTY.
UM, IF YOU'RE GOING TO A SCHOOL,
GO TO A SCHOOL WHERE YOU WILL WIN AWARDS.
NOTHING BETTER THAN APPLYING FOR A JOB WITH A SLEW OF AWARDS ON YOUR RESUME.
AND SO, EVERY YEAR, WE HAVE STUDENTS THAT WIN TWO OR THREE...
NOT THE SAME STUDENT, BUT WE HAVE TWO OR THREE NATIONAL AWARD WINNERS
WITH NATIONAL COMPETITIONS FROM OUR SCHOOL,
AND SOME PEOPLE THAT ARE PLACING SECOND OR THIRD.
THIS IS BIG STUFF WHEN YOU GO OUT FOR A JOB
BECAUSE WHEN YOU GO OUT FOR THAT JOB,
YOU WANNA DIFFERENTIATE YOURSELF FROM YOUR COMPETITION,
THE OTHER STUDENTS THAT ARE GRADUATING THAT YEAR.
UM...
EVERYONE WANTS TO HIRE LEADERS.
THEY WANNA HIRE INVOLVED AND ENGAGED STUDENTS
WHEN THEY GRADUATE.
THINK OF THIS-- WHEN I WAS IN MY FIRM, WE WOULD GET,
TOWARDS THE END OF THE RECRUITING YEAR FOR US--
AND WE ALWAYS WANTED TO HIRE
TWO OR THREE YOUNG PEOPLE COMING OUT OF SCHOOL.
WE HAD ABOUT 250 PEOPLE IN MY FIRM.
UM, AND WE WOULD GET, STARTING AROUND JANUARY,
TEN, FIFTEEN, TWENTY APPLICATIONS.
BY FEBRUARY-- THIS WAS A WEEK, BY THE WAY--
BY FEBRUARY, WE'D START GETTING 50 A WEEK.
BY MARCH, WE'D GET 150 A WEEK.
BY APRIL, WE'D GET 300 A WEEK.
AND YOU KNOW, SO LET'S SAY THERE'S 1,000-- NO, MORE THAN THAT--
2,000 APPLICATIONS THAT COME IN,
AND YOU'RE COMPETING AGAINST THESE PEOPLE.
HOW DO YOU DIFFERENTIATE YOURSELF?
AND THERE'S ALL-- THERE'S ALL KINDS OF TECHNIQUES TO DO THIS.
BUT IF YOU'RE GONNA HAVE THE SAME DEGREE AS EVERYBODY ELSE--
LET'S SAY IT'S A MASTER OF ARCHITECTURE--
AND YOU HAVE THE SAME KIND OF COURSEWORK,
EVERYONE HAS A DECENT PORTFOLIO, I CAN--
I CAN LOOK AT THE PORTFOLIO AND LOOK AT THE RESUME
AND GET IT DOWN TO MAYBE 150, OKAY?
WE'RE OFFERING THREE JOBS.
OTHER FIRMS ARE OFFERING JOBS, SO THERE'S JOBS OUT THERE,
BUT I'M OFFERING THREE.
HOW DO GET TO THE FINAL TEN THAT I WANNA INTERVIEW?
I LOOK AT EVERYTHING ELSE YOU'VE DONE.
HAVE YOU BEEN A LEADER?
HAVE YOU BEEN ACTIVE IN STUDENT ORGANIZATIONS?
UH, YOU KNOW, HAVE YOU WORKED WITH NOT-FOR-PROFIT ORGANIZATIONS?
HAVE YOU SERVED PEOPLE?
HAVE YOU TRAVELED ABROAD?
HAVE YOU STUDIED ABROAD?
ALL THOSE THINGS GET YOU DOWN TO THAT LIST OF THE MOST DESIRABLE PEOPLE
THAT WE'RE GOING TO INTERVIEW AND ULTIMATELY HIRE.
BECAUSE THE FIRMS THAT ARE GOOD, THE FIRMS THAT ARE SOUND, WANT LEADERS.
IT'S AS SIMPLE AS THAT.
SO, BECOME A LEADER.
AND GO TO A PLACE THAT OFFERS YOU THE ABILITY TO LEAD.
THIS IS NOT AN ARCHITECT-- THIS IS A TRANSPORTATION DESIGN STUDENT.
WE JUST GRADUATED OUR FIRST TRANSPORTATION DESIGN GRADUATES THIS YEAR.
WE HAD FOUR IN OUR FIRST CLASS.
WE STARTED WITH SIX, WE ENDED WITH FOUR.
WE HAVE ABOUT 12 TO 15 THAT COME IN A YEAR,
AND THE PROFESSION TOLD US, "NEVER GET ABOVE 15...
"BECAUSE WE CAN'T ABSORB THAT MANY."
IT'S A VERY SMALL, ELITE KIND OF PROFESSION.
SHE CAME TO US-- TAYLOR CAME TO US AT 17 YEARS OLD,
RIGHT OUT OF HIGH SCHOOL.
SHE WENT TO OUR SUMMER CAMP AND EARNED A SCHOLARSHIP--
A PARTIAL SCHOLARSHIP TO COME.
DURING HER TIME, SHE GREW,
REALLY, INTO OUR FIRST TRANSPORTATION DESIGN SUPERSTAR.
THIS PROJECT THAT YOU SEE--
UH, FORD CHALLENGED OUR STUDENTS TO COME UP WITH AN IDEA
FOR A NEW PARIS CAR.
SO, SHE CAME UP WITH THIS IDEA OF DOING A STACKABLE CAR AT METRO STATIONS,
THAT SOMEONE COULD COME OFF THE METRO,
THEY COULD RENT A CAR, DRIVE OUT TO THE COUNTRYSIDE,
AND RETURN IT TO ANY METRO STATION IN THE SYSTEM.
AND SHE BLOGGED ABOUT IT,
AND SHE WAS PUBLISHED IN SEVERAL MAGAZINES IN PARIS.
HER IDEAS WERE PUBLISHED-- SHE WAS A JUNIOR WHEN THAT HAPPENED.
UM, SHE WAS HIGHLY SOUGHT AFTER...
BY THE AUTOMOTIVE COMPANIES.
HAD OFFERS FROM ALL THE U.S. COMPANIES,
AND ALSO, HAD AN OFFER FROM PEUGEOT.
TODAY, SHE'S A DESIGNER AT PEUGEOT.
LIVES IN PARIS.
AND SHE JUST WROTE US THAT EVERY TWO WEEKS,
SHE GETS TO MAKE A PRESENTATION TO THE C.E.O. OF PEUGEOT.
SHE'S 21 YEARS OLD.
AND I THINK THIS IS SOMETHING ABOUT
THE OPPORTUNITIES OF LEADERSHIP THAT ARE OFFERED...
THE OPPORTUNITIES OF EXCELLENCE, THE OPPORTUNITIES TO WIN AWARDS,
THE OPPORTUNITIES TO MAKE SOMETHING OUT OF YOURSELF WHEN YOU'RE IN SCHOOL.
LOOK FOR AN EDUCATION THAT DOES THAT FOR YOU.
AND I MEAN, SHE WAS OFFERED SALARIES THAT, YOU KNOW,
YOUNG STUDENTS COMING OUT OF 21 CAN'T EVEN IMAGINE.
AND YOU CAN PUT YOURSELF IN A POSITION LIKE THAT WITHIN YOUR PROFESSION.
WELL, YOU CAN IMAGINE IT, BUT... (chuckling)
UM, FOR YOU HIGH SCHOOL STUDENTS...
YOU NEED CERTAIN SKILLS
IF YOU'RE GONNA UNDERTAKE A DESIGN EDUCATION.
FOR THOSE OF YOU THAT ARE HERE, YOU NEED THESE SKILLS.
(laughing) IF YOU DON'T HAVE 'EM,
BE WORKING ON THEM.
BUT ART IS A REALLY IMPORTANT SKILL.
THE ABILITY TO DRAW LIKE THIS... IS FAR MORE IMPORTANT, RIGHT NOW,
FOR YOU HIGH SCHOOL STUDENTS THAN THE ABILITY TO DRAW ON A COMPUTER.
LIKE THIS.
UM, DESIGN HAPPENS WITH A VERY FREE-FLOWING EXCHANGE OF IDEAS.
OVERLAYING THINGS ON TRACING PAPER.
FREE-HAND DRAWING.
DRAWING-- AND SO, IF YOU NEED TO DO SOMETHING, DRAW FROM LIFE.
DRAW FIGURES, DRAW STILL LIFE,
DRAW LANDSCAPE... BUT DRAW FROM LIFE.
DRAW WHAT YOU CAN OBSERVE.
DON'T COPY IT OUT OF A MAGAZINE.
DON'T COPY IT-- DON'T TRACE IT FROM A PHOTOGRAPH.
DRAW FROM LIFE.
AND WHAT WE LOOK FOR--
AND BY THE WAY, WE GIVE PORTFOLIO-BASED SCHOLARSHIPS
TO KIDS COMING OUT OF HIGH SCHOOL--
I'M NOT TRYING TO RECRUIT YOU AWAY FROM GRCC,
BUT IF A KID'S COMING OUT FROM HIGH SCHOOL,
IF YOU'RE GONNA EARN A SCHOLARSHIP FROM US,
WE'LL ENHANCE YOUR SCHOLARSHIP SEVERAL THOUSAND DOLLARS
IF YOU HAVE A LEADING PORTFOLIO.
THE TOP FIVE PORTFOLIOS THAT ARE APPLIED TO US--
WE DON'T REQUIRE PORTFOLIO FOR MANY OF OUR MAJORS,
BUT FOR THE ONES THAT DON'T REQUIRE PORTFOLIOS,
FOR THE TOP FIVE, WE'LL GIVE EXTRA SCHOLARSHIP MONEY.
WE THINK ART IS THAT IMPORTANT.
THE ABILITY TO HAVE THIS ARTISTIC FLARE.
FROM COMPUTERS, EVERYONE NEEDS TO KNOW THE WHOLE WORD, EXCEL, POWERPOINT STUFF.
YOU NEED TO KNOW THE MICROSOFT SUITE.
FOR ARCHITECTURE AND INTERIOR ARCHITECTURE STUDENTS
COMING OUT OF HIGH SCHOOL,
YOU SHOULD KNOW AUTOCAD.
AT OUR CURRICULUM, WE'RE GONNA STOP TEACHING AUTOCAD IN SCHOOL,
'CAUSE MOST STUDENTS KNOW IT ALREADY,
SO WHY SHOULD WE TEACH SOMETHING THAT'S REDUNDANT
TO WHAT THEY ALREADY KNOW?
UM, IF YOU DON'T KNOW IT, GO GET IT SOMEWHERE BEFORE YOU COME TO US.
UM, HERE-- YOU'RE GONNA LEARN IT HERE AT GRCC,
IF YOU DON'T KNOW IT ALREADY.
BUT THE PROGRAM THAT YOU NEED TO KNOW IS--
UH, THAT YOU DON'T NEED TO KNOW COMING IN,
BUT THE PROGRAM WE TEACH, IS REVIT, WHICH IS WHAT THE PROFESSION'S USING.
WHY DID WE COME ON THIS?
WELL, FIVE YEARS AGO, SIX YEARS AGO,
WHEN WE WENT TO THE LARGE-FIRM ROUNDTABLE,
THEY SAID, "FIVE YEARS FROM NOW, NONE OF US ARE GOING TO BE USING AUTOCAD,
"WE'RE GONNA BE USING REVIT,"
AND THAT'S TRUE NOW TODAY IN THE BIG FIRMS, AT LEAST.
THE SMALL FIRMS ARE STILL USING AUTOCAD.
LARGE FIRMS ARE USING PRIMARILY REVIT.
AND WE WERE ONE OF THE FIRST SCHOOLS IN THE UNITED STATES
THAT STARTED TEACHING REVIT,
BECAUSE WE DIDN'T WANT TO...
TURN OUT STUDENTS THAT WERE NOT--
WE STARTED TEACHING REVIT FIVE YEARS BEFORE THE PROFESSION STARTED USING IT,
BECAUSE WE KNEW, FROM WHAT THEY TOLD US, THAT WHEN OUR STUDENTS GRADUATED,
THEY WERE GOING TO NEED THE SKILL.
SO, WE WANTED THEM TO HAVE THE SKILL JUST IN TIME.
UM...
IMAGING TRANSPORTATION DESIGN, IF ANYONE'S INTERESTED IN THAT--
PHOTOSHOP, ILLUSTRATOR, INDESIGN-- SOME AUTOCAD'S USEFUL.
GENERALLY, WE BELIEVE IN A WELL, BROADLY-EDUCATED PERSON.
SO, COLLEGE PREP IS IMPORTANT.
NOW, IF YOU GO TO ONE OF THE ART SCHOOLS, COLLEGE PREP MAY NOT BE IMPORTANT.
IF YOU GO TO ONE OF THE ART SCHOOLS,
THEY MAY SAY YOU NEVER HAVE TO TAKE ANOTHER MATH COURSE
AS LONG AS YOU LIVE.
UM, YOU KNOW, YOU MAY NOT HAVE TO TAKE ANOTHER ENGLISH COURSE
AS LONG AS YOU LIVE.
AND NOT IN ARCHITECTURE, BUT IN THE OTHER FIELDS,
WE COMPETE AGAINST SCHOOLS THAT SAY, "DON'T GO TO THIS SCHOOL
"THAT TEACHES YOU MATH AND ENGLISH.
"YOU DON'T NEED IT ANYMORE."
AND WE BELIEVE YOU NEED IT, BECAUSE YOU NEED TO BE GOOD COMMUNICATORS.
YOU NEED TO KNOW ABOUT HISTORY.
YOU NEED TO KNOW MATHEMATICS AND SCIENCE.
YOU NEED TO KNOW SCIENCE
BECAUSE YOU'RE DEALING WITH THE SCIENCE OF STRUCTURES.
YOU'RE DEALING WITH THE SCIENCE OF MECHANICAL SYSTEMS.
YOU NEED TO KNOW ABOUT THESE THINGS IN ORDER TO GIVE YOU A GOOD FOUNDATION
TO GO STUDY IT IN COLLEGE.
IN MATH,
YOU NEED TO BE ABLE TO COME TO COLLEGE
WITH THE ABILITY TO TAKE A BASIC COLLEGE CALCULUS COURSE.
THIS IS NOT ENGINEERING CALCULUS...
BUT IT'S GONNA BORDER ON-- IT'S GONNA BORDER ON CALCULUS.
WE CALL IT "CALCULUS LITE."
UH, BUT THAT'S WHAT AN ARCHITECT NEEDS.
YOU DON'T NEED HEAVY ENGINEERING CALCULUS.
BUT YOU HAVE TO TAKE SOME BASIC KINDA PRE-CALCULUS AND PHYSICS KINDA COURSES.
SO, THAT'S-- THAT'S--
IF YOU'RE IN HIGH SCHOOL, THIS IS WHAT YOU NEED.
IF YOU'RE IN YOUR FIRST YEAR, HOPEFULLY YOU HAVE IT.
IF YOU'RE IN SECOND YEAR, YOU HAVE IT NOW, RIGHT?
(chuckling) EVERYONE'S SAYING "YES."
UM, I'M GONNA END WITH THIS--
WE HAVE STUDENTS THAT GO OUT ON INTERNSHIPS ALL THE TIME.
AND THIS IS A GUY THAT GOT ONE OF THE VERY COVETED JOBS,
WORKING FOR WALT DISNEY WORLD AND THEIR FACILITIES OPERATIONS.
SO, I MEAN, PUT THAT ONE ON YOUR RESUME.
"I WORKED FOR WALT DISNEY WORLD IN ORLANDO FOR MY INTERNSHIP."
VERY HIGHLY SELECTIVE.
WE HAVE AN IN, BECAUSE THE HEAD OF FACILITIES THERE
IS ONE OF OUR GRADUATES, SO... (laughing)
IT'S EASIER TO GET A JOB THERE FOR OUR PEOPLE.
BUT...
HE STARTED A BLOG
AND HE SAID, YOU KNOW, "I'VE REALLY BEEN BUSY WITH WORK,
"BUT I'M KEEPING UP WITH ALL OF MY STUDIES,
"BECAUSE I'M DOING SOME ONLINE CLASSES WITH LAWRENCE TECH."
SO, EVEN WHEN PEOPLE ARE AWAY AROUND THE GLOBE STUDYING,
THEY CAN STILL CONNECT BACK WITH US TO TAKE SOME OF THE COURSES
THAT THEY CAN'T GET OVERSEAS.
WE THINK THAT THAT'S AN IMPORTANT THING.
BUT THE THING THAT HE SAID IS THAT HE THOUGHT THAT WE PROVIDED
THE ABILITY FOR HIM TO MAKE THE TRANSITION INTO THE REAL WORLD.
THAT IS THE DEFINITION TO US OF A PRACTICE SCHOOL.
THAT, "WHEN I GET OUT, I CAN HIT THE GROUND RUNNING IN MY PROFESSION--
"IN MY CHOSEN PROFESSION, AND IT'S, LIKE, SEAMLESS."
UH, EVERYONE HAS A LEARNING CURVE,
BUT THE LEARNING CURVE COMING FROM A PRACTICE-ORIENTED SCHOOL
INTO THE PROFESSION IS A LOT SHORTER.
AND THAT IS THE TESTAMENT TO WHAT WE OFFER.
SO, THAT'S THE WORLD OF ARCHITECTURE AND DESIGN, AS I SEE IT ANYWAY.
(laughing) AND I'D BE HAPPY TO ANSWER ANY QUESTIONS.
AND IF YOU HAVE ANY QUESTIONS ABOUT THE EXPERIENCE
IN THIS JOINT PROGRAM WHERE, BY SECOND YEAR,
YOU'RE HALF OUR STUDENT AND HALF A GRCC STUDENT,
I KNOW SOMETHING ABOUT IT,
BUT I KNOW SOME PEOPLE THAT KNOW IT BETTER THAN I DO
BECAUSE THEY'RE IN IT.
SO, QUESTIONS, ANYONE?
YES?
>> (indistinct speaking) >> YEAH, YES, MANY... MANY.
WE HAD HOMECOMING LAST WEEK AND THEY WERE VERY ACTIVE IN IT.
YEAH, AND ALSO, OTHER ORGANIZATIONS.
A LOT OF PARENTS ASK, "WELL, WHAT ABOUT RELIGIOUS ORGANIZATIONS?"
YES, YOU KNOW, WE HAVE FROM CAMPUS CRUSADE TO CHRIST
TO MUSLIM ORGANIZATIONS-- FULL GAMBIT.
WE HAVE A LOT OF ETHNIC ORGANIZATIONS--
LIKE, WE HAVE A CHINESE STUDENT COMMUNITY.
WE HAVE AN INDIAN STUDENT COMMUNITY.
AND IT'S NOT ABOUT EXCLUSION, BY THE WAY,
WHEN WE FORM THEIR GROUPS.
THEY ARE EXPECTED TO REACH OUT TO THE REST OF CAMPUS.
SO HAVE, LIKE, CHINESE FESTIVALS.
WE HAVE INDIAN FOOD FESTIVALS, AND THEY BRING THEIR CULTURE TO THE CAMPUS.
YUP, OTHER THINGS?
>> (indistinct speaking).
>> OKAY, THEY START THE FIRST YEAR AS ALL AT GRAND RAPIDS.
THE SECOND YEAR, THEY'RE JOINT-ENROLLED IN GRAND RAPIDS AND LAWRENCE TECH.
UH, AND BY THE THIRD YEAR, THEY'RE WITH US AS LAWRENCE TECH.
IN THE FIFTH YEAR, THEY CAN CHOOSE TO STAY WITH US IN RESIDENCE,
BUT OUR ENTIRE FIFTH YEAR IS ALSO ONLINE.
SO, IF THERE'S SOMEWHERE ELSE IN THE COUNTRY,
SOMEWHERE ELSE IN THE WORLD,
THEY CAN STILL GET THE MASTER'S DEGREE WITH US IN THE FIFTH YEAR.
>> (indistinct speaking).
>> DAVID.
>> (indistinct speaking).
>> YEAH, WHY DON'T YOU TAKE A MICROPHONE,
SO PEOPLE CAN HEAR YOU. >> OH, A MICROPHONE.
THANK YOU.
WE WENT OVER TO LAWRENCE TECH IN LATE JUNE,
AND WE APPLIED TO THE COLLEGE, AND THEY GOT THEIR STUDENT CARDS,
THEY GOT THEIR LAPTOPS AT THAT TIME ALSO.
>> I DIDN'T EVEN MENTION OUR LAPTOP PROGRAM.
(both laughing)
ALL OF OUR STUDENTS GET A LAPTOP AS PART OF ENROLLMENT.
NO EXTRA MONEY INVOLVED IN THAT.
ALONG WITH ALL OF THE SOFTWARE THAT THAT DISCIPLINE USES.
SO, ALL THE ARCHITECTURE STUFF-- THE AUTOCAD, THE REVIT--
AND EVERYTHING IS ON THE COMPUTER.
WE'VE CALCULATED THE WHOLESALE VALUE OF THAT AT $15,000.
THE RETAIL VALUE IS SOMEWHERE--
IF YOU'D TRY TO GET IT ALL BY YOURSELF AS AN INDIVIDUAL,
SOMEWHERE AROUND $80,000. >> PRICY.
>> IT'S PRICY IF YOU DO IT YOURSELF, BUT WE GET GOOD DEALS,
BECAUSE WE BUY A LOT OF IT AND THEY WANNA GET IT INTO EDUCATORS.
BUT ALL OF OUR STUDENTS GET THE LAPTOP.
>> SO, THEY ARE-- WHAT WAS IT?
SIX OUT OF SEVEN ARE DUAL-ENROLLED.
APRIL, YOU'RE DOING THE INTEGRATED DESIGN STUDIO, EXCLUSIVELY, SO...
AND TWO YEARS IS PROBABLY A LITTLE OPTIMISTIC BUT, YOU KNOW--
BUT THERE'S-- BUT WE HAVE IT SET UP SO IT COULD BE DONE THAT WAY,
BUT YOU MAY WANT TO TALK TO THE STUDENTS INDIVIDUALLY
AND SEE HOW THEY'RE HANDLING IT.
BUT THEN, ONCE YOU'RE DONE WITH AN ARCHITECTURAL DESIGN DEGREE,
WHICH IS THE LITTLE BROCHURE WE HANDED OUT,
AND HAVE DONE TWO SEMESTERS OF THE INTEGRATED DESIGN STUDIO,
THEN, AS GLEN AS SAID, YOU'LL TRANSFER TO LAWRENCE TECH IN SOUTHFIELD.
BUT YOU MAKE APPLICATION WHEN YOU FIRST DO THE INTEGRATED DESIGN STUDIO.
>> WE WERE TALKING A LITTLE BIT AT DINNER, THOUGH.
I MEAN, IT-- IF YOU WANT THE ASSOCIATE'S DEGREE,
AND LET'S SAY YOU HAVE ONE COURSE LEFT--
>> RIGHT. >> TWO COURSES LEFT,
YOU CAN TAKE THE COURSE WITH US, AND THEN TRANSFER IT BACK TO GRAND RAPIDS,
SO YOU CAN GET YOUR ASSOCIATE'S DEGREE, EVEN THOUGH YOU MAY HAVE MOVED ON.
I MEAN, IF YOU HAVE TWO COURSES LEFT HERE,
THERE'S NO REASON TO WAIT ANOTHER YEAR. >> RIGHT.
OH, YEAH, I'M ENCOURAGING MOVING ALONG.
BUT I'M-- YEAH-- YOU CAN GET THE DEGREE BEFORE YOU LEAVE.
THAT'S ALSO A GOOD IDEA, TOO.
>> YEAH, BUT IF YOU DON'T GET THE DEGREE BEFORE YOU LEAVE,
THERE'S WAYS OF GETTING IT AFTER YOU LEAVE, IF YOU WANT TO,
ASSOCIATE'S DEGREE. >> (indistinct speaking).
>> IT DOESN'T HURT,
IF YOU HAVE THE MASTER OF ARCHITECTURE AT THAT POINT.
IF, FOR SOME REASON, YOU FALTER AND YOU DON'T GET THE MASTER OF ARCHITECTURE,
THE ASSOCIATE'S DEGREE IS REALLY A GOOD THING FOR YOU TO HAVE.
ONCE YOU HAVE THE MASTER OF ARCHITECTURE,
THAT'S WHAT THEY'RE PRIMARILY GOING TO BE CONCERNED WITH...
ALTHOUGH, WE MAY DEBATE THAT. (both laughing)
>> YEAH, I ALWAYS-- SINCE I TEACH AT COMMUNITY COLLEGE,
I ALWAYS ENCOURAGE PEOPLE TO GET THEIR ASSOCIATE'S,
BECAUSE BOTH MY SONS HAVE GOTTEN THEIR ASSOCIATE'S.
I SAID, "WHO KNOWS?"
AND I'VE BUMPED INTO PEOPLE AND THEY'RE AT HARDWARE STORES,
AND THEY SAID, "WELL, I ALMOST GOT MY ASSOCIATE'S, AND THEN I WENT ON TO--"
IT WASN'T TO LAWRENCE TECH-- IT WAS ON TO ANOTHER PLACE.
"BUT I NEVER FINISHED THERE, SO I HAVE NO DEGREE."
>> YEAH. >> SO, I ALWAYS SAY,
"IF YOU CAN, GET YOUR ASSOCIATE'S."
>> I WOULD AGREE WITH THAT.
GET THE ASSOCIATE'S DEGREE,
BUT DON'T SPEND A YEAR LONGER THAN YOU HAVE TO DO, STAYING,
WHEN YOU CAN ACTUALLY TRANSFER CREDITS BACK AND GET IT ANYWAY.
I SAY, GET IT IF-- IF YOU PUT MOST OF THE TWO YEARS IN, GET IN.
DON'T PASS IT UP. >> (indistinct speaking).
DOES ANYBODY NEED AN EXPLANATION OF, YOU KNOW, THIS--
THIS IS-- THE CLASS HERE IS THE FIRST INTEGRATED DESIGN STUDIOS.
THIS IS I.D.S. ONE AND TWO, AND RIGHT NOW, WE'RE JUST TRYING TO GET--
THE REASON WE ASKED FOR YOUR NAME, IS I'M TRYING TO GET A LIST OF PEOPLE...
BECAUSE IF YOU ARE WANTING TO GO TO THE INTEGRATED DESIGN STUDIO NEXT YEAR,
THERE ARE FOUR COURSES YOU NEED TO TAKE THIS YEAR TO BE ABLE TO DO IT.
THERE ARE FOUR PREREQUISITE COURSES.
AND THOSE ARE A.R. 201 AND A.R. 202,
WHICH IS ARE ARCHITECTURAL GRAPHICS ONE AND TWO,
AND THEY ARE A.T. 130, 2-D DESIGN, AND A.T. 150, 3-D DESIGN,
UH, AND YOU NEED TO GET THOSE ACCOMPLISHED THIS YEAR
IF YOU WANT TO BE READY TO GO TO I.D.S., INTEGRATED DESIGN STUDIO,
AT LAWRENCE TECH NEXT YEAR.
AND I DON'T KNOW WHETHER THIS WOULD HAPPEN NEXT YEAR
BUT, BY AGREEMENT BETWEEN OUR TWO UNIVERSITIES,
THE I.D.S. STUDIOS, WHICH IS INTEGRATED DESIGN STUDIOS,
WHICH ARE REQUIRED IN OUR CURRICULUM IN ORDER TO MOVE ONTO THE THIRD YEAR
AND TRANSFER TO US, THEY'RE LIMITED TO, I THINK, 16 STUDENTS MAXIMUM--
15 OR 16 STUDENTS MAXIMUM-- IN THE PROGRAM.
>> RIGHT-- BUT I'M-- >> IF YOU'RE THE 17th,
YOU'RE SPENDING AN EXTRA YEAR. (both laughing)
SO, GET YOUR INFORMATION IN SOON, IN OTHER WORDS.
>> RIGHT-- WELL, IT JUST-- I'M JUST WANTING TO--
RIGHT NOW, WE'RE THINKING OF NEXT FALL'S CLASSES, TO TELL YOU THE TRUTH.
BUT KEEP IN MIND-- THAT DOESN'T MEAN IF YOU'RE IN HIGH SCHOOL--
IN HIGH SCHOOL, YOU STILL NEED TO COME INTO YOUR FRESHMAN YEAR.
THE INTEGRATED DESIGN STUDIO WOULD BE ON YOUR SOPHOMORE YEAR.
>> MMM-HMM. >> BUT IF YOU'RE IN COLLEGE NOW
AND YOU'RE WANTING TO DO IT IN YOUR SOPHOMORE YEAR,
THOSE ARE THE FOUR COURSES YOU NEED TO TAKE.
>> OTHER QUESTIONS?
YES?
>> WHAT IS PERCENTAGE RATIO OF PEOPLE MAKING IT THROUGH A MASTER'S?
>> UH, IT'S-- I MEAN, FOR PEOPLE TO CHOOSE TO MAKE IT THROUGH THE MASTER'S.
I MEAN, THERE'S SOME PEOPLE THAT SAY, "WELL, GIVE ME MY BACHELOR'S OF SCIENCE.
"I WANNA TAKE A COUPLE YEARS OFF."
BUT TO MAKE IT THROUGH OUR MASTER'S,
I'M GONNA BET ABOUT TWO-THIRDS OF OUR STUDENTS
WILL HAVE ADEQUATE GRADE POINT AVERAGE TO MAKE IT THROUGH-- THEY QUALIFY FOR IT.
UM, FOR THOSE THAT DON'T-- IF YOU'RE UP NEAR THE TOP OF IT, WE MAY SAY,
"JUST GO AND WORK FOR A WHILE."
YOU KNOW, "YOUR GRADE POINT AVERAGE WASN'T THE MOST STERLING,
"BUT IF YOU GO OUT AND WORK IN THE PROFESSION,
"COME BACK WITH A GOOD PORTFOLIO, WE'RE GONNA CONSIDER YOU."
SO, SOMETIMES, WE'LL HAVE PEOPLE THAT COME FIVE YEARS LATER
AND SAY, "OKAY, I'VE MATURED NOW.
"LOOK AT ME AGAIN," AND WE'LL DO THAT.
BUT YOU KNOW, TWO-THIRDS OF THE PEOPLE QUALIFY WITH EASE.
YOU KNOW, ANOTHER ONE-SIXTH OF THEM HAVE SOME QUESTIONS.
YUP? >> (indistinct speaking)?
>> IT HAS TO BE AN ACCREDITED DEGREE.
THERE ARE THREE ACCREDITED DEGREES IN ARCHITECTURE.
UH, THE MOST COMMON IS THE MASTER OF ARCHITECTURE.
THAT'S THE ONE WE OFFER.
A BACHELOR OF SCIENCE IN ARCHITECTURE IS NOT AN ACCREDITED DEGREE.
UH...
THE BACHELOR OF ARCHITECTURE AND SUSTAINABILITY,
UH, IS NOT AN ACCREDITED--
UH, AT FERRIS, IS NOT AN ACCREDITED ARCHITECTURE DEGREE, OKAY?
SO, YOU CAN'T GO GET LICENSED WITH--
ANYTHING THAT SAYS "BACHELOR OF SCIENCE,"
YOU WILL NOT GET A LICENSE WITH.
UM, BACHELOR OF ARCHITECTURE, IN SOME SCHOOLS--
WHICH IS A FIVE-YEAR UNDERGRADUATE ARCHITECTURE DEGREE--
MAY VERY WELL BE AN ACCREDITED--
IN FACT, IF IT HAS THE NAME "BACHELOR OF ARCHITECTURE,"
IT WILL BE AN ACCREDITED DEGREE.
BUT "BACHELOR OF SCIENCE" IN ANYTHING WILL NOT BE ACCREDITED.
THE OTHER DEGREE IS A DOCTOR OF ARCHITECTURE...
AND THERE'S ONLY ONE OR TWO PROGRAMS IN THE WHOLE UNITED STATES THAT HAVE THAT,
AND THAT MIGHT BE AN ACCREDITED DEGREE.
>> IT'S A LONG WAY GOING, THOUGH. >> YEAH, YEAH, GET THE MASTER'S FIRST.
(laughing) YES?
>> (indistinct speaking)?
>> OKAY, THE QUESTION IS-- I'LL REPEAT IT
SINCE MAYBE PEOPLE IN THE BACK DIDN'T HEAR YOU.
BESIDES THE ACCREDITED MASTER'S DEGREE,
WHAT ARE THE OTHER REQUIREMENTS?
WELL, UH, THERE'S A REQUIREMENT TO DO SOMETHING
CALLED THE "INTERN DEVELOPMENT PROGRAM," THE "I.D.P."
AND THAT'S A SERIES OF EXPERIENCES THAT YOU HAVE TO DOCUMENT
THAT YOU'RE GOING THROUGH.
YOU CAN ACTUALLY START YOUR I.D.P. IN HIGH SCHOOL NOW.
AND IT'S, YOU KNOW, "I'VE WORKED FOR A FIRM AND I'VE DONE SUCH AND SUCH,
"AND I CAN CLAIM THAT CREDIT."
AND SO, FOR THOSE OF YOU THAT EVEN HAVE PART-TIME JOBS,
START YOUR I.D.P. FILE NOW.
YEAH? >> I DID THE SAME.
I WAS-- ANYTIME YOU TOOK A SUMMER JOB, PUT IT IN THERE.
>> YEAH, AND-- BUT, I MEAN...
THEY'VE JUST PUT IN NEW RULES
WHERE YOU ACTUALLY HAVE TO SUBMIT WITHIN SIX MONTHS--
EVERY SIX MONTHS OR ELSE YOU LOSE THE TIME.
>> HMM. >> IT'S BRAND NEW RULES.
OUR SCHOOL HAS AN I.D.P. COORDINATOR.
WE-- SO, YOU KNOW, WE DEAL WITH THIS
AND TRY TO COMMUNICATE TO THE STUDENTS.
BUT YOU CAN ACTUALLY START IT,
IF YOU HAVE A JOB IN AN ARCHITECTURAL FIRM
DOING SOMETHING--
UH, YOU KNOW, LET'S SAY YOU'RE WORKING WITH THE PERSON
THAT'S ON THE CONSTRUCTION SITE,
YOU CAN GET SOME OF THAT EXPERIENCE THAT YOU NEED.
THAT'S THE HARDEST TO GET IS, BY THE WAY, CONSTRUCTION EXPERIENCE.
UM, SO, I.D.P. IS THE SECOND THING.
THE THIRD THING IS THE ACTUAL EXAM.
UH, AND IT'S CALLED THE N.C.A.R.B. EXAM--
"NATIONAL COUNCIL OF ARCHITECTURAL REGISTRATION BOARDS."
AND IT'S A NATIONAL EXAM THAT'S USED BOTH IN THE UNITED STATES AND CANADA.
SO, THE NEAT THING ABOUT IT, IS IF YOU GET LICENSED IN THE UNITED STATES
AND WANNA PRACTICE IN CANADA--
AND IN MICHIGAN, THE CHANCES OF WANTING TO PRACTICE IN CANADA
ARE ACTUALLY GREATER THAN IF YOU'RE DOWN SOUTH SOMEWHERE--
UH, IT'S THE SAME EXAM AND YOU CAN GET WHAT THEY CALL "RECIPROCITY"
FROM UNITED STATES TO CANADA...
AND CANADIANS CAN GET RECIPROCITY HERE.
UM, AND YOU TAKE THAT EXAM,
AND IT'S ADMINISTERED BY EACH STATE INDIVIDUALLY,
AND EACH STATE MIGHT HAVE ADDITIONAL REQUIREMENTS.
UH, SO, YOU'RE LICENSED BY YOUR STATE, NOT NATIONALLY, AND THEN YOU HAVE TO--
IF YOU TAKE THE N.C.A.R.B. EXAM, YOU GET AN N.C.A.R.B. CERTIFICATE,
AND THEN YOU CAN USE THAT CERTIFICATE TO GET LICENSED IN NUMBERS OF STATES.
I HAVE A FRIEND THAT'S LICENSED IN 52 STATES AND TERRITORIES.
>> THERE'S...
ONE THING THAT I WANTED TO CLARIFY, AND THIS WAS ASKED A QUESTION OF ME--
>> SHAKING HER HEAD-- BY THE WAY, SHE'S SHAKING HER HEAD.
"I DON'T WANT TO GO THROUGH ALL THIS STUFF," RIGHT?
(laughing)
IT'S NOT AS ONEROUS AS WE'VE EXPLAINED, BY THE WAY.
LOOK AT ME.
I'M NORMAL AND I SURVIVED IT. (laughing)
>> UM, THERE'S A QUESTION THAT WAS ASKED OF ME THE OTHER DAY IS,
"IF I GET MY DEGREE IN MICHIGAN,
"CAN I MOVE OUT TO CALIFORNIA AND PRACTICE AND DO AN I.D.P. THERE?"
YEAH, YOU CAN PRACTICE ANY PLACE IN THE 48 STATES--
PROBABLY IN CANADA, TOO. >> EXCEPT...
>> EXCEPT-- WHAT'S THE EXCEPTION?
>> EXCEPT IF I MOVE TO CALIFORNIA AND I WANNA BE LICENSED IN CALIFORNIA,
I HAVE TO TAKE AN ADDITIONAL SEISMIC EXAM.
SO, THE STATE IN CALIFORNIA,
BECAUSE WE DON'T HAVE EARTHQUAKE PROBLEMS HERE IN MICHIGAN,
BUT IF I MOVE TO CALIFORNIA,
THEY CONSIDER EARTHQUAKES A SIGNIFICANT HAZARD.
AND SO, YOU HAVE TO KNOW MORE THAN THE AVERAGE ARCHITECT WOULD,
IN TERMS OF SEISMIC--
>> WE HAVE ONE OF THE INSTRUCTORS FROM THE I.D.P. ONE, JASON,
YOU HAD A COMMENT ON THE (indistinct).
>> (indistinct speaking).
>> YEAH, GO AHEAD.
ONE OF MY PARTNERS TOOK IT AND HE SAID IT WAS SEISMIC, BUT GO AHEAD.
BUT THAT WAS EARTH-SHAKING NEWS TO ME.
>> (indistinct speaking). >> YES.
>> (indistinct speaking). >> YES.
>> (indistinct speaking).
>> OKAY.
>> (indistinct speaking).
>> OKAY, WELL, THANK YOU FOR THE CLARIFICATION.
HE DID TELL ME IT WAS AN ORAL EXAM.
AND SINCE HE'S A GOOD TALKER, HE COULD GET THROUGH IT EASILY.
(laughing)
YES?
>> (indistinct speaking).
>> NO, EVERYTHING'S HERE.
OUR STUDIO-- THE LAWRENCE TECH STUDIO IS ON THIS CAMPUS.
>> IT'S UPSTAIRS, AS A MATTER OF FACT. >> HE TEACHES IT.
>> YEAH, JASON CULLEN AND DICK TEMPLE ARE THE TWO INSTRUCTORS FOR THAT.
>> YEAH. >> AND THEY'RE TEACHING IT TONIGHT.
AS A MATTER OF FACT, WE'RE EATING INTO THEIR TIME, BUT...
>> NO, IT'S SEAMLESS HERE...
BUT YOU ARE DUAL-ENROLLED-- AND FOR THE STUDIO,
YOU ARE LAWRENCE TECH STUDENTS.
FOR ALL THE OTHER COURSES, YOU ARE GRCC STUDENTS.
FOR THE CHECK SHEET--
THERE'S A COMMON CHECK SHEET THAT WE USE, YOU KNOW,
WHERE IT SHOWS WHAT COURSES YOU COMPLETED.
IT SHOWS THE COURSES FROM BOTH PROGRAMS ON THE SAME CHECK SHEET.
AND THEN, WHEN YOU MOVE TO US, THE CHECK SHEET JUST COMES WITH YOU.
>> THE FUNNY THING IS I DON'T ALWAYS PUT THAT CHECK SHEET IN.
EVERY TIME I DON'T PUT THAT CHECK SHEET IN,
THAT'S THE QUESTION I GET.
BUT WHAT YOU HAVE TO KEEP IN MIND IS--
AND YOU CAN TALK TO THE STUDENTS WHO ARE DOING IT--
YOU HAVE TO TAKE A NUMBER OF SERIOUS COURSES DURING THE SUMMER
TO BE ABLE TO ACCOMPLISH THAT.
BECAUSE YOU'RE LOOKING AT-- WHAT-- ABOUT AN 80 CREDIT HOURS IN TWO YEARS.
BECAUSE YOU'RE LOOKING AT 64 CREDIT HOURS PLUS 13--
IT'S AROUND 77.
SO, YOU'VE GOTTA DO SOME OF THIS WORK IN THE SUMMER
AND ANY TIME YOU CAN WORK IT IN.
SO-- AND I HAVE--
IF YOU WANT THAT LITTLE SHEET, I'LL SHOW THAT TO YOU.
>> OTHER QUESTIONS?
I THINK WE'VE REACHED THE END OF THE ROAD HERE.
WELL, LISTEN, I REALLY WANT TO THANK YOU ALL FOR COMING OUT TONIGHT,
AND WE'RE CERTAINLY AVAILABLE--
EITHER DAVID OR I AM AVAILABLE TO ANSWER ANY OTHER QUESTIONS
THAT YOU MAY HAVE,
EITHER UP HERE, OR IF YOU JUST WANNA GET MY CARD
AND CORRESPOND WITH US, YOU KNOW, LATER, THAT WOULD BE FINE.
I REALLY WANT TO THANK YOU ALL FOR LISTENING.
(laughing) AND FOR YOUR INTEREST IN DESIGN.
AND I WAS IN-- I LIKE TO END WITH THIS...
WHY IS A DESIGN-- WHY IS THE DESIGN PROFESSION SO GOOD?
UM...
CAN YOU IMAGINE A JOB THAT, WHEN YOU GET UP ON MONDAY MORNING,
YOU CAN'T WAIT TO GET TO?
BECAUSE OF THE EXCITEMENT THAT LIES AHEAD FOR YOU FOR THAT WEEK.
YOU CAN IMAGINE THAT?
OKAY, GOOD FOR YOU.
YEAH-- YOU'RE DOING THAT NOW?
>> (indistinct speaking). >> OKAY, COOL.
(laughing)
CAN YOU IMAGINE A JOB IN WHICH YOU WILL CREATE SOMETHING
THAT WILL OUTLAST YOU?
UH, THAT WILL OUTLAST YOU MAYBE BY GENERATIONS, BY CENTURIES?
AND YOU'LL LEAVE A LEGACY TO THE WORLD.
THAT'S WHAT DESIGN OFFERS YOU, AND A LOT OF JOBS DON'T OFFER YOU THAT.
AND SO, I'VE ALWAYS FOUND IT TO BE
JUST AN EXCITING AND EXUBERANT KIND OF PROFESSION
TO BE INVOLVED WITH.
HOPEFULLY, YOU'LL FIND THAT, TOO.
SO, THANK YOU ALL.
(applause)