Latest news with #AmericanInstituteofArchitects
Mail & Guardian
11-05-2025
- General
- Mail & Guardian
Female architects ensure potty parity
(Graphic: John McCann/M&G) Ever wondered why the queue to the women's public toilets is forever stretching around the block while men roll in and out of their facilities with ease? A new line of men begins to form as they wait for their wives, daughters and girlfriends to leave the women's toilets. I pondered the question of potty parity in real estate while I was quite literally standing in the restroom queue. It is true that women typically take longer in a bathroom setting than men, but this does not alter the question. It comes down to design bias. Most of these public spaces, where this issue of long wait times for women is encountered, were designed by men. Men who decided that an equal toilet ratio would be suitable for both genders to make use of. It's safe to say that female architects were significantly underrepresented when most of these buildings were designed and built. The American Institute of Architects has published mountains of demographic data about the architecture industry. I read that in 1970, roughly 1% of registered architects in the United States were women. By 1980, this number grew slightly to about 4%. Many of the buildings and their toilet facilities I referred to above were built during this period. In terms of the architectural sector in South Africa, a 2019 article states that, according to the South African Institute of Architects in the Eastern Cape, only 21% of registered architectural professionals in the country are women. This is still extremely low. Without the female perspective in spatial planning, it's no wonder we are stuck with long restroom queues. Flash forward to today and I am pleased to see women in all aspects of real estate taking their place at the table and sharing their valuable expertise. There are now more female architects, property developers, brokers, chief executives, and chief financial officers of publicly listed real estate investment trusts, as well as owners of real estate-related service companies, than at any other time in history. The Leonardo skyscraper, located at 75 Maude Street in Sandton, Johannesburg, is the tallest building in South Africa and the fourth-tallest building in Africa. The building spans 55 floors and is 234m high. It has 232 apartments, nine conference venues, 1 251 parking bays and eight penthouse suites. Some three-storey penthouses have been listed online for sale for a staggering R250 million. Did you know that a predominantly female team designed the tallest building in South Africa? Nine out of the 11 architects were women. They include Catharine Atkins, Malika Walele, Salome Daley, Janel Venter, Megan Holman, Angela Barnard, Keitsitse Losaba, Antonella Giuricich and Rachel Zwane. The main contractor for this development was Aveng Grinaker-LTA and the architects were Co-Arc International Architects. They broke ground on 17 November 2015, and the development was completed in 2019. Amenities inside this mixed-use tower include restaurants, bars, a spa and a gym, a Montessori crèche and a swimming deck. Alto234 is a bar at the top of the Leonardo offering sensational 360-degree views of Johannesburg (especially beautiful when the jacarandas are in bloom and the landscape is a sea of purple). This is the highest bar in Africa. Among the residential apartments, retail and office space is the Legacy Hotels & Resorts 240-room hotel. The art collection displayed throughout the building is impressive. More than 100 contemporary African artists were asked to create unique works specifically for this building. There are close to 1 500 unique artworks displayed on the interior walls. A notable piece is the entrance area's chandelier with more than 80 000 squares of hand-assembled metal. The artwork is titled The Ancestor, which was curated, commissioned and directed by The Trinity Session. Half a tonne of copper, stainless steel and brass was used to create this stand-out piece. These materials were inspired by Johannesburg, the City of Gold. Another notable artwork is the tall, colourful artwork by Mbongeni Buthelezi. This artist heated plastic to create an oil-painting effect. Another notable building whose design team was woman-led is the Mall of Africa. Completed in 2016, this shopping mall is famous for its size — 131 038m2 — and being the largest single-phase mall developed in South Africa. Tia Kanakakis was the principal designer at MDS Architecture. The mall's design reflects Africa's unique geological characteristics and landscapes. It includes different sections, such as the Oleum Court, which represents the oil-rich regions of West Africa; the Great Lakes Court, symbolising East Africa; the Crystal Court, showcasing Southern Africa's mineral resources; and the Sand Court, which captures the essence of the desert dunes found in North Africa. The mall is home to more than 300 shops and 6 500 parking bays and has won multiple awards for its design. Last, I want to praise Ashleigh Killa, the co-founder of The MAAK, an architectural studio based in Cape Town. They were responsible for designing a TB testing lab for the Desmond Tutu HIV Foundation in Masiphumelele, Cape Town. I wrote about this lab a few years ago because I was (and still am) a huge fan of the bold design. Thanks to this lab, the foundation can advance its research on this illness while also providing support to the local community. The building was built in 2019 and spans 500m2. Cheers to Ashleigh and her team for being trailblazers in aesthetically pleasing design for public infrastructure that serves the communities most in need. I wish more designers of public infrastructure would be inspired by her approach when it comes to the design of a site like this. Just because it's public infrastructure does not mean we need to put up some depressing, brutalist blob. In a field long dominated by men, the women I've highlighted stand as powerful reminders that architectural brilliance knows no gender. Their work, rooted in innovation and social awareness, is not only shaping the skylines of South Africa but also transforming the way we inhabit our spaces. These women architects are designing more than buildings; they are building futures that are inclusive, sustainable and undeniably bold. As their effect ripples through communities and across generations, one thing becomes clear: the future of South African architecture is not only female, it's visionary. Ask Ash examines South Africa's property, architecture and living spaces. Continue the conversation with her on email (
Axios
08-05-2025
- Business
- Axios
Iowa architecture billings fall, signaling long-term slowdown
Architecture firms are experiencing a prolonged decline in invoices for upcoming projects, signaling ongoing challenges for the state's construction industry, according to the Iowa chapter of the American Institute of Architects (AIA). Why it matters: Billings are closely tied to future construction activity, a significant driver of Iowa's workforce and overall economy. With national and Iowa-specific data pointing down, the broader building sector could remain sluggish into 2026 and create significant obstacles for the local commercial real estate market, Iowa State University economist Peter Orazem tells Axios. Driving the news: AIA's national billing index declined 27 of the last 30 months ending in March, according to the group's most recent report, released in late April. In a separate market survey released this week by the Iowa chapter, 11 of 20 architectural firms (55%) identified the office market as their slowest, lagging behind about a dozen other sectors such as single-family housing and manufacturing. Stunning stat: As of August 2024, construction employed nearly 86,000 workers and contributed billions of dollars to the state's gross domestic product, according to a report by the Associated General Contractors, an Arlington, Virginia-based group. Zoom in: Hybrid work continues to reduce demand for commercial space, Orazem said. The metro's office vacancy rates are lower than those in much of the country, but they have yet to return to pre-pandemic levels. Businesses including Principal Financial Group have entire floors that are vacant. What they're saying: With the general market trending downward and uncertainty regarding the availability of building materials, the industry's challenges will likely continue, Jessica Reinert, executive director of the AIA Iowa, said in a press release. Orazem anticipates months of troubles due to office vacancies. "Until you get enough growth to fill the available space, this will be a long-term issue," he said. What we're watching: The city of DSM plans to sell three historic municipal buildings while the federal government is in the process of selling a long-standing U.S. Courthouse in downtown.
New York Post
24-04-2025
- Entertainment
- New York Post
Dennis Morgan's former LA home can be yours for $8.5M
This Mediterranean revival estate near Los Angeles has a lot to brag about. The home in La Cañada Flintridge was designed in 1927 by trailblazing architect Paul R. Williams, the designer of iconic commercial buildings and residences across California and the first African-American member of the American Institute of Architects. The residence later served as a retreat for Golden Age Hollywood actor Dennis Morgan. On top of its Californian bona fides, the sprawling property boasts an super-sized swimming pool. Now, this 1.2-acre estate can be yours for $8.5 million — marking its first sale in decades. Advertisement 'It's a truly magnificent, almost fossilized home,' Compass agent George Penner told The Post. 'It captures the spirit of Hollywood and Los Angeles in the 1930s.' 19 The grounds include unique structures like an observatory and a tea house. Sterling Reed Photography 19 The living room. Sterling Reed Photography Advertisement 19 Former resident Dennis Morgan appeared in Hollywood musicals and movies throughout the 1940s. Kobal / Shutterstock The primary estate residence, designed by Williams, includes four bedrooms across 8,156 square feet. Painstakingly crafted details are sprinkled throughout the home, including hand-painted stenciled ceilings, black and white marble floors, tile mosaics and stained glass. Specialty rooms include a paneled library, a music room and a basement wine cellar. 19 The home's reception hall with 20-foot ceilings. Sterling Reed Photography Advertisement 19 The formal dining room features a stained glass window. Sterling Reed Photography 19 The library. Sterling Reed Photography 19 The faux bois tea house, built in 1929. Sterling Reed Photography 19 The wonderful interior of the tea house. Sterling Reed Photography Advertisement 19 A one-bedroom casita. Sterling Reed Photography 19 The guest house includes an observatory and a two-car garage. Sterling Reed Photography 19 The guest house interior. Sterling Reed Photography The estate's grounds, nestled in the foothills of the Verdugo Mountains, includes a garden, two greenhouses, a one-bedroom casita and a faux bois tea house built by a Japanese artisan in 1929. A two-bedroom guest house features a look-out 'observatory' and a two-car garage. Then, there's the swimming pool. 19 Penner said the Olympic-size pool draws a great deal of attention. Sterling Reed Photography 19 An aerial of the swimming pool. Cameron Carothers Photos 19 A garden fountain. Sterling Reed Photography Advertisement 19 Scattered sunlight hits a mosaic wall. Sterling Reed Photography 'Everyone seems to comment about the Olympic-size pool, because it's so unusual to have such an enormous, opulent pool for a single family home,' Penner said. Architect Paul R. Williams built the residence early in his career for attorney James Degnan. Williams went on to design homes for the likes of Frank Sinatra and Lucille Ball. '[Williams] was a real trailblazer, and certainly the most prolific African-American architect of the 20th century, certainly in California,' Penner said. 'To do work of this incredible level in 1927 is, I think, extraordinary.' Advertisement Gina Guerra has lived in the home with her family since they purchased it for $2.07 million in 1999. The Guerras inherited the home's well-preserved — but 'quite run down' — architectural details, like original tiling and light fixtures, alongside stories of Errol Flynn partying on the property. Guerra told The Post that the family focused on restoration, rather than renovation, through their years of ownership, although upgrades to the kitchen and bathrooms were necessary. 19 Descendants of James Degnan gifted Guerra vintage photos of the property. 19 The dining room. Advertisement 19 The tiled fountain. 19 A vintage view of the observatory. Guerra added the property's expansive green space and multiple greenhouses turned her into an avid gardener. 'I'm now in the Garden Club of America judging program for horticulture, so it really took me down this whole path that I never expected in my life,' Guerra said. 'I hope another family moves in, raises their kids here and loves it the way we do.'
Yahoo
02-04-2025
- Politics
- Yahoo
Opinion - Trump's classical federal building mandate would make architecture backward again
Amid all the chaos emanating from the new administration, architects nationwide are bracing for another battle: Trump's threatened classical-only mandate for federal buildings. This looming decree pits Trump's neoclassical nostalgists — who seem to believe slapping columns on something magically creates timeless architecture — against those who understand that meaningful design emerges from wrestling with contemporary challenges. Trump's order, which mandates that federal public buildings should be 'visually identifiable as civic buildings' to 'uplift and beautify public spaces,' has already received criticism from the American Institute of Architects. Stating the need for freedom in architecture, the institute states that its members believe 'the design of federal buildings must first be responsive to the people and communities who use those buildings.' This pushback, however, encompasses more than the freedom of expression. Members are 'extremely concerned about any revisions that remove control from communities.' In short, mandating federal aesthetics minimizes the fluidity of people and place by limiting federal architecture to a time rife with white supremacy. Trump's first-term stab at Greco-Roman dominance in December 2020 labeled modern architecture as 'ugly and inconsistent,' demeaning the impact of innovative design and the people who shape it. While neo-traditionalists pine for an idealized past that never actually existed, serious designers recognize that architecture must authentically engage with today's materials, technologies and social conditions rather than retreat into costume drama. This brewing conflict isn't merely aesthetic. It represents fundamentally different conceptions of how architecture should serve and preserve society's past, present and future. Historic preservation is not about freezing buildings in amber, like prehistoric mosquitoes. Good preservationists understand that buildings, like the societies that built them, aren't static. They recognize that the Parthenon was cutting-edge in its day — not some retro throwback. When we thoughtfully restore or adapt historic structures, we're honoring their innovative spirit, not just their superficial stylistic peculiarities. Meanwhile, thoughtful contemporary design speaks authentically to our moment. Take the National Museum of African American History and Culture. That building isn't trying to be something it's not. It is having a respectful conversation with its neighbors on the National Mall while boldly expressing its unique purpose — no powdered wigs or knee breeches required. Then there's simplistic historicism — architectural cosplay that misses the point entirely. People who fall into this camp seem to think slapping pediments and gilt-covered nonsense on a building magically imbues it with classical virtue. But Thomas Jefferson himself was constantly tinkering with classical forms at his Monticello estate, adapting them for American materials and needs. He was an architectural hacker, not a copycat. Mandating a one-style-fits-all approach to federal buildings makes about as much sense as requiring all government employees to communicate via quill pen. A courthouse in Phoenix has different needs than one in Boston. Architecture should solve problems, not just strike poses. Architects are thoughtful, trained professionals. We know what we're doing. The issues involved here go way beyond issues of taste and preference. There is simply a right way and wrong way to use history in the design process. True historic preservation honors innovation, not just aesthetic styles. Authentic contemporary design creates honest dialogue with history while addressing modern needs. Simplistic historicism reduces architecture to superficial mimicry without understanding original context. Mandating specific styles misunderstands how classical buildings were revolutionary for their time. Architectural diversity better reflects democratic values than stylistic uniformity. Context-specific solutions produce better buildings than blanket style mandates. America's architectural legacy deserves buildings that honestly reflect both where we've been and where we're going — preserving our values of diverse design and honoring the people who got us there. Michael Roehr is principal and founding partner of RoehrSchmitt Architecture and Interiors. He is a past president of the American Institute of Architects Minneapolis. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
The Hill
02-04-2025
- Politics
- The Hill
Trump's classical federal building mandate would make architecture backward again
Amid all the chaos emanating from the new administration, architects nationwide are bracing for another battle: Trump's threatened classical-only mandate for federal buildings. This looming decree pits Trump's neoclassical nostalgists — who seem to believe slapping columns on something magically creates timeless architecture — against those who understand that meaningful design emerges from wrestling with contemporary challenges. Trump's order, which mandates that federal public buildings should be 'visually identifiable as civic buildings' to 'uplift and beautify public spaces,' has already received criticism from the American Institute of Architects. Stating the need for freedom in architecture, the institute states that its members believe 'the design of federal buildings must first be responsive to the people and communities who use those buildings.' This pushback, however, encompasses more than the freedom of expression. Members are 'extremely concerned about any revisions that remove control from communities.' In short, mandating federal aesthetics minimizes the fluidity of people and place by limiting federal architecture to a time rife with white supremacy. Trump's first-term stab at Greco-Roman dominance in December 2020 labeled modern architecture as 'ugly and inconsistent,' demeaning the impact of innovative design and the people who shape it. While neo-traditionalists pine for an idealized past that never actually existed, serious designers recognize that architecture must authentically engage with today's materials, technologies and social conditions rather than retreat into costume drama. This brewing conflict isn't merely aesthetic. It represents fundamentally different conceptions of how architecture should serve and preserve society's past, present and future. Historic preservation is not about freezing buildings in amber, like prehistoric mosquitoes. Good preservationists understand that buildings, like the societies that built them, aren't static. They recognize that the Parthenon was cutting-edge in its day — not some retro throwback. When we thoughtfully restore or adapt historic structures, we're honoring their innovative spirit, not just their superficial stylistic peculiarities. Meanwhile, thoughtful contemporary design speaks authentically to our moment. Take the National Museum of African American History and Culture. That building isn't trying to be something it's not. It is having a respectful conversation with its neighbors on the National Mall while boldly expressing its unique purpose — no powdered wigs or knee breeches required. Then there's simplistic historicism — architectural cosplay that misses the point entirely. People who fall into this camp seem to think slapping pediments and gilt-covered nonsense on a building magically imbues it with classical virtue. But Thomas Jefferson himself was constantly tinkering with classical forms at his Monticello estate, adapting them for American materials and needs. He was an architectural hacker, not a copycat. Mandating a one-style-fits-all approach to federal buildings makes about as much sense as requiring all government employees to communicate via quill pen. A courthouse in Phoenix has different needs than one in Boston. Architecture should solve problems, not just strike poses. Architects are thoughtful, trained professionals. We know what we're doing. The issues involved here go way beyond issues of taste and preference. There is simply a right way and wrong way to use history in the design process. True historic preservation honors innovation, not just aesthetic styles. Authentic contemporary design creates honest dialogue with history while addressing modern needs. Simplistic historicism reduces architecture to superficial mimicry without understanding original context. Mandating specific styles misunderstands how classical buildings were revolutionary for their time. Architectural diversity better reflects democratic values than stylistic uniformity. Context-specific solutions produce better buildings than blanket style mandates. America's architectural legacy deserves buildings that honestly reflect both where we've been and where we're going — preserving our values of diverse design and honoring the people who got us there.
