Saturday, November 16, 2013

Innovation through Architecture

With so much attention on growing our economy through entrepreneurial innovation, I decided to explore how people of influence - venture capitalists seeking start-ups, for instance - define innovation.

This Fall I enrolled in a MOOC (massive open online course) run by edX called "Innovation and Commercialization" and taught through MITx with two MIT professors in their business school.  At first it was difficult to understand though incredibly fascinating, exploring the fundamental mechanics of the innovation process.  But as time passed, it dawned on me:  I already knew this stuff.  This is what we as architects do on every single project.

The mechanics are based on the iterative process - that the innovator has an idea, which is then fine tuned through a very specific and precise dynamic, iteration upon iteration, until the final product is realized.  For the MITx professors, it came down to three parties in the iterative process: technology - the bright idea; the market - how can we sell it?; and implementation - how do we make it happen.  According to the MITx guys, the iterative process begins with one of these which is then tested against the others, fine tuned, and then tested again.

If it begins with technology, it's perhaps some sort of scientific idea that is breakthrough, but whose market or implementation possibilities are sketchy; or an idea generated by the market for which the technology and the implementation have not not been developed; or by an implementation technique that is discovered, but has no market or technology to take advantage of it.  It is in the interaction of individual people from each of these sectors through which an effective innovation can be evolved.

But isn't this architecture?  You have the architect who has what he feels is an innovative idea; you have the client/developer who has identified a particular business opportunity; and you have the contractor who understands how to get a project built.   

But as we know by looking around our cities, it's not any interaction of these three players that produces something interesting; the MITx professors also say that what makes any innovation really work is when each of the interactors has some knowledge of the other two sectors.  Only then can the aggregate ramifications of changes suggested by all sectors be grasped, thus making progress possible.

In architecture this simply means that the best buildings occur when an architect has some awareness of budgeting and construction methods; when a client/developer has some sense of what makes good design as well of the limits of his contractor; and when a contractor is able to comprehend the architect's intent as much as he is able to adhere to the client developer's budget and schedule.

The question is, if the innovative process is ingrained within us, why aren't there more architects becoming entrepreneurial innovators?  

Saturday, January 12, 2013

Excerpt from "The Expediter"


CUT TO:
Interior, Building Department, Day.  Jason and Farid place the model against the wall.  Cary grabs a number.  He gets 644.  He looks up at the television screen.  They’re at 573.  He sighs.
Interior, Building Department, Later.  The number on the screen is 642.  Cary’s knee bounces nervously, his eyes glued to the screen.  Jason and Farid check out the women walking the floor.
FARID:  Hi.  My name is Farid.  Have you met my pet hamster?
JASON:  I want to schmeckel you.
Cary checks the screen: 4:25 p.m.  A customer leaves the counter.  Plan checker, 
ERNESTO, 45, calls out.
ERNESTO:  643.  643? Last call, 643.
Cary looks around.  No one is answering.  He starts to get up.  Suddenly a striking bleached-blonde, PETRA CRUZ, mid-30s, swoops in, a milk crate filled with drawings trailing behind her.
PETRA:  Ernie, hi.  (slipping into the chair)  I know it’s not my turn, I just have a quick little thing.
ERNESTO:  Petra, it’s always your turn.
CARY:  (turning to his colleagues) Did you just see that?
JASON:  A vanilla milkshake.
FARID:  Blonde, smooth, and delicious.
CARY:  Hey. (approaching the counter, livid)  It was my turn.
ERNESTO:  Are you 643?
CARY:  644, but she doesn’t even have a number.
ERNESTO:  Doesn’t matter.  It’s not your turn.
CARY:  (frustrated, huffing before sitting back down)  Who does she think she is?
JASON:  A sweet honey muffin, that’s who.
FARID:  A nibble is all I ask.
Petra stands up, leaves, glancing at Cary, smiling.
PETRA:  You’re up. (she looks back to the counter)  Thanks Ernesto.
ERNESTO:  Always a pleasure.
Cary drags his drawings as Jason and Farid set the model on the counter.
ERNESTO:  Did I call your number?
CARY:  No, but we’re next.
ERNESTO:  We’re closed.
CARY:  But it’s 4:29.  We still have one minute.
ERNESTO:  Not according to my watch.
CARY:  But the screen...
ERNESTO:  (shrugging)  Sorry.  (he stands)
CARY:  Oh no.  No way.  We have to submit this project today or we’re totally fucked.
ERNESTO:  What can I say?  You should have made an appointment or come in earlier.
CARY:  I came in two hours ago.  Maybe if you guys worked a little harder…
            Ernesto smiles at the insult, walks toward his office behind the counter.
CARY:  Who’s your supervisor? (almost vibrating with frustration)  Look.  I know the damned Mayor!  Maybe I’ll just give him a call.
ERNESTO:  (amused, turns back to Cary)  That’s a great idea.  Hey, maybe you can even submit your project to him.  (snickering as he disappears into his office)  Cary stands open mouthed as his door CLICKS shut.  Petra Cruz suddenly appears as Cary’s side.
PETRA:  It’s not who you know, it’s who you get.
CARY:  What’s that supposed to mean?
PETRA:  Watch and learn.  (She passes behind the counter and goes to Ernesto’s office, tapping gently)  Ernesto?
            The door opens and Ernesto’s head appears.
ERNESTO:  What is it, my dear?
PETRA:  There is just one more thing...
            The door swings open.  Petra casts a knowing smile to Cary before disappearing inside.
            CUT TO:
            Exterior, The Edison, Sunset.  A retro bar at the base of a downtown LA office building.
Interior, The Edison, Continuous.  Camera pans along the bar stopping at Jason and Farid, who talk up Candace, a twenty-something hipster.
FARID:  Have you ever slept with a guy who giggles during sex?
CANDACE:  (furrowing her brow) Can’t say that I have.
JASON:  Would you like to?
Candace smirks, then turns away.  Jason and Farid share a shrug, then look around. Cary and Petra are sitting at a booth.
CARY:  I think there should be a law that developers who want to demolish a building have to prove to a jury of their peers that what they’re putting up is better than what they’re tearing down.
PETRA:  Yeah. (sipping her Negroni)  Good luck with that one.
CARY:  Yeah, maybe not.  (he drops his eyes sheepishly, then looks up)  Seriously though.  How’d you do it?
PETRA: Do what?
CARY:  At the building department.
PETRA:  I’m an expediter.  It’s what I do.
CARY:  I’ve always wondered.
PETRA:  What was that you submitted? 
CARY:  Just this project.  For a competition.  They want to fix up the area around the old plaza next to Olvera street. (in his best Spanish accent) La Placita.
PETRA:  That explains the huge model.  Think you have a chance?
CARY:  Doubtful.  Our submission is pretty out there.
PETRA:  This is LA.  Everything is out there.
CARY:  It’s based on this idea.  Urban succession.  You know, that a city evolves kind of like a forest, with particular building species dominating during economic expansions.  (off her glazed look)  You know, so in time a city becomes an archive of successive economies? (off her silence)  Never mind.
PETRA:  Building species.  I like that.
CARY:   I know.  Pretty crazy. But it kind of makes the city more legible.
            Petra, nodding, returns to her drink, taking a long, slow sip.  She smiles flatly.
CARY:  What?
PETRA:  (pausing) Nothing.
CARY:  No, really.  What?
PETRA:  It’s just…  It’s a cute theory.
CARY:  Cute?  Cute?
PETRA:  Cute isn’t the right word.  Underdeveloped, maybe?  I mean, the city as an archive of successive economies?  It just doesn’t work for every city.  Paris, for instance. 
CARY:  Paris is a great example of urban successionism.
PETRA:  Really? Didn’t they outlaw wooden structures within the city at some point?  I mean, how many building species were lost when that happened?
CARY:  (sighing)  Whatever.  It works for LA, that’s all I know. (as he takes a long drink of his beer, Petra watches him, thinking)
PETRA: I don’t know.  Maybe it just needs some elaboration.  For instance, is there a specific mechanism that induces speciation?
            Cary perks up, leaning forward.