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18

/ BUILDING DIALOGUE / MARCH 2015

Understanding the Value of Great Design

T

he proverbial backroom conversation

between architects and designers fre-

quently includes the topic of why “great

design” is often undervalued or misunderstood

when it comes to our built environment. After

more than a decade of partaking in both formal

and informal exchanges that danced around

this question, Building Dialogue seemed like the

perfect venue for opening up a thoughtful con-

versation – one that would allow readers to deep-

en their understanding of the impact of genuinely

great design on our lives and surroundings.

While this topic is somewhat elusive, it is key to

elevating design quality within the rapidly chang-

ing face of Colorado’s communities over the com-

ing years. Thus, in an effort to deepen the dialogue,

I asked four of our state’s top architects to share

their thoughts with me. Each approached the con-

versation from a different starting point, yet ar-

rived at very similar conclusions.

Sarah Semple Brown, FAIA, cofounder and prin-

cipal of Semple Brown, and Jeffrey Sheppard, AIA,

design principal and cofounder of Roth Sheppard

Architects, have each personally invested more

than 30 years in designing many of our state’s most

notable, beloved spaces and buildings to great ac-

claim. Today, at the pinnacle of their careers, they

continue to raise the bar on the quality of design

here in Colorado. Christopher Herr, AIA, design

principal of HDR Architecture, and Maria Cole, AIA,

principal of gkkworks, have demonstrated their in-

novative approach to design in a wide variety of

project types over the last decade, earning their

place in the ranks of the most respected designers

in the state.

It is my hope that a small sam-

pling of their thoughts, captured

here, will catalyze a compelling,

multidisciplinary dialogue about

the true value of great design in

Colorado and beyond.

I begin our conversation by ask-

ing, “What is the value of great de-

sign?” Semple Brown responds with

a simple, honest statement, “Value for

some people is very black and white

– it’s about dollars. Yet it’s the thoughtful solutions

integral to great design that create the greatest val-

ue for the money invested.”

She continues, “Design fees are often considered

a very different commodity than the many other

expenses incurred in creating a space or building.

While it may seem like a lot of money to some,

our clients recognize that design fees are actually

quite reasonable in the larger scheme of things. In

the case of a restaurant, for example, the quality of

design is linked with how well it functions, is co-

ordinated technically, or how the multitude of de-

tails involved are integrated with the restaurant’s

concept or brand. In an office environment, great

design is about retention, and attracting the best

employees through a functional, productive and

inviting workplace. In both of these cases, there is a

direct relationship between the

user’s satisfaction and the quali-

ty of the design.”

Herr adds, “Cost is not a dictator

of design quality – you can find

a $300,000 house that is good de-

sign, and $1 million homes that are

poorly designed. As architects, the

challenge is, how can we push the

design, yet stay within the appropri-

ate cost bracket?”

Circling back to the word “value” itself, Shep-

pard believes the concept is defined differently

for each project and client. “A

designer must determine what

their clients perceive as value,”

Sheppard explains. “But, it will

be different from sector to sector.

Design decisions are then mea-

sured against those agreed upon

‘value-based goals.’” He emphasizes

that it’s imperative for everyone to

agree on what “value” is before they

create a project together. “The concept of value is

too vague and general¬ – you need to dig deeper.

In actuality, there are two levels of ‘value.’ The first

is upfront, tangible, defined value, and the second

is longer-term, intangible life-cycle value,” explains

Sheppard. “Tangible value requires a clear under-

standing and common language between a client

and their architect around the specific values they

hold for a project. Life-cycle value is less tangible,

which means that its outcomes are not as obvious

and only become more apparent over time. A lot of

intangible things are layered into our designs.”

Cole suggests a powerful way of thinking about

the value of great design. “Think about design in a

similar way that you would define a great piece of

literature,” she begins. “It strongly resonates with a

time and place, but it is based on universal themes

that are hard to put a finger on. You may not as a

layman know how it’s put together, but as a reader

you know you’re reading a masterpiece.”

She continues, “The same happens in architecture.

Does the building resonate with the program and

place? Does the craft of how the building comes to-

gether resonate with the purpose and meaning of

the client or organization? Does it have a big idea or

concept – like a plot in a book?”

Herr adds, “I think there’s a contrast between

America and the rest of the world in terms of how

the value of design is perceived. In the U.S. we’re all

about disposability – from water bottles to razors to

houses – and ‘first-cost’ considerations. In contrast,

in Europe and Latin America, good design is highly

regarded, thus its value is more endemic in both

the general and design population.”

Cynthia

Kemper

Principal,

Marketekture

Colorado Pulse

Sarah Semple

Brown

Christopher

Herr

Jeff Sheppard