Architect Robert Adam has been announced as the winner of the 2017 Richard H. Driehaus Prize at the University of Notre Dame. The annual award is given “to honor lifetime contributions to traditional, classical and sustainable architecture and urbanism in the modern world.” Founded in 2003, the prize includes $200,000 and a bronze miniature of the of the Choregic Monument of Lysikrates.

Robert Adam, a Rome Scholar, is the founder of ADAM Architecture, as well as of the International Network for Traditional Building, Architecture & Urbanism (INTBAU). The organization works to connect those interested in traditional architecture and urbanism.

“Throughout his career, Robert Adam has engaged the critical issues of our time, challenging contemporary attitudes toward architecture and urban design. He has written extensively on the tensions between globalism and regionalism as we shape our built environment,” said Michael Lykoudis, Driehaus Prize jury chair and Francis and Kathleen Rooney Dean of Notre Dame’s School of Architecture. “Sustainability is at the foundation of his work, achieved through urbanism and architecture that is respectful of local climate, culture and building customs.”

Along with his design practice, Adam has written many publications on classical and historic architecture, including Classical Architecture: A Complete Handbook and Classic Columns: 40 years of writing on architecture. Adam is also a fellow of the Royal Society of Arts, an academician at the Academy of Urbanism, and a senior fellow at the Prince’s Foundation for the Built Environment.

In conjunction with the Driehaus Prize, the late James S. Ackerman was announced as the recipient of the Henry Hope Reed Award. The annual Henry Hope Reed Award recognizes those working outside of the practice of architecture who have “supported the cultivation of the traditional city.”

“James Ackerman’s immense contributions to contemporary understanding of Renaissance architecture have greatly influenced not only the field of architectural history but the practice of architecture today,” said Richard H. Driehaus, founder, chairman and chief investment officer of Chicago-based Driehaus Capital Management LLC. “His work brought the past to life, allowing generations of architects to learn from the early masters of the craft.”

An additional award was also announced to recognized the Congress for the New Urbanism (CNU).

“We live in an age that often privileges the private realm over the public, and the Congress for the New Urbanism has worked tirelessly to promote the interests of the public realm. Initially through the design of new communities like Seaside, Florida, and later through education outreach that expanded demand for the improvement of established towns and cities,” stated Dean Lykoudis. “For over two decades, CNU has shown how it is possible to meet the needs of diverse communities with a basic set of principles that can be adapted for different cultures and traditions to create vibrant, beautiful places.”

This year’s jury included Adele Chatfield-Taylor, president emerita of the American Academy in Rome; Robert Davis, developer and founder of Seaside, Florida; Paul Goldberger, contributing editor at Vanity Fair; Léon Krier, architect and urban planner; and Demetri Porphyrios, principal of Porphyrios Associates.

The 15th Driehaus Prize will be presented at a ceremony on March 25th, in Chicago.</s>Design and Art Direction of the 12 architecture magazine.</s>Mike Stephen talks with Mom+Baby founder Alexandra Eidenberg about how her organization advocates for women and children online, in person, and on the Hill; chats with DNAinfo Chicago City Hall reporter Heather Cherone about new Chicago’s new red-light camera rules and where they’re being installed and removed; and visits with Blaservations architectural historian Elizabeth Blasius about her Curbed Chicago story on understanding Chicago’s vernacular architecture. Meanwhile, Mike hopes his new baby’s arrival doesn’t interfere with our Saturday broadcast! This week’s local music is provided by Boss Fight.

To subscribe to the OTL podcast, please visit our iTunes page or RSS feed.</s>A part of our Working Out of the Box series, this piece discusses the top 10 transferable skills you develop in architecture school. These set you up for a world outside our discipline, and can even give you an edge in many industries you thought were beyond your reach. If you are thinking about leaving architecture and changing professions, this list proves that your degree equips you for pretty much anything you want to do.

Architecture school follows what early software developers would call a ‘waterfall model’, where ideas follow the foundations of earlier concepts. Going backwards is a costly mistake that can mean reprinting a $100 plot, or redesigning a building if the column grid does not match across drawings. We develop what one of my colleagues likes to call laser-like attention to detail Therefore, we develop what one of my colleagues likes to call laser-like attention to detail. We can spot a typo from miles away and can’t help but notice when two objects are misaligned or two colors have different hues. When in school, this may seem like a curse. However, this is a blessing in disguise as we move on to trying our luck in other industries. Our new colleagues will almost certainly not have the same discipline drilled into their DNA, and a spotless deliverable can set us apart.

As we iterate through our designs, inspiration comes from multiple sources. It may come from an article on Archinect, from that paleontology elective, or from the way our garbage bags were arranged in the morning. Regardless of where we find the ideas for our work, keeping them safe and accessible is a skill that enables us to take our designs further. As Rem Koolhaas suggests, “Architecture’s greatest value in the future might not even be architecture… but [may come] in the form of knowledge or organization.” Once we move away from our home turf, that ability to organize complex layers of content into neat archives of ideas will allow us to make the most of interdisciplinary work. Not only do we bring a fresh perspective to the world beyond architecture; we also bring with us a new way of working.

Brilliant design ideas may come to our minds, but they have no value if we cannot effectively communicate them. Our first-ever pin-up was likely a faint reflection of the grand design we had in our minds. However, by the time we graduate, our ideas come alive on paper with very little need for words. Self-explanatory plans and sections go alongside glossy renders that, beyond their physical form, also convey emotional engagement and social interaction. We understand that communicating ideas is not so much about creating a Jackson Pollock masterpiece as it is about conveying crisp ideas through curated elements. As we move on to different disciplines, the ability to communicate our thoughts succinctly will prove to be an immense advantage.

From our first mid-term review, about two months into our degree, we’re thrown into the deep end as we present our designs before a panel of fancy-name architects and big-word academics. Review after review, we evolve from bashful novices to assertive professionals If that is not a test in public speaking, then what is? Review after review, we evolve from bashful novices to assertive professionals. Our voice stabilizes and our palms don’t sweat when we stand before a jury—the spotlight becomes a familiar place. As architects, that may seem like the norm. Yet outside of architecture, presentation skills are often reserved for top-level executives. The ability to deliver a composed presentation is invaluable, and employees who can do so are hard-fought.

Reviews also equip us with another skill beyond the ability to present our work. Defending our designs before diverse panels of high-profile critics teaches us to manage different stakeholders. We learn how to understand where each reviewer is coming from and what they want out of our work. We learn how to speak to people from different backgrounds, and become capable of persuading even the most testing of audiences. Our critics and professors guide us through a project in the same way a client would steer us through an engagement. They suggest ways of thinking about a problem, but ultimately we are responsible for deciding how to take our design forward. The balance between defending our ideas and accepting guidance becomes key in other industries that require collaborative work across multiple stakeholders—be them clients, customers, or other members of a larger team.

As architects we rarely realize how transferable our problem solving skills are to other fields. We design based on challenges. Turning constraints into opportunities becomes second nature. Turning constraints into opportunities becomes second nature A height restriction is not a roadblock; it is an invitation to spread across the site in creative configurations. That is the core of innovation—it is thinking of the ‘new’ but working within our limitations. That pragmatic approach to problem solving goes far beyond the scope of design. Whether we’re coming up with different ways to navigate a website or rethinking the market entry strategy for a large corporation, our ability to innovate takes us a long way. We don’t work to eliminate barriers. Instead, we think about how to work around the context in new and creative ways.

Solving design challenges is not a one-stop shop. It requires multiple iterations of our work as new ideas build on existing ones. We develop a critical eye and constantly think about how our designs can improve. We become comfortable critiquing our own work and that of others, and we recognize that critique does not mean criticism. Our goal of continuous learning and development goes beyond design, to impact how we think about our work. How could we be better communicators? What could help us manage stressful conversations? When we move to other high-feedback environments we thrive on the opportunity to improve ourselves. We are able to look at our work objectively, find loopholes, and think about ways to make every solution foolproof.

Our work in architecture school is characterized by tens if not hundreds of iterations on one concept. We understand, explore, and evaluate multiple solutions to any one problem. We test them again and again tirelessly. Although tough at the beginning, we become comfortable with leaving previous work behind to make room for new ideas. We know that adapting is the key to success. As it turns out, this is true far beyond the realm of architecture. David J. Snowden and Mary E. Boone’s Cynefin framework suggests that good management relies on the ability to adapt to changing contexts. Whether working in simple or complex environments, a continuous process of sensing and responding is crucial to effective decision-making. After architecture school, we are hardwired to iterate and adapt. Change excites us, and sets us up for success.

While students in most degrees wait for assignments and deadlines, we operate in an environment of continuous work. Architecture school teaches us how to work autonomously, without someone telling us what to do or when to do it. We are real self-starters, both by instinct and by training. We have a passion for our work, and we know that getting things done means we must get to work. When we turn to a field beyond architecture, that independence pays off. We are real self-starters, both by instinct and by training.We can own projects without needing direct supervision. Our entrepreneurial spirit translates into an ability to see projects through from inception to fruition—whether it is compiling a client report or founding a new company.

Finally, if architecture school failed to teach us the skills above, one thing we do have in our favor is an ethic of hard work. Long nights of blood (thumbs cut by X-Acto knives), sweat (running to make our review after oversleeping) and tears (combine the above) have toughened our skin. We can take on any obstacle the world puts before us because if there is one thing we know how to do, that is to work hard. We know that results don’t happen overnight, and that great work takes time. And, if we believe in something, we are ready to give it as much time as it needs. So, if there is nothing else you can offer your potential new employer, hard work is a skill that runs short and pays well.

After reading this, the many sleepless nights might not seem so bad after all. You are, no doubt, an exceptional designer. Yet you also have the skills and the discipline to pursue careers far beyond our field. Architecture school is a unique training and these 10 skills set you up for success across industries. If you’re thinking about leaving architecture to try something different, do it—you’re better qualified than you think!</s>The Tyee reported on an event honouring Sylvie McAdam, the co-founder of the Idle No More Indigenous advocacy movement and the winner of the 2016 Margolese National Design for Living Prize. The prize is presented by UBC’s school of architecture and landscape architecture.</s>Architecture and music are two very different art forms – one is visual, tactile and logical; the other audial and emotional. So what happens when you bring these two artistic media together?

This is the idea explored by Chilean web series Insigne Sesiones, which aims to “[expose] he ideal mix between contemporary architecture and music, generating the first audiovisual project worldwide that officially joins these two disciplines.” For their first season, Insigne Sesiones invited six world-renowned musicians to perform their music in the intimate settings of some of the most celebrated works of Chilean architects across the country.

Check out the full first season below.

For their second season, Insigne Sesiones is working on securing more artists from Latin America, North America, Europe and Africa to further integrate global music into Chilean architectural works and landscapes.

What Can Music Videos Teach Us about Architecture? When it comes to the confluence of music and architecture, maybe the first thing that comes to mind is Goethe's claim that "music is liquid architecture." Goethe, however, was writing before the advent of MTV: music videos have become miniature films, attempting to capture all the tone, undercurrents and context of a particular song and translate them visually.</s>Natasha Case co-founded ice cream sandwich company Coolhaus as a way of blending her interests in food and architecture. Natasha Case co-founded ice cream sandwich company Coolhaus as a way of blending her interests in food and architecture.

Start the conversation, or Read more at Los Angeles Times.</s>Given the hearty success of our architecture resume/CV post, we understand that there's a demand for inspirational information that will help you land the job, grant or school admission you've always wanted. But portfolios, though a basic requirement in many creative fields, can be very tricky to master. How do you select the work you want to feature? How will you present it visually? Most importantly—how will you make it memorable enough that it won't be cast aside after a three-second glance? In an age where more and more portfolios and CVs will be viewed exclusively on a screen, how have you, our readers, developed portfolios that you are proud of? We would be honored to share the most innovative, inspirational, well-designed portfolios, so submit your designs!

If you think your portfolio has what it takes to be featured in a top-10 list, then send it over. (But please read the rules and guidelines!)
• Only send your portfolio if you are comfortable with it being shared online.
• SUPER IMPORTANT: Submit a maximum of 3 portfolio spreads (six pages). The document should not contain more than six pages.
• ALSO SUPER IMPORTANT: The file size of the submitted document should not exceed 10MB.
• You may submit either in either .pdf, .jpg or web format (a link to an online portfolio)
• Design must be original and suitable for publication on ArchDaily. By submitting your work to ArchDaily you are affirming that you are the sole author of the design.
• All entries must be received by April 16th, 12:00pm EST.
• You may submit ONLY one entry.
• We will publish a selection of our favorite submissions.
• Any entry that does not follow the guidelines will not be considered.

How to share a link to your submission:

In the form below, please submit a link to the .jpg/.png/.pdf version of your resume. We will not accept submissions as zip files, nor do we accept submissions sent via WeTransfer, MegaUpload, or a similar service. Any entry submitted as a zip file or using a file transfer service will not be considered. If you are sharing a file that has been uploaded to Dropbox, Microsoft OneDrive, Imgur or Google Drive, please ensure that you are sharing a public link that can be accessed by ArchDaily editors. 

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6 Tips on Creating the Perfect Two-Page Portfolio to Win a Job Interview When it comes to applying for a new job, in any field, often the most difficult part is standing out from the crowd at the first stage. Fortunately for architects, in our field we have a tool that can help you to do just this: the portfolio.

Getting a job or internship at an architecture firm doesn't only depend on your skills as an architect (or student). The way you present your skills plays an essential role. At a time of great professional competitiveness and with resumes becoming more globalized, assembling a portfolio may seem like a chore and often very involving: Which projects do I list?

A few months ago we put out a call for the best architecture résumé/CV designs. Between ArchDaily and ArchDaily Brasil we received over 450 CVs from nearly every continent. We witnessed the overwhelming variety and cultural customs of the résumé: some include portraits, others do not; some include personal information about gender and marital status; others do not.

Establishing professional contacts in architecture - and well, in any field, really - has changed dramatically in the last decade, passing from the paper world to the virtual realm. However, small details can still make a big difference when it comes to captivating a potential new client or establishing a new partnership -- and these details aren't unique to the virtual world.</s>Sign up for one of our email newsletters.

When: Through May 22, 10 a.m.-5 p.m. Mondays and Wednesdays-Saturdays; until 8 p.m. Thursdays; noon-5 p.m. Sundays
• Where: Heinz Architectural Center at Carnegie Museum of Art, Oakland

The exhibit “Action, Ideas, Architecture: Arthur Lubetz/Front Studio,” currently on display in the Heinz Architectural Center at Carnegie Museum of Art, explores the five-decade long career of Pittsburgh architect Arthur Lubetz, as well as his practice with Front Studio, a New York-based firm founded by two of his former students, with which he merged in 2011.

A practicing architect since 1967, Lubetz earned a degree in architecture from Carnegie Tech (now Carnegie Mellon University), and has taught there at the School of Architecture since 1988.

Organized by architecture historian and critic Charles L. Rosenblum from materials on loan from the Carnegie Mellon University Architecture Archives, Front Studio, and other lenders, the exhibit presents significant projects from Lubetz's career, through original drawings, models and photography.

Strident in appearance, his buildings represent physical forces that can be described in action words, such as cutting, splitting, slicing and peeling.

“He's a lightning rod,” says Rosenblum in regard to the architect. “He has a lot of admirers. He has a lot of admirers among his students. And he has a lot of admirers among people who want to see and experience intellectual content in architecture.”

But, as Rosenblum is quick to point out, “He also has detractors. He'd be the first person to tell you that. He's a love it or dislike it kind of architect, but that is his intention.”

Take for example, the Glass Lofts, located on Penn Avenue in Garfield, just opposite the Pittsburgh Glass Center.

With contrasting bright green and corrugated metal exterior walls above masonry block, the building strikes a powerful urban presence. The building looks something like a Transformers robot lounging on a hillside, with bulging cubes under upward tilting roofs, and portions where walls appear as if peeled back to reveal openings and balconies.

The result is overtly experiential architecture, with stairways and a bridge providing passages and views through the sloping site.

“It's received a lot of positive press and exposure, but I've also talked to people who don't like it at all,” Rosenblum says. “But he wants to wake people up, do things that are provocative, and he succeeds in that.”

Built between 2007-10 for Friendship Development Associates, the bright green and shiny metal complex is a combination of loft condominiums, artists' studios, and restaurant and retail space.

Documents from different stages of design show this project coming to life. Beginning with basic arrangements of space, they show how the architects increasingly responded to a dynamic site and the possibilities for energetic expression of form.

Of course, Lubetz, and for certain his buildings, are no strangers to Pittsburghers. Not the least of which is the architect's own studio on Craig Street in Oakland.

In 1983, Lubetz renovated the former auto mechanic's shop to become a colorful, distinctive and intellectually challenging headquarters for his practice.

Located near the busy intersection of Bigelow and Baum boulevards, the building is an architect's dream, with freestanding walls, exposed beams and an upside-down staircase on the inside, and on the outside a beautiful collage of concrete forms and pastel colors, which reflect both serious architecture and the pop culture of the 1980s, yet somehow still maintains its attractiveness to this day.

Also quite distinctive in the minds of most Pittsburghers are two projects in Shadyside — Ellsworth I (1989) and Ellsworth II (2000). Separated by a small parking lot, they were completed 11 years apart, but at first blush you wouldn't know it. Both embody architecture as a collision of artistic forces, with different materials yielding similarly pleasing geometric results.

Good architecture that serves the public good is always a win-win. And Lubetz and Front Studio pleasantly surprise in this arena as well.

Begun in 2014, the Sharpsburg Library was formerly a restaurant. In their extensive and transformational addition, the architects used affordable corrugated metal walls to wrap the original structure, creating volumes in primary colors that have the same shade inside and out.

Here Swiss cheese-like portholes puncture a large yellow volume, which angles over the orange reading room at the front of the library and the entrance. A community garden extends from the green room in the back. Other spaces are roughly divided by function — stacks, circulation and reading areas — while maintaining some continuity and flexibility.

“It's very colorful,” Rosenblum says of the building. “It's a very budget-minded building. There is also a lot of spatial experience, a lot of bang for your buck. And it's something that the users genuinely appreciate and enjoy. It's not the architect's conceit, and the people suffer as a result. It's quite the opposite, popular and well used.”

Another library, Carnegie Library of Pittsburgh's Squirrel Hill branch (2002-2005), is a readily recognizable structure to most Pittsburghers. Here Arthur Lubetz Associates was asked to enlarge an existing two-story concrete-framed library from the 1970s, which was too small and nondescript to serve its vibrant and growing neighborhood.

In a bold redesign, thanks to a new copper skin and glass walls extending toward the street among numerous other exterior advances, the firm expanded the use of the interior, creating facilities for children and teens while increasing the number of computer terminals, visitor service desks and meeting rooms.

A good number of private projects complete this remarkable exhibit — including an award-winning home addition the architects designed in the Czech Republic built on the masonry ruins of an 18th-century agricultural outbuilding — making for a complete picture of an accomplished architectural practice, and its talented and visionary principal.

“He knows how to do a grand gesture, how to smash things apart when the circumstance demands,” Rosenblum says. “But I think he's also responsive to the strength of historical structures and historical context. He knows when to have a heavy hand and when to have a light touch.”

Kurt Shaw is the Tribune-Review art critic. Reach him at tribliving@tribweb.com.</s>H. Randolph Holmes Jr. , Lori Garrett and Jeanne LeFever, owners of Glave & Holmes Architecture in Richmond, employ 60 at their firm. Lori Garrett, Jeanne LeFever and H. Randolph Holmes Jr., owners of Glave & Holmes Architecture pose for a portrait outside their office on Friday March 3, 2017.

Start the conversation, or Read more at Powhatan Today.
The Driehaus Architecture Prize for New Classical architecture is awarded to Robert Adam in Chicago.