Concours Chandieu

www.krstudios.com | (T) 206.448.1003 | (F) 206.448.1204

koryn@krstudios.com | PO Box 9446, Seattle, WA 98109 USA

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Cover Letter Project Visualization

Portfolio Presentation:

Exterior Projects

Portfolio Presentation:

Interior ProjectsPortfolio Presentation:

Children’s Projects

Table of Contents

CV

Artist Publications

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INTRODUCTIONMy two-fold education in architecture and fine arts has naturally lead to a philosophy which utilizes architectural forms along with an extensive explora-tion of many types of materials, technologies and imagery. This becomes an integral part of my environmental exterior and interior installations. I work to develop an understanding of the individual culture, while preserving the original intent and spirit of these facilities. By integrating images, forms, lighting and technology we have an opportu-nity to discover a new visual language as a partner-ship in the public art process. These installations are fun, educational, and pertinent to their environ-mental ‘home’ and ‘sense of place’.

COLLABORATIONFor the Project Chandieu, it is important for myself as a public artist to work collab-oratively with the Architects, interior, landscape & graphic designers to define a visual language back to the educational facility and the community. My studio incorporates all manners of computer drawing technology and prides itself with open and swift communication on all aspects of the design construction process. I see my job as to interpret the poetic language of the architectural team in a way that the pedestrians of all ages can interact with immediacy and joy.

COLOR LED PATH

PRIVATE SPACES

BUBBLES & WAVES

COVER LETTER OF INTENT:

VISUALIZATION DRAWING INTENT:

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SITE CONCEPTI feel strongly that this collaboration between the design team and the artist is to build unifying theme and design ameni-ties that will change the identity of this are as a comprehensive community endeavor. The plazas and area should be as dynamic in day and change, to a new visual language during the evening. This change can encourage further community use and add to the safety and iconic language of this neighborhood.

My concept would be to redefine nature in unusual ways using the simple language of the circle and structures such as our past project images. I would like to use this circle design, used in the interior of the school, as an integral part of the open plaza area and as a counter point to the ship concept - as if they are the “bubbles” of moving water. These circular shapes can be repeated as elements installed throughout the plaza as surface design, seating, concert area, and multiple pavil-ions, all to be developed as “special” gathering places with individual personali-ties emulating nature.

I want the pedestrian area to look as if the plaza is ‘flowing and moving’ with small surprises everywhere appealing to all ages. I also see the importance of using LED lighting in the plazas as nighttime visual art – enhancing the joyful culture of community events while emulating the theme of flowing circular movement. The final piece of this process is an explora-tion of iconic beacon sculptural elements that can be seen from afar as if they are ‘sea faring lighthouses’, which can define this exciting area and service it as a safe harbor.

MOVEMENT

PUBLIC GATHERING

NATURAL ENVIRONMENT

CIRCULAR MOTIONLIGHT BEACONS

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KORYN ROLSTAD Bannerworks Inc. (dba) Koryn Rolstad Studios

PO BOX 9446 | SEATTLE WA 98109 | (p) 206 448 1003 | (f) 206 448 1204 www.krstudios.com | koryn@krstudios.comWomen and Minority Owned Business State of Washington Registration: WBE# W2F0902589 DUNS & CCR Registered Vendor - U.S. Citizen

EDUCATIONAffiliate Assistant Professor – 2005-Present University of Washington, College of Arts and SciencesBachelor of Arts, Fine Art – 1975 University of Washington, Environmental Design/ArchitectureCertificate Russian Language, Literature & Culture – 1970 University of MoscowLanguages Spoken in Studio – (fluent) Spanish, Japanese, Russian, Mandarin

AWARDS Nellie Cashman Award – 2003-4 Woman Business Owner of the YearAmerican Society for Interior Designers, Northwest Division – 2003 Lifetime National Achievement in the ArtsSociety of Environmental Graphic Design Merit Award – 2000 Robert Crawford Elementary SchoolAnnual Print Magazine Award – 1999 Public Works Projects for the Federal GovernmentBest of Category, AT&T Labs – 1998 Industrial Design Society of AmericaAchievement in Lighting Design – Stir Crazy Restaurant Gold Key Award Finalist – Interior, Hospitality Design – 1997Best Restaurant, Lighting – Interior Magazine – 1997 Interior Design Award – Restaurant & Institution – 1997Banner Building, Project Developer AIA National, Honor Award – 1996 Northwest and Pacific Region AIA, Grand Honor Award – 1995 Seattle AIA, Honor Award – 1994

PUBLICATIONSBuilding Diplomacy, The Architecture of American Embassies – 2004 4 Stop Press – US Embassy, Pretoria, South AfricaThe Architectural Traveler: A Guide to 250 Key 20th Century American Buildings – 2002 W.W. Norton & Company – Banner Building ProjectThis Way: Design for Public Spaces – 2000 Rockport Press – Four Projects RecognizedUrban Technology – 1999 Urban Land Institute – Banner Building Project

AFFILIATIONSArts Commissioner, King County Metro Arts Commission – 1993-1995Intiman Theater, Northwest Chamber Orchestra, Chamber Music Madness, Northwest Designer Craftsmen – 2001-PresentLecturer – 1998-Present MIT, Dartmouth University, Harvard University, Virginia Tech, Howard University Symposium on Healthcare Design, National Series AIA – St. Louis, Toledo, Dallas, Washington DC

CONSULTINGBoeing Company/Teague, 7E7 Project – 2002-2004 Design, Research EngineerLMN Architects, Cincinnati Convention Center – 2004 Design, Engineering, Technical Research, Value EngineeringBerger/ABAM, Hough, Beck & Baird, Arai Jackson, Architect, SeaTac International Airport – 2000 Design, Value EngineeringUSG Corporation, Multiple Projects – 1999-2002 - Design, Research Engineer

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SELECTED DOMESTIC INSTALLATIONSBorders Group, Inc. – Ann Arbor, MIGlaxoSmithKline Headquarters – Pittsburgh, PABoeing Commercial Airlines – Everett, WAUnion Station – Washington, DCLyrick Studios – Allen, TX Gaston Memorial Hospital – Gaston, NCPoint Defiance Zoo – Tacoma, WA PNC Firstside Center – Pittsburgh, PAMuseum of Flight – Seattle, WA SOCOM, General Staff Headquarters – Tampa, FL Bangor Small Arms Training Facility – Silverdale, WA Experience Music Project – Seattle, WAMayo Clinic – Owatonna, MN Novell Corporate Headquarters – San Jose, CADenver Museum of Natural History – Denver, CO Nortel Network Design – Dallas, TX SELECTED PERCENT FOR ART Florida A&M University – Tallahassee, FL Pierce College – Puyallap, WA Pensacola Regional Airport – Pensacola, FL Robert Crawford Elementary – Fairbanks, AK Hawthorne Police Station – Hawthorne, CA Dartmouth University – Lebanon, NH Kino Public Health Center – Tucson, AZ Cleveland State University – Cleveland, OH Hope & Healing Center – Nashville, TN Pensacola Regional Airport – Pensacola, FL University of Maryland Medical Center – Baltimore, MD Robert Service High School – Anchorage, AK Nunaka Middle School – Anchorage, AK Surprise Public Safety Building – Surprise, AZ Pensacola Regional Airport – Pensacola, FL University of Maryland Med. Center – Baltimore, MD Kino Public Health Center – Tucson, AZ Dartmouth University – Lebanon, NH SELECTED FOREIGN INSTALLATIONS Costa Linda Resort – Aruba, The Netherlands, Antilles US Armed Forces, NATO – Germany Hiratsuka Theatre 8 Complex – Japan Yellowknife International Airport – Canada Jeda Women’s Center – Saudi Arabia US Embassy – South Africa & Armenia Mishima Hospital – Japan Urayasu Sports Center – Japan Tashkent Peace park – Uzbekistan Sekisui Corporate Headquarters – Japan

20010 / 12 PROJECTS - RECENT INSTALLATIONS (EDITED)Sheltering Growth Lobby installation, Multi-Service Building – Houston, TX (percent for art) (Installed 10/09) 30’ aluminum tree, cascading rings and leaves, digital wall murals – 5th Ward rehabilitation neighborhood project for a social service and community service new facility. ($90,000)

Reflections in Motion, Pierce College, Allied Health & Communications Building – Puyallup, WA (percent for art) (Installed 11/10) Suspended sculpture throughout a three-story entryway. ($70,000)

Luke Milam Memorial & BEQ Graphic Murals – US Navy - Everett, WA (Installed 05/09)6 floors and 3 wings of digital images and poetry / Environmental Memorial for Luke Milam (d. 2007), Milam was Navy/Marine Medic hero and survivor of the Columbine shooting. ($400,000)

Shimmering Echoes – Municipal City Hall – Suwanee, GA (Installed 09/10)Two suspended sculptures on either side of lobby for new city hall - layered colored eco- resins. ($78,000)

Nature of Community – Redmond City Center – Redmond, WA (Installed 07/10)Two LED back lit mural series each 40’ w x 6’ h depicting nature and community activities. ($100,000)

Our Thriving Culture - Kaiser Permanente Hospital - Fontana, CA (Installed 02/11)Sets of large exterior wall panels depicting the culture of the hospital and surrounding community.($100,000)

Guiding Sails – Lambert’s Point Community Center – Norfolk, VA (Installed 06/11)Exterior concrete benches, 15 foot high sail sculptures and LED lighting. ($62,000)

Eco-Stories – Mercy Medical Hospital – Des Moines, IA (Installed 10/11)Interior elevator lobby at Children’s Hospital, wallpaper layering and digital images. ($90,000)

Sheltering Aspen - Marsac Plaza - Park City, UT (Installed 01/12) Exterior aluminum poles of various heights with radiant and transparent ellipse elements. ($65,000)

Sand Piper Pavilion – ShouthShore Regional Library Exterior Plaza, Ruskin, FL (Installed 02/12)Seven pavilion structures providing shade and performance space in exterior plaza at regional Library ($95,000)

TO BE INSTALLED 2012Sky, River, Trees - Hands On Children’s Museum – Olympia, WA Exterior Plaza artwork installation – Exterior sculpture traveling along pedestrian- way. ($68,000)

Sheltering Movement - Multimodal Transportation Terminal - Oklahoma State University - Stillwater, OK Interior suspended installation of radiant and translucent ellipse elements depicting themes of movement. ($70,000)

Exterior Gateway Project - Calgary Children’s Zoo - Calgary, Alberta CanadaExterior Sculptural Gateway and Plaza for entry way into the new children’s educational zoo. ($250,000)

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Exterior Projects

Portfolio Presentation

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Sheltering Aspen

Sheltering Aspen in Park City, UT, is the city’s first Public Art installation installed in the surrounding plaza of their newly remodeled City Hall (100 year old school house). After skiing for years in the area I decided to tie the strong natural elements of Park City – the unique aspen tree stands and their silver mining history – to push their ‘pedestal art’ concept to a full environmental experience for their community.

Marsac Plaza | Park City Hall, Park City, UT

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The Aspen builds tall stable trees with their yellow changing colored leaves developed at the top portions nearest the sun. These stands produce small out cropping of smaller trees and are unique in their own ‘community’ groupings – such as the growth of Park City.

I have received many comments from the community and resort visitors about the visual and sensual experiences while walking up the ramp walkway between the 7 different tree stands. The ever-changing colored shadows play on the ground and walls, at all times in the day and night. Words like ‘Magical – Spiritual – Relevant – Fairy tale – Enchanted’ have been used. The project uses all recycled aluminum and eco-resin and is structurally sound enough to withstand the inclement weather and children’s hands on explorations!!

Year: 2012 Medium: Translucent and radiant PolyCarb elements clustered and suspended on the tops of aluminum poles. Located in large exterior entry plaza of Park City Hall. LED night light-ing changing color at the base of the trees.Dimension: poles 20’ H x 6’D x 24’LBudget: $65,000Commissioning Agent: Park City Municipal Corporation, Public Art Advisory Board

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Guiding Sails

Lamberts Pt Community Center Plaza Norfolk, VA

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Guiding Sails installation in Lambert’s Pt Community Center – Norfolk, VA was designed as a unique visual experience that has a connection to the new center in a very under-serviced neighborhood trying to change out of a high crime reputation to a growing and connected community. The six 20’ tall sails emulate the culture of Norfolk as a nod to the largest Naval fleet in the US (World), using the elegant forms of sails and wind. I continued with the forming of custom curved concrete benches – such as in a sailing race – as seating and resting places for the young children and seniors that this facility sup-ports. Included on the benches are two stainless plates with two separate quotes about community, the lighthouse concept, and public safety.

The vision of the project is seen from afar when driving and the newly installed LED lights give a ‘beacon’ of color changing images to add to the safety of the area. Many of the children and Seniors have to wait in the small central garden area of the parking lot for their transportation and have

found that this added feature only helped to reduce the neighborhood perception as a high crime area.

A comment came to me from a young girl working at the desk – she said that the whole facility was surprised that ‘they would be special enough to receive this project and the seniors love this area for their lunchtime. To me this is what public art is about – how the community redefines the projects in their own voice.

Year: 2011Medium: Park sculpture and seating at a pedestrian pass-through and congregation area. 6 pole and sail structures depicting the marine culture of the area. Concrete, aluminum and exterior substrate. LED lighting system changing from day to night. Dimension: 20’ tall - 35’ x 12’ areaBudget: $62,000Commissioning Agent: City of Norfolk, VA, Department of Cultural Affairs

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Nature of Community – Cycle and River Walls were designed to give context to a long sidewalk area that needed to service a newer pedestrian context since a large effort is being developed to in city living for the Redmond, WA central community. This provides lighting, safety, context to the community values - Cycling capital of the US and their Natural Environmental Resources. I sandblasted the existing side-walks with the cycle wheels and river waves – which are always noticed by the children,

Nature of CommunityCycle Wall & River Wall

Redmond CenterRedmond, WA

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Year: 2010Medium: North and South walls for new retail and public city center structures along pedestrian walkways. Depicting two major aspects of this area, “Olympic Cycling” and the natural environment. Digital images on Lexan panels attached to wall with LED moving back lighting for night view. Sand-blasted wheels and river elements on sidewalk.Dimension: 2 mural installations: 12 panels each. 6’ H x 40’ WBudget: $100,000Commissioning Agent: Nelson Legacy Group (Family Foundation), City of Redmond Arts Commission, WA

while the LED lighting emphasizes the fast moving cycle circles and the slow flowing river tying Seattle and the East side together with the Cascade Mountain Range. These panels are engineered to look like they just float on the walls tipped towards the viewer and have a strong visual impact during the day, when there are more pedestrians. The project has now developed it’s own icon nature as a ‘guide post’ for directions and the new apartments and condos built across the street use the view as a kind of ‘TV’ viewing focal point from their terraces, I am told.

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Sandpiper Pavilions

SouthShore Regional Library Exterior PlazaRuskin, FL

Sandpiper Pavilions (installation photos) became the final project installation for a long process with defining an open, unused plaza space at the SouthShore Regional Library in Ruskin, FL. I was commissioned for project that encouraged private space and seating out side and designed the Reading Grasses project shown next. During my presentation I emphasized the possibility to find a way that this plaza could have many uses as a large public space for evening events, concerts, gatherings, etc that could service the community and add more stake-holders for the Library system. The plaza is named after a great supporter Mr. Harkins, IV who wanted his beloved sandpipers emulated in small bronze sculptures. This is not what I do! So I designed ‘Sandpiper Pavilions’ who look like they are running along the shore as a ‘leggy’ group of sea birds. I added sand-blasted bubbles along the 100’ plaza to emulate the shore and included nighttime LED lights in 4 programs that can add to a vibrant and exciting public gathering experience. These pavilions are engineered to cantilever out on their own weight with

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only three legs each and strong enough to withstand any hurricane. The landscaping included new palm trees and I continued the Florida experience by cutting palm leaf patterns in the discs, which as you can see, give a strong artistic pattern on the pavilions and plaza. The pattern also reduces wind loads for the architecture.

Mr. Harkins loves the project and has forgiven me for not casing the bronze birds as a solution. The library is already planning events, concerts, and astronomy nights for this area. Again this is what public art and a successful installation can be used to re-define a facility and area for more community activities, context and stake holdership.

Year: 2012Medium: Six pavilion structures, powder coated alu-minum pillars and aluminum roofs in central plaza. The sandblasted walk-way depicts shoreline bubbles to further encapsulate the viewer. LED lights change from color to color at night. Dimension: 3,000 sq. ft plazaBudget: $125,000Commissioning Agent: Hillsborough County Public Art, Tampa, Florida

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Reading Grasses Concept was the first of the Hillsborough County concept for the plaza commission and was designed a semi private seating areas. The concrete bench-es had quotes from Florida writers and musi-cians along with the 15’ tall oversized shore grasses as shade and screening. We are still hoping for a home for these wonderful benches, yet this process pushes me and the community to re-define this large public area, as you can see from the above final resolution, of the Sandpiper Pavilions.

ReadingGrasses

Year: 2011Medium: Poured concrete, powder-coated alumi-num - Depicting the flowing grasses of the shoreline area and providing context to an open plaza for a community library and larger areas for gathering or privacy. The project was designed to be seen from the road and used as a visual iconic image for the facility.Dimension: 12’W x 15’ H Budget: $125,000Commissioning Agent: Hillsborough County Public Art, Tampa, FL17

BelloraWaterfalls

Seattle, WA

Bellora Waterfall is a series of digital printed panels on aluminum and alumi-num sculptural layers of water features so prominent in the city of Seattle. This grow-ing neighborhood of Bell Town is next to the Puget Sound dock terminals and there is great effort to capture rain run off waters, above ground, to re direct to gardens and recycling. This is one of several project that KRS installed as streetscape permanent art installations that can be used as cultural identification encouraging pedestrian use.

Year: 2003Medium: Digital waterfall images on aluminum plate - enameled aluminum. Depicting waterfalls and a river as a streetscape project on a major pedestrian sidewalk in the city center. It’s a public streetscape requirement for the city of Seattle.Dimension: 13’ W x 12’ H Budget: $35,000Commissioning Agent: Marin Development, Seattle, WA

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Seattle, WA

WesternFlowingVine

Western Flowing Vine – Cedar and Vine Street project was designed on two con-secutive streets as hand railings because of the harsh street angles of the Seattle Hills. These streets bring visitors up from the wa-terfront and used as neighborhood identi-fiers along with utilitarian ‘help’. Made of powder coated aluminum tubing and wire screen, the installation emulated the ever growing natural projects built by the citizens, which include a community pea patch, above ground waterway and solar energy pump and collection systems. Year: 2002Medium: Exterior handrail system up 17’ grade side-walk. Exterior Powder Coated Aluminum and steel mesh. On two streets. (Vine street and Cedar street.) Requirement for pedes-trian street art works.Dimension: 120’ L x 14’ H attached to con-crete and stone floating 6” away from wall Budget: $40,000Commissioning Agent: Cedar Development LLC - Intracorp, Se-attle, WA19

Children’s Projects

Portfolio Presentation

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Bird Wing Canopy is an engineering first that a 1600 ft canopy can have a custom printed and unique pattern and still be structurally sound and serve the purpose for shade, rain covering, and identity for the Pt. Defiance Zoo. This is a educational learning center for children at this Zoo Park and our decision to make this canopy as a structural part of the Vet area came after many visits and discussions with the engineering and design team. I wanted a visual icon that can be seen from the many hills of the property and from higher area of the Tacoma area. We have noted that the bird wing is in full view of the airplanes from above going into the Northwest area on our sunny days (we do have sunny days!).

My projects always have an industrial feel and are generally very highly engineered, yet I feel strongly that the general public needs to feel connected with the installations as a fun and exciting adven-ture without needing too much education and explanation. I want the project to be understood by children of all ages ‘2 – 102’!! The projects should feel like they are a seamless component in the whole environment of a facility or area.

Bird Wing Canopy

Pt. Defiance Zoo Kid ZoneTacoma, WA

Year: 2005Medium: Digitally printed image on transparent substrate canopy. Part of keeper building, petting zoo for Pt. Defiance Zoo. Designed for protection and an iconic visual guide for the new children’s science and research area of this public zoo. Dimension: Canopy: 1600 sq. ftBudget: $92,000Commissioning Agent: Pt. Defiance Zoo, City of Tacoma, WA

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Illuminated Forest

Calgary Zoo Entrance PlazaCalgary, Alberta, Canada

& Glowing Stix

These two separate proposal were de-sign for a Public Zoo and/or a streetscape. These installations were made of large steel tubes with translucent tubing and LED light-ing. They represented forests and trees and were designed as entryway beacons for the community. Some of the ‘groupings’ were deigned with motion sensor ‘sounds’ of animals, bugs and frogs to give the sense that the environment was not much differ-ent than the natural surrounding of the ar-eas. The Glowing Stix project was to open

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up and guide a new entry into a vital arts district that an existing freeway bisected the neighborhood. We needed to identify the area and encourage pedestrian and bicycle use and show that this area was safe and exciting.

Illuminated ForestYear: 2011Medium: This installation uses LED lighting and large 3D forms to brighten the zoo entrance. Sandblasted animal paw prints are seen throughout the entrance, welcoming visitors to their home.Dimension: (3) 100’ Walls, Light Stix at 24’Budget: $250,000Commissioning Agent: Calgary Zoo, Alberta Arts Commission

Glowing StixYear: 2011Medium: This installation uses LED lighting and large 3D forms to brighten a freeway entrance and walking path creating a gateway to the nearby Arts District and encouraging pedestrians to use the paths. Dimension: Light Stix at 24’Budget: $230,000Commissioning Agent: Dallas Public Art Program

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Eco Stories

Mercy Medical Pediatric Center Lobby

Des Moines, IA

Eco Stories – past and present is an instal-lation in the Mercy Hospital Pediatric Care Lobby. We needed to appeal to young people (most who are very sick) from 2 to 17 years old. I designed layers of images from water to the sky and past, present and future images of nature, animals, symbols and tie them to man made items like ar-chitecture (pyramids), sculpture, balloons, etc. We chose 7 animal heads and printed on circular panels with laser drilled speaker holes and installed small mp3 computers

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and speakers. We composed the separate animal voices as if they are talking to each other in their respective herds. There is a colorful button where kids of all ages can press and the animal sounds talk to them. There is a large visual panel that explains each animal and their history and relation-ship to mankind and the ecology of our world. This mural covers the walls, ceiling, windows and columns creating an exit-ing and welcoming environment that can be enjoyed by little kids yet also not make the adolescents feel like the space is only for children. This project was design as an interactive and educational installation along with a calming and joyful result.

Year: 2011Medium: Mural and interactive sound installation for Mercy Pediatric Hospital Care Unit. The digital mural tells the story of the connec-tion between eco environments, nature, animals and how mankind has interpreted their enviornmental connections with these themes. 7 animal head plates have a re-corded sounds of each of the animal voic-es that are accesed by a small push button. The windows are covered with transparent film and back lit at night. Dimension: 42’ x 8 including ceilingBudget: $100,000Commissioning Agent: Mercy Medical Center, Des Moines Public Art Purchase

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Sky River TreeSky River Trees are being installed as two groupings for a large plaza at the new Hands on Children’s Museum in Olympia, WA. We needed a iconic beacon for this area to be seen from the streets entering this newly developed area where the city government services are being moved to new facilities. This museum is a proud new project of a small 30-year-old children’s fa-cility that helps to train young people in the everyday art of living and environmental stake-holdership. The plaza contains a huge outdoor lake, river, tug-boat, eco system for learning and I was hired to design their art ‘beacons’. The Squaxin Indian Nation is a great part of the river/Puget Sound Region with their hardy trading practices on the Sky River and its basin. I designed the tree stands to appeal to the adults from afar, and again using eco-resin bubbles and wave appeal to the children with the river colored shadows on the ground. All materi-als, again are recycled, and I used simple forms to be layered in ways that seem so-phisticated yet accessible.

Year: To Be Installed April 2012Medium: Steel totems suspending aluminum tub-ing and polycarbonate circular shapes. Shapes are translucent and reflect onto cement when the sun shines. Fun, light structure integrated into a child’s play and education environment.Dimension: 3 - 5 totems, 15’ highBudget: $68,000Commissioning Agent: City of Olympia, WA, Park, Arts and Recre-ation Department “Arts Commission”

Hands on Children’s Museum Exterior PlazaOlympia, WA

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Interior Projects

Portfolio Presentation

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Growth of Potential

Cleveland State University, Cleveland, OH Monte Ahuja School of Business Atrium

Year: 2006Medium: Suspended sculpture of aluminum tube, radiant material and fluorescent darts. The airy, geometric forms represent clouds and brightly colored ‘plumb bobs’ visually dart throughout the space. Dimension: Atrium: 6 storiesBudget: $140,000Commissioning Agent: Ohio State Arts Commission

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I resolved the challenge of combining vi-sual and inspirational language in a 7-story open space for a diverse student body at Cleveland State University’s Nance School of Business (‘Growth of Potential’). By pairing the unifying themes of water, land, trees, sky, and clouds with the animated language of Cleveland-based poets I worked to emphasis business educational endeavors as a creative pursuit. The po-etry excerpts were designed on large image panels, to inspire the idea of ‘push-ing through challenges’. The ‘cloud atrium sculpture’ was designed to reflect the only natural light from skylights and during the day and seasons refract different colors of light throughout their open space, originally lacking in interest and warmth. The layers of panels started at the lower study area (Wa-ter) and every level contained the separate layers of our natural elements and Poetry up to land and sky with LED lighting behind the panel edges. The text and colorful forms constantly reminded the faculty, stu-dents, and visitors of their curriculum goals and the pursuit of educational endeavors with imagination.

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Shimmering Echoes

City of Suwanee City HallSuwanee, GA

The Suwanee City Hall, GA – ‘Shimmering Echoes’ uses sustainable colored eco-resin layered in multiple strings of ellipses to emu-late ‘watercolors’ in the sky and support the park like setting, across the street from this new facility. This installation utilizes the rela-tionship of the natural ambient lighting and the environment creating a new vision and experience for the viewer at many different levels and focal points. In the evening the two suspended sculptures are backlit and can be seen from the street through the large open clearstory entry – giving the city hall a public presence for a growing and dynamic community. Technically the proj-ect was designed to retrofit a space that was already built, by designing with the same similar shapes in cascading layers on stainless steel cable and aluminum frames where the point loads were under 15# at each ceiling attachment. This allowed us to leave the architecture intact and install from simple cross bracing from one truss to another, all of which visually complimented the structural ceiling system. The installation

is set in a regional architectural style with roots in Southern Historical language, yet the piece is contemporary and adds to the open nature of the 3-story entry lobby and high window front shear wall. This is the first Public Arts Commission for the City of Su-wanee, which is a well-managed and pros-perous community with a large percentage of citizen stake-holdership in their success. This project allowed for a large and open public discourse for its legitimacy and al-lowed for continued education to the pub-lic, opening the way for more acceptance of the Public Art Process.

Year: 2010Medium: Two suspended sculptures made by layers of holographic acrylic and colored eco resin elements reflecting ambient light and color to emulate the new park complex across the street. Dimension: 4 story entry lobby with clear-story glass front. 45’H x 60’L x 30’WBudget: $80,000Commissioning Agent: City of Suwanee, City of Suwanee Arts Commission, GA

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ShelteringGrowth

Houston Multi Service BldgHouston, TX

Houston Multi-Service Building houses several social service groups including WICK and Head Start, along with the Senior and Youth Services and the Community Center for an under serviced population in the 5th ward of the city. Set in an unused park, the lobby installation of ‘Sheltering Growth’ emphasized the new growing community with a 2 ½ story aluminum tree, suspended rings with holographic, white and alumi-num recycled die cut leaves. The mural represented the nearby foliage of the trees as seen under different environmental and lighting contexts. Layering the panels and cut out shadows of the branches and com-bining the installation with the text from Her-man Melville (chosen by the community) to inspire connectivity in this neighborhood.

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Year: 2009Medium: Brushed aluminum tree; layers of aluminum, dichroic & translucent white leaf forms/large formed rings cascade from ceiling. Upper soffit wall has series of digital panels of foliage images - 3-D layers of panels with images and laser cut lattice images. Dimension: Lobby: 32’ H x 60’ L x 30’WBudget: $86,000Commissioning Agent: City of Houston, TX Houston Arts Alliance

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Reflections in Motion

Pierce Community Collage School of Allied Art and Health

Puyallup, WA

‘Reflections in Motion’ was designed for an Allied Arts and Healthcare Building at Pierce Community College facility, which included a very narrow and long entryway into the new building. I needed to appeal to the art, music and healthcare science students and faculty with an installation that would use a common visual language. The setting is in a dense NW wooded forest and the building re-claimed the forest wood to define a natural environment. I installed a piece that looked different from many

views, was ‘weightless’ and lyrical and re-flected the natural ambient light during the day and night. The aesthetic significance is the use of the high open space with a piece that covered over 180’, with point loads under 15# for each grouping, filled the architectural space without taking from the exposed structural elements. The many layers of ellipses use recycled ‘eco-resin’ and the colors change depending on the viewer’s perspective and the magnitude of natural lights. The project was intended to look different every time it is experienced over time and place. The budget was small and my use of repetitive elements, geom-etry of the separate framed groupings and the restrained use of color allowed me to cover more of the 3 dimensional space. I have been told that the Healthcare depart-ment sees the installation as ‘Hopeful’ and Inspiring, the Music Department sees the piece as a visual example of Musical Lyri-cism and the Art Department sees the proj-ect as example of a ‘new visual language in the relationship between architecture and art’.

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Year: 2010Medium: Translucent and radiant acrylic elements layered on stainless steel wire, suspended from aluminum frames. The piece reflects onto the surrounding walls and floor, from the skylights above.Dimension: Atrium: 32’ H x 120’ L, Installa-tion: 15’ H x 80’ L x 6’W, 1200 elementsBudget: $70,000Commissioning Agent: Washington State Arts Commission

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n. T

heir

an-

swer

s—an

d ob

serv

atio

ns—

may

be

of s

ome

surp

rise

to th

eir m

ale

coun

terp

arts

, and

may

ser

ve to

en-

light

en w

omen

who

them

selv

es a

re

on a

pat

h to

bec

omin

g de

velo

pers

.

Do

fem

ale

deve

lop

ers

d

iffe

r fr

om

male

d

eve

lop

ers

in t

heir

ap

pro

ach

to

pro

ject

s?Fe

mal

e de

velo

pers

in th

e N

orth

wes

t pa

rt of

the

Uni

ted

Stat

es te

nd to

co

ncen

trate

on

resi

dent

ial p

roje

cts,

w

ith a

sm

atte

ring

of re

tail

deve

l-op

men

ts th

at fo

cus

on c

reat

ing

a se

nse

of c

omm

unity

. The

se a

reas

of

conc

entra

tion

appe

ar to

be

driv

en

by th

eir i

nnat

e in

tere

st, c

oupl

ed

with

per

ceiv

ed m

arke

t opp

ortu

nitie

s by

pass

ed b

y th

eir m

ale

coun

terp

arts

.M

aria

Bar

rient

os, w

ho la

unch

ed

her o

wn

com

pany

, Bar

rient

os L

LC,

in 1

999,

in S

eattl

e cu

rrent

ly h

as

six

urba

n in

fill h

ousi

ng p

roje

cts

in

deve

lopm

ent a

s a

fee

deve

lope

r an

d fo

r her

ow

n ac

coun

t. “N

ot m

any

mal

e de

vel o

pers

hav

e pa

tienc

e to

ha

ndho

ld n

ovic

e pr

o per

ty o

wne

rs

and

coun

sel e

xten

ded

fam

ilies

,”

obse

rves

Bar

rient

os, w

ho n

otes

that

sh

e se

eks

inte

rest

ing

Seat

tle n

eigh

-bo

rhoo

ds “

whe

re I

can

cont

ribut

e to

nei

ghbo

rhoo

d ec

onom

ic d

iver

sity

su

ppor

ted

by c

omm

unity

lead

ers.

”Li

z Du

nn le

ft a

care

er a

s a

soft-

war

e en

gine

er a

t Mic

roso

ft an

d as

an

ex ec

utiv

e pr

oduc

er w

ith D

ream

Wor

ks

Inte

ract

ive

“to

star

t my

own

busi

ness

be

caus

e I w

as ti

red

of b

eing

a c

og

in th

e w

heel

,” s

he s

ays.

Dun

n is

in-

volv

ed w

ith s

mal

ler-s

cale

, mixe

d-us

e pr

ojec

ts th

an is

Bar

rient

os b

ecau

se

she

says

, “I o

nly

wan

t to

take

on

wha

t I c

an p

erso

nally

con

trol a

nd g

et fi

-na

nced

.” B

ut D

unn

shar

es B

arrie

ntos

’s

emph

asis

on

com

mun

ity. D

unn

asks

rh

etor

ical

ly: “

Do w

omen

take

on

risk-

ier a

nd p

oten

tially

less

pro

fitab

le p

roj -

ects

bec

ause

they

’re m

ore

inte

rest

ed

than

men

in n

onm

onet

ary

payb

acks

at

the

neig

hbor

hood

, soc

ieta

l, or

env

i-ro

nmen

tal l

evel

?”Po

rtlan

d de

velo

per R

osly

n H

ill

was

the

first

in h

er A

lber

ta n

eigh

-bo

rhoo

d to

bui

ld lo

fts a

s a

way

to

con

trol t

enan

t occ

upan

cy a

nd

build

ing

over

crow

ding

. As

one

of

few

Afri

can

Amer

ican

fem

ale

deve

l-op

ers,

Hill

say

s sh

e un

ders

tood

de

nsity

’s c

ost a

nd b

enef

its in

the

cont

ext o

f com

mun

ity a

nd h

as

incl

uded

com

mer

cial

spa

ce in

mos

t pr

ojec

ts a

s a

sour

ce o

f eco

nom

ic

deve

lopm

ent,

jobs

, and

inco

me.

Seat

tle d

evel

oper

Kor

yn R

ols-

tad

is a

site

-spe

cific

pub

lic a

rtist

w

ho d

evel

oped

sep

arat

e st

udio

an

d liv

ing

spac

es fo

r her

self

and

a co

mm

unity

of a

rtist

s by

pro

-vi

ding

unf

inis

hed,

hig

h-vo

lum

e co

ncre

te a

nd g

lass

con

dom

iniu

m

shel

ls m

uch

like

the

orig

inal

SoH

o lo

fts. R

olst

ad s

ays

she

belie

ves

that

men

tend

to m

easu

re th

eir

resu

lts b

y sc

ale.

“Ca

n yo

u im

agin

e a

wom

an w

antin

g to

bui

ld th

e w

orld

’s ta

llest

bui

ldin

g?”

she

asks

.Ev

e Pi

cker

is a

Syd

ney,

Aus

tralia

, na

tive

train

ed a

s an

arc

hite

ct a

nd

urba

n de

sign

er. T

oday

, as

pres

iden

t of

No

Wal

l Pro

duct

ions

, a P

ittsb

urgh

de

velo

per o

f urb

an m

ixed

-use

infil

l an

d ad

aptiv

e us

e bu

ildin

gs, s

he h

as

beco

me

fasc

inat

ed w

ith P

ittsb

urgh

’s

in

pr

ac

ti

ce

Fem

ale

Dev

eloper

s: A

Diff

eren

ce?

Do fe

male

dev

elope

rs

diffe

r fro

m m

ale

deve

lope

rs in

how

they

app

oach

deve

lopm

ent?

WI

LL

IA

M P

. M

AC

HT

Mar

ia B

arri

ento

s.

Eve

Pick

er.

Mol

ly B

lasi

er.

Kory

n Ro

lsta

d.

Rosl

yn H

ill.

Liz

Dun

n.47

hist

oric

nar

row

sliv

er b

uild

ings

and

, ov

erco

min

g ta

ll od

ds, h

as re

deve

l-op

ed th

em a

s lo

ft co

ndom

iniu

ms.

[S

ee “

Long

Ans

wer

s fo

r Urb

an S

liver

Bu

ildin

gs,”

Oct

ober

, pag

e 20

5.]

Pitts

burg

h ar

chite

ct-tu

rned

-dev

el-

oper

Mol

ly B

lasi

er, s

ays

arch

itect

ure

prof

esso

rs w

ould

ask

, “W

hat d

oes

the

build

ing

say?

” to

whi

ch s

he

repl

ied,

“W

hat d

oes

the

build

ing

cost

?” O

verc

omin

g sk

eptic

ism

, Bl

asie

r ent

iced

Who

le F

oods

to

beco

me

an a

ncho

r ten

ant o

n pr

oper

-tie

s sh

e an

d he

r par

tner

s ac

quire

d in

the

East

Lib

erty

are

a of

Pitt

sbur

gh

and

pers

uade

d th

e ci

ty to

agr

ee to

m

ake

key

road

impr

ovem

ents

.

Ho

w d

o fem

ale

deve

lop

ers

d

eal w

ith m

ista

kes?

“I te

nd to

be

very

upf

ront

in c

onfro

nt-

ing

my

mis

take

s, a

dmit

them

, cor

rect

th

em, a

nd m

ove

on,”

say

s Du

nn. “

It’s

pret

ty p

ower

ful t

o ad

mit

a sn

afu,

and

co

rrect

it im

med

iate

ly. P

eopl

e re

spec

t an

d tru

st y

ou e

ven

mor

e.”

All o

f the

fem

ale

deve

lope

rs

inte

rvie

wed

agr

ee th

at ta

lkin

g ab

out

your

mis

take

s is

a g

reat

way

to le

arn

from

oth

er c

olle

ague

s. B

y co

ntra

st,

they

agr

eed

that

mal

e co

unte

rpar

ts

tend

not

to re

veal

mis

take

s be

caus

e it

expo

ses

thei

r vul

nera

bilit

ies,

esp

e-ci

ally

to m

ale

colle

ague

s in

a c

ompe

ti-tiv

e en

viro

nmen

t.

Are

fem

ale

deve

lop

ers

m

ore

co

llab

ora

tive

th

an m

ale

deve

lop

ers

?Th

e fe

mal

e de

velo

pers

als

o ag

ree

that

adm

ittin

g m

ista

kes

frees

the

liste

ner t

o vo

lunt

eer u

sefu

l inf

or-

mat

ion,

from

whi

ch th

e fe

mal

e de

velo

pers

say

they

lear

n an

d w

hich

, in

turn

, hel

ps th

em c

ol-

labo

rate

mor

e w

ith o

ther

s. “

I thi

nk

mos

t wom

en h

ave

muc

h le

ss e

go

invo

lved

in g

ettin

g a

proj

ect d

evel

-op

ed,”

com

men

ts B

arrie

ntos

. W

omen

are

eag

er t

o be

men

-to

rs, s

ays

Dun

n. “

I met

Kor

yn

[Rol

stad

], M

aria

[Bar

rient

os],

and

Sara

h [S

chuy

ler,

prin

cipa

l of P

ike

Stre

et C

orne

r D

evel

opm

ent,

Inc.

, in

Seat

tle] w

hen

star

ting

out

and

all

wer

e in

cred

ibly

gen

erou

s w

ith t

heir

time.

” D

unn

obse

rves

, “W

hen

men

give

adv

ice,

the

y te

nd t

o fo

cus

on

the

num

bers

and

the

end

pro

duct

, w

here

as w

omen

als

o an

alyz

e th

e pr

oces

s, t

hink

abo

ut r

elat

ions

hips

, st

akeh

olde

rs, e

tc.”

Dun

n no

tes

that

mal

es s

eem

mor

e w

illin

g to

m

ento

r w

omen

tha

n m

en, e

spe-

cial

ly m

en o

f sim

ilar

ages

. Men

w

ould

typ

ical

ly d

efin

e a

man

in h

is

age

grou

p as

a c

ompe

titor

, not

a

colla

bora

tor,

and

be le

ss fo

rthc

om-

ing,

she

sug

gest

s.Fe

mal

e de

velo

pers

in S

eattl

e an

d Po

rtlan

d m

eet f

requ

ently

to b

e m

utu-

ally

sup

porti

ve o

f one

ano

ther

. Whi

le

it m

ight

be

easy

to e

xpla

in th

is a

s a

resu

lt of

not

bel

ongi

ng to

the

“old

bo

ys c

lub,

” m

ore

likel

y, c

oncl

ude

the

fem

ale

deve

lope

rs in

terv

iew

ed, i

t is

gene

rate

d by

a d

esire

to s

hare

mis

-ta

kes,

lear

n fro

m o

ne a

noth

er, a

nd

assi

st o

ne a

noth

er in

dev

elop

ing

succ

essf

ul p

roje

cts.

The

y no

ted

they

be

lieve

that

col

labo

ratio

n w

ithou

t co

mpe

titio

n gi

ves

cred

ence

in th

e bu

sine

ss c

omm

unity

.

Do

fem

ale

deve

lop

ers

fe

el a

need

to

be m

ore

co

mp

eti

tive

wit

h t

heir

m

ale

co

unte

rpart

s?“W

omen

are

not

as

com

petit

ive,

for

the

sake

of w

inni

ng o

r jus

t com

pet-

ing,

” sa

ys B

arrie

ntos

. “W

hile

driv

en to

ac

hiev

e m

y go

als,

I do

n’t e

ver b

ench

-m

ark

mys

elf a

gain

st s

omeo

ne e

lse.

” W

hen

Port

land

dev

elop

er Ja

ne

Olb

erdi

ng e

nter

ed a

pub

lic d

evel

-op

men

t com

petit

ion

as a

for-p

rofit

de

velo

per,

she

was

act

ually

abl

e to

pr

oduc

e af

ford

able

hou

sing

mor

e co

mpe

titiv

ely

than

the

non

prof

it co

mm

unity

dev

elop

men

t cor

pora

-tio

n ag

ains

t who

m s

he c

ompe

ted.

Bu

t he

r go

al, s

he s

ays,

was

to p

ro-

vide

the

mos

t affo

rdab

le h

ousi

ng,

not t

o va

nqui

sh a

com

petit

or.

Ho

w d

o fem

ale

deve

lop

ers

se

ek in

form

ati

on a

bo

ut

field

s th

at

are

new

to

th

em

?“I

am

alw

ays

will

ing

to c

ome

right

ou

t and

say

I do

n’t k

now

som

e-th

ing,

” sa

ys B

arrie

ntos

. “Th

at’s

the

only

way

to le

arn.

I do

n’t t

hink

mos

t m

en d

o th

is.”

If fe

mal

e de

velo

pers

did

not

und

er-

stan

d a

term

or c

once

pt u

sed

by a

le

nder

, wou

ld th

ey a

sk w

hat t

he te

rm

mea

nt, o

r, if

they

did

ask

, wou

ld th

ey

be c

once

rned

that

the

lend

er w

ould

th

ink

them

unw

orth

y of

a lo

an?

All

the

fem

ale

deve

lope

rs to

who

m th

is

ques

tion

was

pos

ed, r

ejec

ted

the

idea

that

que

stio

ning

thin

gs w

ould

m

ake

them

app

ear w

eake

r. “I

f you

ask

the

ques

tion

in a

n in

telli

gent

way

, it’s

an

oppo

rtuni

ty

to m

ake

a go

od im

pres

sion

, not

a

bad

one,

” co

mm

ents

Bar

rient

os. “

It sp

eaks

to tr

ustw

orth

ines

s an

d th

or-

ough

ness

. I th

ink

this

is a

diff

eren

ce

betw

een

mos

t wom

en a

nd m

en.”

D

unn

emph

atic

ally

agr

ees:

“A

t Mic

roso

ft, w

e jo

king

ly c

alle

d it

‘mal

e an

swer

syn

drom

e’: t

he

inab

ility

of a

guy

not

to

pret

end

he

knew

the

ans

wer

to

som

ethi

ng,

and

to m

ake

up s

omet

hing

pla

u-si

ble

soun

ding

if n

eces

sary

.”

Is th

ere

a di

ffere

nce

whe

n th

e pe

rson

from

who

m th

e fe

mal

e de

velo

per i

s se

ekin

g ap

prov

al is

a

wom

an?

Is th

ere

a te

nden

cy to

ap

pear

mor

e co

mpe

tent

bef

ore

anot

her w

oman

? “I

don

’t th

ink

wom

en lo

ok a

t gen

der d

iffer

ence

s th

is w

ay w

hen

perfo

rmin

g th

eir

dutie

s,”

obse

rves

Bar

rient

os.

Do

fem

ale

deve

lop

ers

eva

luate

mark

ets

d

iffe

rentl

y f

rom

male

d

eve

lop

ers

?“W

omen

do

thei

r hom

ewor

k be

tter,”

m

aint

ains

Bar

rient

os. “

Befo

re I

star

ted

my

own

firm

, I w

as th

e on

ly

wom

an p

artn

er in

a m

ale-

orie

nted

de

velo

pmen

t firm

. I w

as s

hock

ed a

t ho

w li

ttle

mar

ket r

esea

rch

they

did

. Ev

en th

e gu

ys in

my

offic

e st

ill d

on’t

valu

e m

arke

t res

earc

h as

muc

h as

I do

. I s

pend

hug

e am

ount

s of

tim

e id

entif

ying

the

mar

ket,

prod

uct,

user

, de

sign

, and

pric

es.”

Dun

n ag

rees

, “At

Mic

roso

ft, I

took

a s

abba

tical

to g

o to

bus

ines

s sc

hool

, cam

e ba

ck a

nd in

trodu

ced

prod

uct p

lann

ing—

doin

g m

arke

t

in p

ra

cti

ce

140

U

RB

AN

L

AN

D

NO

VE

MB

ER

/D

EC

EM

BE

R

20

07

Tiffa

ny S

wei

tzer

. M

onic

a Sm

ith.

Sara

h Sc

huyl

er.

Jane

Olb

erdi

ng.

48

142

U

RB

AN

L

AN

D

NO

VE

MB

ER

/D

EC

EM

BE

R

20

07

rese

arch

into

dem

ogra

phic

s, c

ultu

ral

pref

eren

ces,

etc

., be

fore

intro

duci

ng

a pr

oduc

t. It

was

a fo

reig

n co

ncep

t. Th

e co

mpa

ny h

ad a

‘bui

ld it

and

th

ey w

ill c

ome’

men

talit

y.”

The

fem

ale

deve

lope

rs in

ter-

view

ed s

ay th

ey te

nd to

con

duct

m

arke

t res

earc

h th

at is

as

qual

ita-

tive

as it

is q

uant

itativ

e, w

hich

they

re

port

is u

sefu

l for

sm

alle

r urb

an

resi

dent

ial p

roje

cts.

The

y pe

rson

-al

ly “

shop

the

com

petit

ion”

as

wel

l as

use

focu

s gr

oups

. But

, say

s Ba

rrien

tos,

she

fills

vol

umes

with

sp

ecifi

c da

ta th

at a

re u

sed

not o

nly

for h

er o

wn

plan

ning

, but

als

o fo

r ar

ticul

atin

g to

equ

ity in

vest

ors

and

lend

ers

the

reas

ons

for h

er d

eci-

sion

s. D

oing

that

is a

n im

porta

nt

way

to li

mit

risks

, she

adv

ises

.

Do

fem

ale

deve

lop

ers

hav

e a

ny a

dva

nta

ges

ove

r m

ale

deve

lop

ers

in

reta

il and

resi

denti

al

deve

lop

ment?

In li

ght o

f the

fact

that

men

stil

l de

sign

and

dev

elop

mos

t hou

s-in

g an

d re

tail

cent

ers—

why

wou

ld

fem

ale

deve

lope

rs n

ot h

ave

an

adva

ntag

e? “

I am

cur

rent

ly w

orki

ng

on a

blo

ck in

Sea

ttle

whe

re I

cont

rol

one

side

of t

he s

treet

, a m

ale

deve

l-op

er c

ontro

ls th

e ot

her s

ide,

and

we

are

tryin

g to

col

labo

rate

to re

posi

-tio

n it

as a

new

sho

ppin

g di

stric

t,”

repo

rts D

unn.

“W

e ar

e w

orki

ng w

ith

a fe

mal

e re

tail

cons

ulta

nt a

nd in

ou

r firs

t few

mee

tings

he

[the

mal

e de

velo

per]

star

ed a

t us

like

we

wer

e sp

eaki

ng a

diff

eren

t lan

guag

e.”

Dun

n cr

ysta

llize

s th

e di

ffere

nce

by

decl

arin

g, “

To th

e ex

tent

that

a m

an

is n

ot in

touc

h w

ith h

is in

ner s

hop-

per,

he is

not

goi

ng to

be

equi

pped

to

do

com

pelli

ng re

tail.

May

be th

at’s

w

hy w

e ha

ve a

lot o

f ret

ail c

ente

rs

that

don

’t w

ork.

” Ba

rrien

tos

agre

es,

notin

g, “

Sinc

e m

ost d

evel

oper

s ar

e m

en, i

t’s h

ard

to k

now

how

muc

h be

tter t

hing

s co

uld

be if

the

peop

le

mak

ing

the

purc

hase

dec

isio

ns w

ere

[als

o] d

esig

ning

the

reta

il sp

aces

.”

In t

he a

rea

of r

esid

entia

l dev

el-

opm

ent,

the

deve

lope

rs s

till t

end

to

in p

ra

cti

ce

144

U

RB

AN

L

AN

D

NO

VE

MB

ER

/D

EC

EM

BE

R

20

07

in p

ra

cti

ce

be p

redo

min

antly

mal

e. H

owev

er,

at le

ast i

n th

e m

ore

polit

ical

ly p

ro-

gres

sive

citi

es in

the

Nor

thw

est,

wom

en a

re b

egin

ning

to

mak

e no

tabl

e in

road

s.

Tiffa

ny S

wei

tzer

bec

ame

pres

i-de

nt in

her

mid

-thirt

ies

of H

oyt

Stre

et P

rope

rtie

s, t

he la

rges

t de -

velo

per

in P

ortla

nd’s

tre

ndy

Pear

l D

istri

ct. A

lso

over

seei

ng H

oyt S

treet

Re

alty

, a fu

ll-se

rvic

e re

al e

stat

e co

mpa

ny, S

wei

tzer

not

es t

hat s

he

has

an in

tuiti

ve s

ense

of w

hat

wor

ks a

nd w

hat d

oes

not i

n re

si-

dent

ial u

nits

, esp

ecia

lly k

itche

ns.

Her

con

dom

iniu

m s

ales

cen

ters

, sh

e sa

ys, h

ave

elab

orat

e, fu

ll-sc

ale

mod

els

of s

ever

al k

itche

n ty

pes

and

mat

eria

ls fi

nish

es.

Dun

n’s

very

firs

t pro

ject

won

ar

chite

ctur

al a

war

ds fo

r its

inno

va-

tive

use

of ro

ll-up

gla

ss g

arag

e do

ors

and

loft

kitc

hens

inte

grat

ed

into

livi

ng s

pace

s.Ro

lsta

d de

velo

ped

the

Bann

er

Build

ing,

a S

eattl

e m

ixed

-use

pro

ject

in

the

now

tren

dy B

ellto

wn

area

, with

co

ndom

iniu

m u

nits

that

wer

e le

ft un

finis

hed

to g

ive

buye

rs th

e op

por-

tuni

ty to

com

plet

e th

em a

ccor

ding

to

thei

r pre

fere

nces

.

Are

fem

ale

deve

lop

ers

at

a

dis

ad

vanta

ge in

off

ice a

nd

in

dust

rial d

eve

lop

ment?

If fe

mal

e de

velo

pers

hav

e an

inna

te

adva

ntag

e in

kno

win

g ho

w to

de -

velo

p re

tail

and

resi

dent

ial p

roje

cts,

th

e op

posi

te a

ppea

rs to

be

true

with

re

spec

t to

deve

lopi

ng o

ffice

and

in

dust

rial b

uild

ings

. In

this

are

na,

fem

ale

deve

lope

rs s

ay th

ey m

ust

cont

end

with

the

wel

l-est

ablis

hed

“To t

he ex

tent t

hat a

man

is no

t

in to

uch w

ith hi

s inn

er sh

oppe

r,

he is

not g

oing t

o be e

quipp

ed

to do

com

pellin

g ret

ail. M

aybe

that

’s wh

y we h

ave a

lot o

f

retail

cent

ers t

hat d

on’t w

ork.”

NO

VE

MB

ER

/D

EC

EM

BE

R

20

07

U

RB

AN

L

AN

D

147

pr

oa

cti

ve

netw

ork

of m

ale

deve

lope

rs, l

ende

rs,

and

offic

e an

d in

dust

rial t

enan

ts.

Barri

ento

s, w

ho p

enet

rate

d th

e de

velo

pmen

t wor

ld m

anag

ing

the

cons

truct

ion

of g

olf c

ours

es d

ecad

es

ago,

and

who

late

r bec

ame

a pr

inci

-pa

l in

a di

vers

e Se

attle

dev

elop

men

t co

mpa

ny, s

ays:

“It

is v

ery

diffi

cult

for w

omen

to b

reak

into

that

wor

ld

on th

eir o

wn.

I kn

ow s

ever

al a

maz

-in

g pr

ojec

t man

ager

s of

ver

y la

rge

offic

e bu

ildin

gs w

ho a

re w

omen

. Bu

t, th

ey a

re n

ot d

evel

oper

s, p

uttin

g to

geth

er th

e de

als,

brin

ging

in la

rge

inve

stor

s, a

nd g

ettin

g fin

anci

ng o

n re

ally

larg

e de

als.

Tha

t’s s

till h

eavi

ly

dom

inat

ed b

y m

en.”

Pa

rt of

the

reas

on m

ay b

e th

at

man

y fe

mal

e de

velo

pers

hav

e lit

tle

inte

rest

in o

ffice

and

indu

stria

l dev

el-

opm

ent.

“I fl

ed c

orpo

rate

Am

eric

a fo

r a

reas

on,”

say

s D

unn.

“I g

et u

p in

th

e m

orni

ng th

inki

ng a

bout

the

way

pe

ople

live

, sho

p, a

nd p

lay.

”

Mon

ica

Smith

, a fo

rmer

Sea

ttle

deve

lopm

ent p

artn

er o

f Cat

apul

t Co

mm

unity

Dev

elop

ers

and

now

fo

unde

r and

hea

d of

Blu

egre

en

Dev

elop

men

t LLC

, rel

ates

that

she

w

as in

volv

ed in

the

offic

e an

d in

dus-

trial

dev

elop

men

t wor

ld, s

pend

ing

ten

year

s m

anag

ing

inte

rnat

iona

l co

rpor

ate

real

est

ate

for N

ovel

l, In

c.,

in B

anga

lore

, Ind

ia, a

nd la

ter d

oing

in

tern

atio

nal p

rope

rty a

cqui

sitio

n,

leas

ing,

and

ass

et m

anag

emen

t for

M

icro

soft

in m

ore

than

50

coun

tries

. Ye

t, be

lyin

g th

at o

ffice

and

indu

stria

l

i

n p

ra

cti

ce

“I kn

ow se

vera

l am

azing

proje

ct

man

ager

s of v

ery l

arge

offic

e

build

ings w

ho ar

e wom

en.

But, t

hey a

re no

t dev

elope

rs,

putti

ng to

geth

er th

e dea

ls,

bring

ing in

larg

e inv

esto

rs,

and g

ettin

g fina

ncing

on re

ally

large

deals

. Tha

t’s st

ill he

avily

dom

inated

by m

en.”

49

148

U

RB

AN

L

AN

D

NO

VE

MB

ER

/D

EC

EM

BE

R

20

07

expe

rienc

e, s

he c

hose

to d

evel

op

tow

nhou

se c

omm

uniti

es a

nd p

ublic

/pr

ivat

e co

mm

unity

ven

ture

s, li

ke

one

vent

ure

with

the

city

of T

acom

a,

Was

hing

ton,

cre

atin

g a

mix

ed-u

se

and

mix

ed-in

com

e pr

ojec

t for

58

ar

tists

and

thei

r fam

ilies

.Sm

ith re

coun

ts th

at s

he b

ecam

e th

e in

tern

atio

nal r

eal e

stat

e m

anag

er

for a

larg

e so

ftwar

e co

mpa

ny a

t age

27

and

spe

nt m

ore

than

hal

f her

tim

e in

Asi

a. A

t tha

t tim

e (1

991)

, sh

e no

tes

ther

e w

ere

few

wom

en

wor

king

in th

e in

dust

ry in

sen

ior

leve

l pos

ition

s in

pla

ces

like

Chin

a,

Indi

a, a

nd c

entra

l Afri

ca. “

I was

con

-st

antly

ask

ed a

bout

the

diffi

culti

es

of d

iscr

imin

atio

n in

my

busi

ness

. W

hat I

foun

d is

that

the

way

peo

ple

treat

ed m

e [w

as b

ased

on]

bei

ng a

Fo

rtune

500

clie

nt, n

ot [o

n] g

ende

r, so

I ne

ver f

elt d

iscr

imin

ated

aga

inst

in

the

busi

ness

set

ting,

” Sm

ith s

ays.

Al

thou

gh s

he m

inim

izes

diff

eren

ces

with

mal

e de

velo

pers

, Sm

ith n

otes

th

at s

he m

ay a

sk m

ore

ques

tions

, ad

mit

mor

e m

ista

kes,

and

sha

re

mor

e in

form

atio

n w

ith h

er c

ol-

leag

ues

than

do

mal

e de

velo

pers

.

Do

fem

ale

deve

lop

ers

use

dif

fere

nt

ap

pro

ach

es

fro

m m

ale

deve

lop

ers

to

fi

nance

pro

ject

s?Be

caus

e, h

isto

rical

ly, m

en h

ave

been

m

ore

ofte

n in

con

trol o

f fin

anci

al

inst

itutio

ns, f

emal

e de

velo

pers

may

ap

pear

to b

e at

a d

isad

vant

age

whe

n se

ekin

g fin

anci

ng. S

ome

fem

ale

deve

lope

rs h

ave

resp

onde

d by

put

ting

toge

ther

muc

h m

ore

deta

iled

finan

cing

pac

kage

s fo

r len

d-er

s an

d in

vest

ors.

“I h

ave

ofte

n ha

d le

nder

s te

ll m

e th

e pa

ckag

e I s

end

them

is th

e m

ost c

ompl

ete

they

usu

-al

ly g

et,”

poi

nts

out B

arrie

ntos

. W

ith e

xhau

stiv

e qu

antit

ativ

e an

d qu

alita

tive

mar

ket a

naly

ses

of th

e co

mpe

titio

n, in

clud

ing

first

hand

sh

oppi

ng o

f com

petit

ors’

pro

ject

s,

fem

ale

deve

lope

rs c

an o

ften

offs

et

the

inhe

rent

fina

ncia

l net

wor

k co

n-ne

ctio

ns. M

oreo

ver,

rath

er th

an

sim

ply

com

mun

icat

e w

ith fi

nanc

ial

figur

es, m

any

fem

ale

deve

lope

rs s

ay

they

are

pro

ne to

arti

cula

te th

e m

any

assu

mpt

ions

beh

ind

the

num

bers

, w

hich

may

act

ually

giv

e th

em a

sig

-ni

fican

t adv

anta

ge.

In h

er tw

o m

ost r

ecen

t inv

esto

r of

ferin

gs, B

arrie

ntos

repo

rts th

at

they

wer

e su

bscr

ibed

with

in tw

o w

eeks

and

that

60

perc

ent o

f the

in

vest

ors

turn

ed o

ut to

be

wom

en.

Dun

n re

ports

that

she

rais

ed o

ut-

side

priv

ate

equi

ty fo

r the

firs

t tim

e la

st y

ear,

and

was

fully

sub

scrib

ed,

turn

ing

peop

le a

way

with

in a

mon

th

of s

endi

ng o

ut p

acka

ges.

Tha

t rei

n-fo

rced

her

con

vict

ions

, she

say

s,

“abo

ut b

eing

pat

ient

and

reap

ing

the

long

-term

rew

ards

of b

ette

r de

sign

cho

ices

.”An

othe

r fac

tor t

hat m

ay b

enef

it w

omen

is th

e in

crea

sing

num

ber

of w

omen

in fi

nanc

ial i

nstit

utio

ns,

whi

ch s

eem

s to

be

follo

win

g th

eir

grow

ing

num

bers

in th

e le

gal a

nd

med

ical

pro

fess

ions

. Whi

le th

ere

are

still

few

fem

ale

CEO

s, th

is tr

end

has

plac

ed m

any

wom

en in

the

posi

tion

of lo

an o

ffice

rs, p

erha

ps o

f par

ticul

ar

adva

ntag

e to

fem

ale

deve

lope

rs

sinc

e th

ey a

re th

e on

es w

ho a

naly

ze

and

disp

ense

loan

s to

the

deve

lop-

ers.

A “

new

-girl

” ne

twor

k m

ay b

e m

ore

impo

rtant

than

an

old-

boy

netw

ork

as th

ere

may

be

a gr

eate

r te

nden

cy fo

r wom

en to

hel

p on

e an

othe

r. Se

vera

l fem

ale

deve

lope

rs

have

repo

rted

that

all

of th

e le

nd -

ers

with

who

m th

ey h

ave

wor

ked

wer

e w

omen

.As

a fe

mal

e de

velo

per,

Pick

er

says

she

find

s th

at w

omen

in d

evel

-op

men

t stil

l fac

e “h

uge

obst

acle

s.”

Even

thou

gh P

icke

r was

trai

ned

as

an a

rchi

tect

and

urb

an d

esig

ner,

she

sees

her

maj

or s

treng

th a

s an

abi

l-ity

to p

ut to

geth

er c

ompl

ex fi

nanc

ial

arra

ngem

ents

. Som

e m

en d

o no

t re

spon

d w

ell t

o an

agg

ress

ive,

det

ail-

orie

nted

wom

an, a

dmits

Pic

ker.

Are

fem

ale

deve

lop

ers

m

ore

ris

k-av

ers

e; a

nd

ho

w

do

they li

mit

ris

k?

Fem

ale

deve

lope

rs m

ay h

ave

natu

-ra

l ten

denc

ies

to b

e m

ore

effe

ctiv

e in

lim

iting

risk

s. D

unn

sugg

ests

that

mal

e an

d fe

mal

e de

finiti

ons

of ri

sk

may

wel

l be

diffe

rent

. She

bel

ieve

s th

at m

ales

tend

to v

iew

risk

s as

pri-

mar

ily fi

nanc

ial,

whi

le fe

mal

es te

nd

to v

iew

risk

s in

the

broa

der c

onte

xt

of re

latio

nshi

ps w

ith a

rchi

tect

s,

engi

neer

s, c

ontra

ctor

s, c

onsu

ltant

s,

lend

ers,

inve

stor

s, te

nant

s, o

ffici

als,

us

ers,

and

the

publ

ic.

Som

e fe

mal

e de

velo

pers

sug

gest

th

ey a

re m

ore

likel

y th

an m

en to

be

fee

deve

lope

rs, m

ore

likel

y to

de

velo

p re

side

ntia

l com

mun

ities

th

an in

dust

rial p

rope

rties

, and

mor

e lik

ely

to h

old,

man

age,

and

repo

si-

tion

thei

r pro

ject

s.

What

fact

ors

aff

ect

fe

male

deve

lop

ers

in

their

rela

tio

ns

wit

h t

he

p

ress

and

the p

ub

lic?

Are

fem

ale

deve

lope

rs m

ore

solic

i-to

us o

f pub

lic o

pini

on th

an th

eir

mal

e co

lleag

ues?

Do

city

cou

ncils

an

d ot

her p

ublic

dec

isio

n m

aker

s tre

at th

em d

iffer

ently

—po

sitiv

ely

or n

egat

ivel

y? Is

ther

e a

diffe

renc

e w

hen

the

publ

ic d

ecis

ion

mak

er is

a

wom

an?

Seve

ral f

emal

e de

velo

pers

sug

-ge

st w

omen

are

per

ceiv

ed to

be

less

thre

aten

ing,

mor

e co

oper

ativ

e,

mor

e co

ncer

ned

abou

t adv

anc-

ing

the

publ

ic in

tere

st, a

nd le

ss

repr

esen

tativ

e of

the

ster

eoty

pica

l de

velo

per a

s ra

paci

ous

and

avar

i-ci

ous.

Dun

n av

ers,

“Be

ing

a w

oman

ha

s ne

ver h

urt,

beca

use

frank

ly

you

stan

d ou

t in

the

crow

d. C

oun-

cil m

embe

rs, l

ende

rs, a

nd th

e pr

ess

rem

embe

r me

beca

use

I’m

a w

oman

, may

be u

nfai

rly, b

ut w

hy

not t

ake

adva

ntag

e of

it?”

UL

WIL

LIA

M P

. M

AC

HT

is a

prof

esso

r of u

rban

pl

anni

ng an

d de

velo

pmen

t at P

ortla

nd St

ate U

nive

rsity

in

Ore

gon

and

a dev

elopm

ent c

onsu

ltant

. (Co

mm

ents

from

—an

d ab

out—

fem

ale d

evelo

pers

are e

spec

ially

we

lcom

e in

orde

r to

test

the b

read

th o

f the

se

conc

lusio

ns; d

irect

them

to th

e aut

hor a

t mac

htw@

pdx.

edu

and/

or w

illmac

ht@

gmail

.com

.)

in p

ra

cti

ce

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Thank you for this wonderful opportunity!!

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