When I free-associate with the word "environment" I conjure up impressions that can be categorized as Built, Urban and Natural environments. The notion of built environment ranges from site-specific art installation, to "undesigned" engineering infrastructure, and all forms of architecture from barns to important civil buildings. Within this entire spectrum of built intentions my overriding interest is in innovative spatial experiences. My images of urban environment tend toward seeing large-scale patterns of connectivity, human scale and social space. Also with my profound respect for the natural environment I visualize wildlife, old growth forests, the health of our rivers and oceans and the atmosphere. These images resonate as I simultaneously consider not only our present situation but also the projected impact on future generations.

I am delighted that this word "environment," with its multitude of meanings, has become inextricably associated with my practice, as has the notion of "alchemy" which first came about from editor Bob Ivy and writer David Hay who in an article in Architectural Record attributed this term to the material expression in my work. Exploring combinations of common and state-of-the-art materials to create innovative solutions and evocative forms has perhaps brought out the "alchemist" in me, as we strive to make something magical from the everyday life that surrounds us all. Regardless of which environmental realm a particular project embodies the following three ideologies drive my design sensibilities.

I listen intently to clients and ask numerous questions to understand their goals and philosophy, as well as their program and functional relationships. Finding the ideal functional diagram is basic to a successful project. Therefore, my firm often generates several model studies that relate to program distribution on the site, functional adjacencies, contextual issues, and massing before the form studies are begun. Neither my formal solutions nor the design references are premeditated; rather, they are the result of a highly involved study technique that utilizes models, computers, sketches, analytic diagrams, and photography, while simultaneously engaging in an intensive dialogue and relationship with the client and the site.

A significant part of our design process, relies upon the use of models at various scales to address everything from how the building fits within the neighborhood to full-size mock-ups of construction details. This highly visual, hands-on medium facilitates client understanding and participation. During this process we collaborate fully with the client and the end-users to explore and more accurately understand their goals and attitudes. Integrating the clients and users as members of the design team results in an exciting aesthetic variety. The models often range from simple wood blocks that represent massing to refined assemblies including interiors and internal lighting to create nighttime images. The ability to solve planning and program problems in relation to urban context is enhanced with this methodology. These models, despite being "process" models, serve well to build client support and community enthusiasm for projects. They also allow the engineer/consultant and contractor team to clearly visualize the project, thereby improving quality control in construction documents and clarify bidders' understanding of the construction requirements. When possible, I photograph the models myself, as I find the camera has a distinct way of forcing the eye to realistically evaluate visual compositions from the user's position on the ground plane. This personal view allows the client to avoid misinterpretating the views of the model, (for example, as when seen only from above or from improbable angles, i.e. the helicopter view).

Where appropriate, computer applications help clarify building geometries. While our design often leads toward complex, unique forms, the computer helps us document rational and buildable solutions based on readily available construction systems and materials. Our databases reduce the need to interpret the design during the construction phase. In fact, one of our buildings, the Steinhude Sea Recreation Facility, was built without conventional construction documents. Instead, it was constructed as a panelized assembly in a factory from the three-dimensional computer databases that were created at the end of the design development phase. It was our first project for which the contractor submitted the entire building as something of a shop drawing. In the factory setting it was possible for portions of the project to be uniquely and economically fabricated by computer/robotic-driven cutting and assembly devices in a process coming to be known as "mass customization."

As a firm, we appreciate the craft of building and frequently establish working relationships with the building trades people during the design process. Trades craftsmen often know better than anyone else what creative direction their materials and fabrication tools will support versus what would surpass technical or cost limitations of their trade. When they are brought in early in the work process to participate with the design team, they gain a sense of ownership and commitment to the project that greatly benefits construction. These relationships allow us to explore unique materials and systems applications while maintaining constructability and controlling costs.

This intensive process leads to buildings that respond to our clients' needs. The clients' design aspirations, aesthetic preferences, site, program, budget, and schedule are integral to the generative forces for design. We delight in elevating all these to their fullest potential.

Today, building energy and environmental issues are regaining interest in the public and political realms. With evidence of global warming, atmospheric dissipation, greenhouse gases, and acceptance by scientific and political communities (as demonstrated by 1999's Kyoto Accord) of the damage caused by common methods of powering, heating, and cooling buildings, we must examine the ability of building envelopes not only to minimize consumption, but also to contribute significantly as a production resource.

As responsible participants in the building industry, our concern for the environment and the world we leave to future generations should mandate that design professionals, clients, regulatory agencies and lending institutions commit to making buildings that maximize environmentally friendly design and technology.

Numerous projects in this monograph utilize renewable resource technology. As I give an overview of my firm's work, I feel it is imperative to discuss energy applications and their environmental contributions. Often the public perceives energy conscious design as an afterthought, as frequently seen in roof-mounted solar collectors treated as appliquŽ to conventional forms. To me, a more engaging approach allows building designs to be informed by energy concepts from their inception so that the energy applications bring their own aesthetic influence into the design mix of concerns of form, space, light, shadow and materiality. Our buildings have taken this approach with a multitude of renewable energy systems and environmentally sensitive applications including natural ventilation, daylighting, passive heat gain, gray water recovery, photovoltaic cell electricity production, solar hot water collectors, co-generation, and high performance glazing systems.

The accomplishments on our overseas projects are in large measure due to the enlightened approach to energy conscious design that exists in Germany. Firstly, the political strength of the Green Party affects design through an energy policy evidenced in each step of the building permit applications process. Secondly, German lending institutions and governmental agencies take the long-term view of the development process; therefore, German buildings are frequently built with more durable materials that are intended for 50- to 100-year life cycles. This long-term view enables financial institutions to consider not only the initial capital expenditure (as usually occurs in the U.S.) but also the projected lifecycle cost savings from reduced energy consumption. Lastly, European energy and manufacturing companies have managed to avoid the patent purchase and suppression syndrome that has hindered manufacturing of solar-related products in the U.S. until recently.

One cannot address overseas work without mentioning the process and the people that made the work possible. Overcoming language barriers and differences in construction practices can be trying for even routine projects, requiring a special degree of patience, understanding, mutual goals, and camaraderie. This is even more the case when one is pushing the envelope with both architectural form and energy technology. I have had the good fortune to conceive projects with a wide range of bright and talented professionals. My long-term collaboration with the firm Archimedes (formerly UTEG) on multiple projects has led not only to project success but to lifetime friendships. In the beginning, communication was difficult and we frequently relied on drawing and model sketches as our universal language. With our mutual passion for ideas about architecture and protecting the environment came a resolve to overcome "business as usual" and delve into aspects of engineering, social issues, and economic issues usually excluded from the architect's realm. With the leadership of several key individuals we surmounted routine difficulties such as software compatibilities, multilingual project meetings, differences in documentation, regulatory reviews and the permitting procedures involved in just getting projects engineered and built. Without these leaders, especially Dr. Manfred Ragati, Hartwig Rullkštter, and Jurgen Kštter, as well as their dedicated staff, the projects would never have happened.

The cumulative effect of the techniques mentioned here as applied in the firm's completed projects through 2002 results in an annual carbon dioxide emissions reduction of 38,900 cubic tons compared to conventional building techniques and electricity supplied by a coal-fired power plant.