Tag Archives: architects

Ethical Twists and Turns

May 10, 2017 by

It would be intriguing to map the thinking patterns of engineers, architects, and graphic artists. I expect the engineers to be linear thinkers, the graphic artists to be web-based, and the architects to be a little of both.

Of course these differences among professions are gross generalizations. But rather than focus on the differences, let’s look at the similarities, especially in the realm of ethics. I am interested in the question they all must address, namely, “How do I balance my personal values with my career goals and the goals of my firm?” Let’s see how the answer twists and turns as careers play out.

At the beginning of one’s career, a specific ethical problem is maintaining personal values while building credentials. For example, suppose that a young professional—whether an engineer, architect, or graphic designer—eats locally grown, organic foods because they feel that food from big conglomerates includes unnecessary salt, sugar, and fat. Yet, a food giant contacts them to do substantial work. Do they put their personal values aside to build their careers?

I recently asked students in my graduate class in Creighton’s Heider College of Business this question. One was extremely vocal. “I’d take the job. I have student loans that need to get paid off. I also have to get any experience I can. Later on, I can be choosy about the clients with which I work.” Another was just as vehement that, “whether it comes to a job or an investment, there are certain things I will not do and opportunities I will not take. Period.”

As the years go on, careers advance and professionals move up the ladder. A specific ethical problem at this stage is balancing personal values with significant business choices that impact the overall financial success of one’s firm as well as spouses and kids. So suppose that an engineer, architect, or graphic designer personally believes that smoking pot is bad for the individual and society. But they work for a company that will do contracts for anything that is legal. A Colorado marijuana firm contacts them to ask their company to do cannabis cultivation process thermal load calculations (engineer); a floor plan for a production facility (architect); or a website for the company (graphic designer). Do they put their personal values aside to advance the
firm’s profitability?

Some say that professionals can seek guidance about this question by looking to their associations. Professional associations have codes of ethics (like AIGA for graphic designers) that are meant to be useful for addressing the ethical dilemmas relevant in their fields. These codes are important and significant ways of setting standards and expectations of good conduct. I firmly believe in them. However, while codes cover responsibilities to clients, honesty in marketing, and the like, such ethical codes do not typically help professionals address the balance between their personal values and the values of the organizations for which
they work.

Without external guidance, some advanced professionals turn inward and think about going between the horns of the ethical dilemma rather than hanging onto one horn as opposed to the other (as those at the beginning of their careers tend to do). A seasoned professional may use their years of experience to devise a sophisticated way to honor their values while keeping their job. One inclusive solution is to volunteer for, and financially contribute to, a local not-for-profit that provides services to recovering drug addicts. This is akin to people planting trees because, while they object to oil production, they drive cars and want to offset the CO2 emissions.

We have seen that the conflicts between personal, career, and organizational values are real and inescapable. And the ethical line we draw twists and turns as circumstances change. What is the moral of the story? It’s this: As we undertake positions and advance in our fields, the best we can do is to keep our personal values front of mind, and recognize that the twists and turns we take are a natural part of life’s exploration and ethical growth.

Beverly Kracher, Ph.D., is the executive director of the Business Ethics Alliance and the Daugherty Chair in Business Ethics and Society at Creighton University.

This column was printed in the Summer 2017 edition of B2B.

W. Dale Clark Library: A Reflection of Omaha

February 21, 2017 by
Photography by Bill Sitzmann

Why  are  libraries  relevant? For Rem Koolhaas, international architect and designer of one of America’s premier libraries in Seattle, “in an age where information can be accessed anywhere, it is the simultaneity of all media and, more importantly, the curatorship of their content that makes the library vital.”

This compelling principle of curation—a thoughtful way of organizing and presenting content—is how the Omaha Public Library’s W. Dale Clark branch promotes free public access to multimedia information, programming, and assets inside and outside the four walls of  215 S. 15th St. The library’s architecture, in turn, is both a container for, and reflection of, the community of Omaha at large.
Omaha’s first permanent public library opened in 1877 at 18th and Harney streets. Designed by Thomas Kimball, it was Omaha’s first building dedicated solely to a public library. However, with a capacity of 46,000 books and drastically out of sync with modern needs, the library outgrew this historic building after World War II. Often referred to as “the worst library in America” and “the horror on Harney Street,” city and library officials began contemplating a new building and the role a new central library would have in defining the cultural core of Omaha in the late 1950s.

While some branches of the Omaha Public Library system are named after locations, others are named after prominent city leaders and/or major funders. The central library branch is named after W. Dale Clark, a long-time banker, civic leader, and Omaha World-Herald board member. It is no coincidence then that during the development of this new central branch, the Omaha World-Herald was often a soapbox for the library’s necessity as a cultural anchor. A June 9, 1957, article explained, “a library should offer the opportunity for enlightened citizenship and the continuing education and cultural advancement necessary to a working democracy.” This sentiment held true for W. Dale Clark as well.

Although Clark did not live to see the completion of his library branch, which began construction in 1975, the 124,500-square-foot Bedford limestone monolith opened on March 9, 1977. Architects John Latenser & Sons of Omaha designed the $7 million open-plan building to accommodate 350 patrons and 400,000 volumes (the current collection is 500,000+ volumes). The Omaha World-Herald defined the opening as “the greatest event in Omaha’s history.”

Little has changed architecturally to the branch since 1977, although its surroundings continue to take shape—the neighborhood is part of a six-block $15 million revitalization plan.

The striated five-story W. Dale Clark Library opens laterally east and west and features a 110-foot bridge on the west entrance that spans a parking moat below for 48 cars, special facilities for audio-visual materials, a large open atrium, contemporary art gallery, and significant art collection including Catherine Ferguson’s sculpture Totem and an Olga de Amaral tapestry. The central library maintains practical roles to store government documents, house the ever-growing genealogy department, and to be a repository for community history.

In a building nearly 40 years old, how has the Omaha Public Library advanced into the digital age—an age where traditional media is seen as almost cliché? The answer is quite simple: curated in-person programing.

The facilitators for this community-driven programing are the 78 library staff at the W. Dale Clark branch. With a web of knowledge and resources, Emily Getzschman, the marketing manager for OPL acknowledges, “the staff are our greatest asset.” They fulfill the library’s tagline “open your world” by connecting dots—many of which are obvious (GED training, citizenship assistance, computer training, and literacy classes) and others that seem more disparate (STD screening, a toy lending library, speed dating, a culinary conference, and facilitated conversations around contemporary topics) all under a major OPL tenet of non-discrimination. As Amy Mather, adult services manager, says, “the library allows a smooth transition where a barrier may be to connect people with ideas.” In many instances, the library is filling voids in the public domain with this free niche programming—all of which is community driven.

Since its beginning, some have questioned the role and need for the Omaha Public Library—a story that continues to play out today. These opposing views undermine the very role of the public library as a space to define, beyond hierarchies, the community of Omaha.

It is a privilege and right to use the Omaha Public Library, which is free and open to all of the public. Everyone and anyone has access to its curated network of resources. The potency of programming, outreach, and staff reverberates beyond its architecture and stated mission placing OPL at the frontier of relevancy. As Mather says, “this is your library.”
omahapubliclibrary.org/w-dale-clark-library 

This article was printed in the March/April 2017 edition of Encounter.

TD2 Touts B4B

November 24, 2015 by

In 2017, TD2 Engineering and Surveying turns 50. This is another example of an Omaha-based company that has put years on the calendar by simply going heads-down serving clients—and helping them grow.

TD2 is a specialized repository of resources for architects, builders, developers, and municipalities providing land survey and civil, structural, geotechnical, and environmental engineering services. But it’s more than that.

TD2 digs in (excuse the pun) to more fully understand the project at hand and the desired outcomes, then applies its considerable expertise of 60-plus people, and experience on a plethora of projects throughout 48 years, to solutions that work.

“It’s more than just providing a boundary survey or construction documents and plans,” says Doug Dreessen, P.E., president of the firm. “Business is won by reputation and demonstrating that you’re in the game for your customer.  We understand what is desired in the end—an accurately detailed, aesthetically pleasing, structurally sound environment. We’re behind the scenes for our clients who need to deliver this every time.”

You likely know—and have visited—some of the projects where TD2 was behind the scenes. From the Nebraska Crossing Outlets; to TD Ameritrade’s sustainable, LEED-designed building; to Nebraska Orthopedic Hospital. What you may not know—or have visited—are TD2’s projects Summit Ridge Booster Station and 5MG Water Tank, recently completed in Papillion to provide pumping capacity and water pressure to current and future development of the community.

“Selecting a professional services teammate is one of the most important project decisions our clients make. They count on our experience, quality, and responsiveness, and we are not going to let them down,” adds Dreessen.

 

TD2

Q&A: Valeria Orlandini

August 27, 2013 by
Photography by Bill Sitzmann

Valeria Orlandini has made a career of preserving works on paper and photographic materials, many of which are proudly displayed in fine homes and museums worldwide. Ensuring that the rich stories, family memories, and important lessons they convey live on for future generations is a job she takes very seriously.

Q: Tell us about your work as a preservation specialist. Who are your clients? 

A: Orlandini Art Conservation was established in 2004 to provide the highest quality conservation treatment and preservation services for a broad range of paper-based objects: historic manuscripts, prints, printed documents, watercolors, drawings, paintings in all media, collages, contemporary works, pastels, and posters, as well as parchment, ivory, and photographic materials. Regardless of whether you’re a discerning collector or a family seeking to preserve precious documents, my goal is to provide all clients with the same exacting standards required by major art and archival institutions. My clients are mid- to high-end collectors and custodians of artistic and valuable and irreplaceable historic materials from holdings in museums, archives, libraries, private owners, and corporate businesses. I work in a wide range of projects and budgets.

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Q: Where did you receive your education and training in art and art conservation?

A: I hold a B.F.A. from the National School of Fine Arts in Buenos Aires; a M.F.A. from the National School of Fine Arts in Buenos Aires; and graduated in 2002 with a M.S. and a Certificate in Art Conservation in Paper and Library Science at the University of Delaware/Winterthur Museum Art Conservation Program in Newark, Del.

Q: When did you first discover your love of history? Why are you so passionate about preserving it?

A: I have always been an art and history geek! I grew up with artists in my family, and as a child I would dig for old artifacts at my grandparents’ homes. I think that from that very early age, I became aware of how real history can be. Also, I come from a family of collectors and art and architecture lovers. Just about every member of my family collects old artifacts and memorabilia of previous generations. I grew up with a real sense of the importance of the past.

Every day, the vision of artists, the identity of people, and the very evidence of history all threaten to disappear. Left alone, old buildings will crumble, the Declaration of Independence will disintegrate, and the photographed faces of battle-weary Civil War soldiers will fade away, among other artifacts. The cultural patrimony, so painstakingly created over thousands of years, is surprisingly ephemeral with the ravages of time and the indifference of a disposable modern culture its biggest enemies.

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Q: How does your work interplay with home interiors and historic home preservation? 

A: As a collections conservator, I work very closely with interior designers, architects, engineers, and maintenance personnel to secure the building envelope where we protect objects from extremes and fluctuations in exterior temperature and moisture as well as light, dust, and gaseous contaminants. We frequently assess and measure temperature and relative humidity characteristics of air surrounding collections, as well as patterns of use and handling protocols. The conservation mission recognizes the need to preserve the unique character of both historic structures and artifacts. No two collections are identical.

Q: What have been some of your most interesting past projects?

A: While working in a number of studios and labs, I’ve had the privilege to treat an array of fascinating objects: Old Master paintings; Japanese woodblock prints from the Edo Period; ancient Korean rubbings and manuscripts; original newsprints from various American cities upon Abraham Lincoln’s assassination from April 1865; John James Audubon’s “Birds of America” folios; original documents of the Founding Fathers; and many others.

Most notably in 2010-11, I participated in the conservation treatment of the Thomas Jefferson Bible Project at the National Museum of American History, at the Smithsonian Institution. I worked with a team of conservators and scientists, conducting materials analysis, assessing aqueous stabilization treatment options, considering appropriate micro- and macro-environmental conditions, and a variety of other tests to help preserve this national treasure.

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Q: What projects have you worked with since moving here?

A: I have treated several objects from the Durham Museum. This museum stands as a magnificent reminder of a bygone era and allows generations to come together to learn, to share, and to remember.

Also, a very rewarding project that I carried out last fall was the treatment of an original Wright Brothers Patent Document [No. 821,393] for the “flying machine,” circa 1903-06 that was brought to my care from a private collector in Iowa. This was a really interesting study piece about the history of aviation and contains five original signatures hand-inscribed in iron gall ink by the Wright Brothers: Orville (1871-1948) and Wilbur (1867-1912), witnesses, and attorney.

Q: What advice would you give those looking to preserve family heirlooms? 

A: The American Institute of Conservation and Historic and Artistic Works (AIC) has developed guides for caring for your treasures at conservation-us.org. There’s also a book by Heritage Preservation entitled Caring for Your Family Treasures that can provide folks practical advice and easy-to-use guidelines on how to polish silver and furniture without diminishing their value, as well as creating safe display conditions for artworks, ceramics, dolls, quilts, books, photographs, and other treasured collections. These are tips with clear and understandable information on how to care for beloved family treasures.