Sublime

organize his practice so that it could produce large and complex projects, and to help build the firm into the kind of organization that could compete with big architectural offices that did not have his creative abilities. With that level of technical expertise combined with his creative strength, Frank reasoned, his office would have an unusual a

“cheapskate architecture”: simple solutions using common, inexpensive materials that by being used in a new context were perceived differently.

a play of shapes, of solids and voids, of transparency and opacity, but it had to be just as much a dialogue between old and new, and between the ordinary and the extraordinary.

weave his own very different kind of architecture in and around it and make the conversation work.

Challenging the designer’s work in the most productive way possible is the essence of being a client.

Robbie Conal

He wanted a small office, with little enough overhead that he could afford to focus on work he cared about.

“Designs for Working.” The New Yorker (December 11, 2000): 60–70.

designers create and interpret culture.