One of the things that I would
just start up by saying is that.

I I don't think there is any resisting
this kind of change you can say that the.

Advantages of it are so overwhelming
to the sorts of projects the Jerry.

Mentioned that are our high
information value types of projects.

There's no way that you're
going to get around.

Around this kind of thing happening.

It isn't the greatest.

Technical transformational
ship to that our

profession has had in
the last five hundred years.

And one of the things that you realize
of course is that that technical changes

like this which slides like hers.

I don't know how to get a P.C.
I'm a mac guy that was.

Bill Gates of sorry to so.

So you know one of
the big to have is that.

In When CAD first came in the because

of of computers and technology and so on.

Help people back a little bit and.

But now computing is so
cheap in computing time is so cheap.

Chuck was showing us some something that
was done on a sixty four bit machine.

Yesterday it was checking those
two hundred thousand hazards

of affable conflict pads in the U.S.
core building.

In a matter of less than a minute or
so so so

you have more of a war
you know which was that

the computing power would would double
every so many years and then double.

Again and double again and double again.

Well that also applies to
the adoption of technology.

Technologies get adopted much much faster.

And now circle back to
something that Jerry said.

How about how this is
a disruptive technology.

Paradigm shift game changer is another
way that you can tell that word for it.

What you can tell how the way you can
tell that you're in a this is midst of

a disruptive technology isn't just that
you throw out all of your old tools but

also that it begins to challenge and
threaten your identity.

Who you are as a professional comes
into question what it is that you do and

those are the things that can tell us in
this particular case that we're in a.

Disruptive technology you go out there and

you hear people talk about this
all over the place is as I do.

I just want to mention that Chuck
said that I'm the technology

editor at architectural record.

Actually I'm the practice editor
the two technology editors

have a dotted line responsibility for me.

I started Green Source magazine which
some of you if you're members of the U.S.

Green Building Council have seen that.

Those are some of the jobs that I do
I put on our architecture records

innovation conference so I meet a lot
of people and people are really they're

really frightened by this change people
are really scared to death of what it will

do to them architect in particular and
I'm an architect.

I'm shocked to say that.

It will be thirty years next month since
I graduated from Koppel at the age.

So wandering around the last
few days to see all of the.

Amazing things that are being done.

George attack.

I feel really I feel so do you know.

Yes Well you have this little
brute like a high school senior.

Where you as I program and.

You know I had been I put into my
parametric model and I like going.

You know when I was your age
I was sharpening pencils.

You know with a guy in the back.

So what I talk about when I sing that is
that it's architects asking themselves and

how many architects are here
going to just get a contractors.

A few engineers.

A good G.S.A. anybody from the G.S.A.
here school a couple that they're OK.

That's good.

You know so so you know the kind
of questions of people ask

themselves when they're professionals
they're deeply into it.

They don't know if.

Is this is what is my job.

Now what will my job be
when I'm when we do them.

What's what.

Who am I.

Did I train for
this is this what I want it.

Is this what I want to do and
I make enough money doing it.

What happens when I'm not the holder
of the contract monopoly anymore.

What happens to me when Khan
projects are no longer of the it.

These are the sorts of things that run
through people's minds and what I'm going

to what what am I going to going to be
who owns the intellectual property.

How is the risk going to be split.

These are all of the things that
are giving people nightmares and

headaches and so what.

But my personal opinion is
that it doesn't really matter.

All of those problems
are going to get solved.

They've talking about they
have been solved in some cases

some of the people here will write
if you have written about how they.

They saw all those kinds of projects.

You know the part of the trouble
is that in the construction

industry and in the architecture
profession in particular.

We educate our young
somewhat the same way that

tribes passed down the war
to the next generation.

It's a bit like you know or it's still

very much kind of a guild system you have
these five years of six or seven years

of education and then you go out and
you learn the rules way things are really.

And you know that's sometimes a shock.

That's probably that's
kind of when I got out.

Which has been about
twenty five years ago.

That's when I got out of the profession
when I realized that it was

going to be a lot of hand drawing of up to
that point it was I left the profession.

Just as the price of a two
eighty six I.B.M. P.C..

Broke three thousand dollars and
I mean downward not upward.

So and that in three three
thousand dollars in one thousand

nine hundred eighty five was you could buy
almost buy a Ford Pinto with much money.

So that the question then becomes.

How does the guild
the tribal way that we asked

information down from
one person to another.

Occur when the process
of how we fundamentally

make information for drawings or

for four consider the current structure
and process begins to be challenged.

At the practice future
professional practice

a comp convention that
was held in Washington.

Early.

Or this or
late last year there was a session or

that was run by a guy who had adopted
a rabbit in his office that was

the only way that he's going to do
construction drawings from now on and

he has five people five
people in his office and

he said I don't have any use for
a graduate.

Here a person who's just come out and
I don't mean to

I don't mean to to discourage anyone I
know there are some students at your.

I don't have any use for

a graduate who does not already
know a lot about construction.

Because I don't have time to sit there and
teach them how to do.

Construction drawings if they don't
I mean it used to be that I could

put them on the board tracing
something else and they would learn.

I'll be assembly swim together and
how to do water proofing and so on.

But I don't.

And he said as far as drafters are
concerned people who are not architects.

They're obsolete.

There's absolutely no use for

a drafter in my office anymore
he said I feel really bad.

I had to let a couple drafters.

They sincerely had by people I hope

you didn't have to let
them go at the same time.

But that was the thing that
he said it's also easy.

Well OK so
there's a couple of other things

besides construction you will
need to know and I have to say.

Kathleen you teach this a brother nicely.

The thing that you need to be
able to do is communicate.

I don't know how well certainly
certainly most of my peers

when I was in architecture school could
not put together a sense on paper.

Do you know how to do team building and
team management.

Again you know with
the process of bringing

everyone around the table and
every one owning the model letting.

Model rule respecting the model all of
these things that we popular today.

It's going to take a little bit
more than one person sort of

you know standing up at the top.

You know and.

So it's something to me what's
the difference between.

Integrated in design and intelligence.

And that is that.

Integrated design does not allow for
divine intervention.

This required.

Doesn't require design or
divine intervention.

So the way I think all these things
are going to be worked out you know.

The architectural profession may not have
all that much in the last five years.

But certainly we don't have
a lot of time to waste

in pulling some of these things together
especially where issues of carbon.

And energy use and so on.

You know the number one thing that.

Someone told me the number one thing
that that keeps me up at night is

asking we keep our clients
from killing the planet.

And that's something that we should all
be concerned about the last thing or

the last but
not least you know it's easy to get all

caught up in the technology
of all of these things.

And to forget what it is that we
really came here into this profession

to to do and that's to make beautiful
spaces and things that make us excited.

And I've just got a few slides.

I know we've got to wrap this up.

I have a few slides of some new
products and I'm sorry to say you know

how Powerpoint really does some
heinous things to color and

the photography and
then video projectors make it worse.

So a but but if you'll bear.

With me I'll just show you a few things.

This is the new billion.

It's a project by Norman Foster.

That's at the National Portrait Gallery
of all of the slides.

This was published in our architectural
records most recent issue.

There's a nice shot of the roof of it.

This is the glass the villian
at the Toledo Museum of Art.

I want to just mention here that.

None of most of these projects
would nappie possible without some

level of computer digitally
enabled fabrication and I don't

I'm not sure whether any of these are done
with building information modeling.

But you know at least you
get an appreciation for

the calculations involved.

The thing I'd like you to
look at here is notice how.

These gigantic pieces of her blast
him down and fit in the floor

with almost no no joints no variation.

It's a look at the way this
glass on this thing meets the.

Facia.

And look at how it's
just it's just perfect.

And I'm encourage you to
look at that glass to go

on in print because it's
just beautifully detailed.

By company name pronto.

Who did that curtain wall with all
the curtain of them curtain wall.

This is a new project that will
be in it's called the Mazda our

city which is supposed to be this
is the master City headquarters.

That's being done by
Adrian Smith Gordon Gill architecture.

That's an odd Dobby I believe this
is supposed to all be zero energy or

whatever that really means that
that's why it's shaped like for.

This is a city council building in Spain.

If I'm not mistaken.

I don't know if they modeled
every one of those cables.

But maybe they should.

Here's what it looks like
when you are looking down

at the actual council chamber.

This is in a car Santiago

are a project a think that's
reinforced concrete all of

that's the inside of
a little building in Korea.

You know you can think of it and

you can model of it you know
in the real thing really nice.

That's which it's all about imagination.

That's some kind of
a barbershop somewhere.

I am you know don't don't

don't go there after you've had a few
drinks because you'll fall over.

That's the macaw haul out in this addle

I just like the way they use
the lighting on the scram.

That's of a project in the U.K.
This is a this is a.

A quarter between two buildings.

And it must it must really
affect a person to walk and

it was all done with like
there's no paint in this case.

That's a new Mercedes No
no that's a B.M.W.

plant this is on our cover of this month.

These are pictures taken off of our
website which are very good but I

urge you to look at it and you're supposed
to go here and bond with your car.

That's the Mercedes museum.

The Germans grey with
engineering now in this one.

This is kind of interesting because
this is all a very complex.

Concrete structure that swirls
around you'll see all of these.

All of these surface.

We're modeled a lot.

The plywood or more with model.

Prior to to putting it all together again
it's really worth looking at it in print.

Church of the Jubilee.

Richard Meyer is the outside of it.

Interiors.

That's another shot piece of metal from

Frank Gehry building and last of the oak.

And I communicate is something there
that I didn't mean to us but not least.

Here's a the bats.

You know and it's such a pity.

I don't ask the lights be turned down but

you know this room obviously
could likes to be left alone.

This is a beautiful room
when you go in there.

It's something like being in
could you know the movie.

And if you could see it you'd
see that if you could see it.

Well you could see that this is the got
to be one of the most relaxing place

to the Jew ever could be and you know you

can think of it you can conceive of it
it might be hard to put it in the boom.

Although you know.

Judging from some of the simulations
of that I saw here this week.

You know maybe we're getting close.

Thank you very much.

Thank you.