ABOUT GeorgeArchitecture

Our practice was opened in 2004, and have developed a diverse portfolio of projects that explore a core set of beliefs and principles. Key among these is our emphasis on people; the notion that architecture is an art form dependent on human interaction and participation. We are often asked, “What kind of architecture do you do—residential, commercial…?” We are equally comfortable with all types of architecture, as our skills and interests transcend building types. We seek clients who appreciate quality space, value design, and participate in the process that is architecture.

• Background
• Process
• Technology
• People

Core Beliefs:

Beauty

Architecture remains for us the quest for beauty in the built environment.

Passion

We have a passion for people and design, and delight in creating environments into which our clients can deeply connect.

Quality

Regardless of project size, we seek clients who appreciate the notion of quality, and value the efforts necessary to achieve it.

Process

Design is a process, not an end result; it is dynamic and highly participatory. Participation is key to enriched experiences.

Practice

Ours is a profession of perpetual learning and development, and continued exploration and experimentation.

Craftsmanship

The notion of craftsmanship and discipline pervades all our principles and techniques.

Community

Participation in the larger community is essential; volunteerism is a key tenet of our practice.

Historic Preservation

Our early training was in traditional architecture and design, and with the growing appreciation for historic preservation began our practice committed to these classic principles. We were taught to see architecture not as an appliqué of fashionable elements, but rather a disciplined study of stylistic problem-solving tenets that, if diligently practiced, usually begat beautifully crafted designs. Heavily influenced by the study and appreciation of Wallace Neff, Myron Hunt, Charles and Henry Greene, Bernard Maybeck, Charles Rennie Mackintosh, and others, we saw their designs as not only beautiful in their own right, but as examples of problem-solving principles and techniques that could be further studied and practiced today.

Universal Tenets

An untended consequence of our emphasis on historic architecture was that we were developing a practice that was, in effect, a horizontal market through the traditional vertical markets of residential, commercial, and industrial, whether new buildings or remodels, large projects or small. It was here that we began to develop tenets of our own that transcended building type. As our practice grew, and we incorporated notions normally considered specific to a particular building type, we were finding that we were creating designs which were responding to core human needs and sensibilities, not architectural preconceptions.

Japan and Modernism

Our study of the Arts and Crafts movement, and Craftsman architecture, naturally introduced us to the study of traditional Japanese design; and it was here that found our true inspiration. With the completion of the Arroyo Collection in 2006, we found that we were able to apply traditional Japanese design principles, learned through the study of diverse architectural design styles, and create modern and cutting-edge contemporary design that still possessed a sensibility of warmth, familiarity, and hospitality. Our practice became firmly rooted not in a specific vocabulary, but in principles, and affords us the ability to not only practice architecture in a multitude of design styles familiar to Southern Californians; from modern and contemporary to traditional Japanese, from Arts and Crafts and Craftsman to Spanish Mediterranean; but often-times in curious combinations of each. Our academic and personal background in the arts taught us to further seek similarities and connections traditionally found in other disciplines; principles such as figure-ground, order and hierarchy, rhythm and tonality, light and shadow, and perspective.

Technology and Productivity

We were fortunate in that, in school, we were the last generation to learn to draw by hand, yet in our early careers we were heavily influenced and somewhat entranced with the advent and wonders of the computer age. Our use of technology forms a keystone of our practice, and with recent breathtaking advances is both computer hardware and graphic software, we committed our practice to one that relies on skilled and talented principals who can leverage these advances to the benefit of our clients. Two highly talented and technically savvy individuals can produce more than a firm of ten could a few short years ago, and this also gives our clients direct and continuous contact with the design leadership.

Core Beliefs:

Beauty

Architecture remains for us the quest for beauty in the built environment.

Passion

We have a passion for people and design, and delight in creating environments into which our clients can deeply connect.

Quality

Regardless of project size, we seek clients who appreciate the notion of quality, and value the efforts necessary to achieve it.

Process

Design is a process, not an end result; it is dynamic and highly participatory. Participation is key to enriched experiences.

Practice

Ours is a profession of perpetual learning and development, and continued exploration and experimentation.

Craftsmanship

The notion of craftsmanship and discipline pervades all our principles and techniques.

Community

Participation in the larger community is essential; volunteerism is a key tenet of our practice.

Our Process

Our Process is based on AIA (American Institute of Architects) standard contracts and contract deliverables, and are usually delivered in five phases: Schematic Design, Design Development, Construction Documents, Bidding and Negotiation, and Construction Administration. Our design process is heavily influenced by The Universal Traveler, originally published in 1971, subtitled “A soft-systems guide to creativity, problem solving, and the process of reaching goals.” The book’s introduction states, “Any problem, dream, or aspiration, no matter its size or degree of complexity, can benefit from the same logical and orderly ‘systematic’ process employed to solve world-level problems.” It can best be explained, however, using the quote from the original back cover, “Design is the process of making dreams come true.” We couldn’t agree more.

PROGRAMMING

Programming is the process of defining the needs, goals, and requirements of a project as a concise problem or question, the answer to which is architectural design. If we use the Universal Traveler as a guide, with the first step being “Accept the Situation,” then Programming defines the situation. Our Process usually includes a written list of needs, goals, and requirements, and begins to translate those aspects into spacial blocks and adjacency relationships.

PRE-DESIGN AND IMAGE BOARDING

Prior to initiating the formal design phases (pre-design), our Process includes a visual analysis of design sensibilities, materiality, spacial qualities, and compositional starting points that we commonly refer to as Image Boarding. Our Image Boards select, edit, and arrange these visual elements into specific reference documents that are extraordinarily useful during the design process. It is highly participatory, and often-times the entire catalog of visuals is provided by the Client.

SCHEMATIC DESIGN

Our design Process begins with the initial Program and Image Boards, and works its way through the systematic steps of Analysis, Definition, Ideation, Selection, Implementation, and Evaluation. Usually, the process is cyclical, as evaluation begets a further refinement of the Program and Image Boards. The result is a Schematic Design that sets the size, relationship, and general character of the project components; it includes an arrangement of the solution as block diagrams, and is further translated into hand-drawn architectural plan sketches and elevations.

DESIGN DEVELOPMENT

Design Development builds on the Schematic Design and adds further detail and refinement, with a particular reliance on computer modeling and graphics. Although the usual deliverables are Plans, Sections, and Elevations, each element within the drawings (i.e.. windows, doors, walls, floors, etc.) is part of a component-based database for use in subsequent phases. The addition of keynotes and preliminary schedules completes the phase. When the project requires additional entitlements (such as Design Review, Conditional Use Permits, or Variances) our Design Development documents forms the basis for these submittals.

CONSTRUCTION DOCUMENTS

Construction Documents sets forth in detail the requirements for the construction of the project, and include drawings, schedules, and specifications. These drawings are submitted for approval by governing agencies, form the basis for a building permit, and are submitted to contractors for pricing and development of the construction contract.

CONTRACT ADMINISTRATION

Coming Soon…

POST CONSTRUCTION

Coming Soon…