One must be smarter than the tools one is working with, but what exactly does that mean in a profession that increasingly relies on software initially developed for the aerospace industry? How important is it for a student to master Rhino or REVIT versus the intrinsic philosophy of great design itself? Most importantly, how does a student balance the need to become a high-end CAD monkey while developing creative thought?

The collaborative nature of architecture has always required students and applicants to study a variety of skills. However, in the last few years, the increasingly constant nature of communication, from email to IM, has meant that time for undisturbed design insight has been drastically reduced in favor of instant response: email the client the latest PDF, calculate the square footage of the performance arts space with the in-program app now, create a 3D render of the latest design for the Skype meeting in two hours, etc. Especially for those just starting out in the profession, developing critical thinking skills seems less valuable than mastering lightning-speed keystrokes.

THE TOOLS

Of course, starting within any profession requires “paying your dues." Performing a series of menial or rote tasks is traditional during the first few years of any industry, and can often offer on-the-job training into the larger, complex roles that an employee with numerous years of experience will eventually undertake. architects should not expect that they will be welcomed into the higher-level design process if they demonstrate only click-worthiness, not imagination Many employers readily admit that they expect younger candidates to have advanced software skills, but that they also welcome growth. An employee who enters a firm is not expected to remain static in their ability, but rather be open to improving and broadening their skills. As David Katz of Katz Architecture says, “my philosophy is very much centered on mentoring staff. There are somewhat minimum [software] skills that we might hire for, but we’re very much focused on training people.” In terms of what software skills new employees should have, employers repeatedly listed AutoCAD, REVIT and Rhino as the basic software toolkit of any prospective employee. However, software only goes so far: Charles Anderson of WERK admitted to using "the usual suspects" such as Rhino, but he also occasionally steps away from software altogether in order to flesh out the design process. "We have an old school use of red pencil on trace for design, which we call 'Red Drawings.' It has become a signature of our work process."

THE PROCESS

Spend time working in any studio, whether it’s a 160-person internationally renowned firm or a 10-person mom ’n’ pop shop, and you’ll immediately intuit the design hierarchy. Unsurprisingly, it’s the people whose names usually adorn the letterhead who both lead the design and make the final calls on what stays within a project. However, design is a collaborative process. In larger firms, there is no way one person can formulate absolutely all the design decisions. Usually, the design partners within the firm will spearhead the development of various projects until the lead principal can come in and either accept or reject the additions/changes of the partner’s design. Often, a select few younger architects will be allowed to work side-by-side with the design partner, helping to refine or at least comment on design decisions. The other architects on the team necessarily pick up other roles, including detailing, administration, and management. the complexity of the tools architects use [can] act as a kind of faux substitution for vision However, the reality of computer modeling has made it possible for a younger architect to become completely immersed only in the the complexities of software interaction, meaning they do not have to interact with any other humans, let alone project designers, directly. This is because computer modeling is such immersive work that it often requires one’s full attention, thereby eclipsing opportunities to interact with higher level designers. The younger architect’s focus shifts from the formulation of the design to its purely technological execution. As they become more experienced with the particular software they are using, their specialized expertise becomes invaluable to a team, but their design skills remain underdeveloped. In essence, they become extensions, not masters, of the tools they’re working with.

BECOMING A PARTICIPANT, NOT A TOOL

Of course, not everyone can be a designer, and nor should they be. However, for those architects who wish to be more than a CAD monkey, they should be prepared in their first few years of work to not only to demonstrate mastery of software tools, but ask questions, attempt to attend design meetings, and spend time outside of work continuing to educate themselves. architects become extensions, not masters, of the software tools they're working withThere’s a reason that most architects don’t come into their own creatively until their 50s: the sheer amount of knowledge, both technical and creative, takes decades to learn. However, new architects should not expect that they will automatically be welcomed into the higher-level design process if they demonstrate only click-worthiness, not imagination. Demonstrating this imagination is, of course, never an easy process: employers are pressed for time, and don't have time to launch into a lecture when they're preparing for a client meeting. However, savvy new employees will seize every opportunity–whether it's a half-second exchange or a detailed discussion of a plan during a design meeting–to attempt to develop their understanding of how design works. Learning on the job is significantly faster-paced than an academic setting, but it follows the same process: ask intelligent questions, demonstrate informed curiosity, and try to contribute to the overall intellectual climate.

While no one is arguing that technical specialization is new to the working environment, the complexity of the types of tools architects use has been known to act as a kind of faux substitution for vision. Being able to create a virtual 3D model is not the same as being able to conceptually design that model. While employers will appreciate flawless execution, they will also appreciate intelligent design questions and suggestions on ongoing projects. Students who study architecture and wish to become designers should attempt to balance the practical needs of acquiring tool knowledge with the process of actively seeking out the far more abstract concepts of great design, and not become merely the custodians of the cloud.

For up-to-the-minute job listings, please visit Archinect's job board, and keep an eye out for future installments of the "EMPLOY(ED)" series. We'll be exploring all aspects of employment, from managerial concerns to portfolio tips to the day-to-day studio culture of some of the world's largest firms. To read previous articles in this series, click here.