The Architectural League created the annual Emerging Voices lecture series in 1982 to recognize and encourage architects who are beginning to achieve prominence in the profession. The series focuses primarily on built work, at a variety of scales, and is structured to reflect the diversity of contemporary practice–geographically, stylistically, and ideologically. The Architectural League of New York

On the occasion of the 26th annual Emerging Voices program, Archinect is presenting a set of micro-interviews with The Architectural League's 2009 Emerging Voices honorees. We hope to continue with this partnership in the future, offering a feature to supplement the yearly Emerging Voices lecture series , and the notable coverage of the program provided by The Architect's Newspaper . Enjoy!
Scroll to read all the interviews, or select one of the following links for a direct jump:

• Hutchison & Maul Architecture
• Andrew Berman Architect
• A-I-R [Architecture-Infrastructure-Research]
• at103
• coen + partners
• LevenBetts Architects
• Dellekamp Arquitectos
• Gray Organschi Architecture

Hutchison & Maul Architecture


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Hole Houses 1 & 2, Photographs by Hutchison & Maul

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Courtyard House on a Steep Site, Photograph by Alan Abramowitz
View this project in more detail in Archinect's ShowCase feature

How did you initiate Hutchison & Maul Architecture? What motivated you and gave you the confidence to go out on your own?
Rob Hutchison and Tom Maul: We started H&M after many conversations about architecture, architects, design, the discipline and practice. We shared many grounding motives stemming from our experiences in grad school (University of Washington), one particular graduate design studio of which we were part, and study in Scandinavia (Rob in Norway, Tom in Finland). We have a great admiration for the work and practices of many central and northern European firms. There was nothing in particular that gave us the confidence to put our shingle out there. We worked together in the evenings (while employed by other firms) on a small project and did a competition in Verona Italy. In hindsight this was probably a test of how we might work together in the future; melding processes and developing a product. But in the end, it just felt like it was time to stop talking and put words into action and start the practice we had been idealizing.

How has the ongoing economic crisis impacted your practice?
RH & TM: The economic crisis has impacted our practice but not in the way large firms have been affected where entire market segments have disappeared. We are not market segment driven. We are very small practice, our work crosses many boundaries, and we have few expenses so it takes less to stay afloat. Fortunately we have two fabulous (and funded!) public projects going to bid in a few months.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
RH & TM: We have a very positive outlook for the next 5-10 years; both in terms of the prospects for this country and our partnership. Being named a 2009 Emerging Voice was an honor. We had a local residence recognized as March home of the month by the Seattle AIA. And our work is being recognized by other local media and organizations. Both of us are active in our community which is simply to say there are other people out there doing wonderful related things at the moment; and that gives us inspiration for the future of architecture and our discipline. Given the conditions and context, the only place to go is “up”. With that said, our particular plans are to continue on the current trajectory of working on meaningful projects for good clients. We hope to be considered for more public infrastructure work as well as residences and commercial projects small and large. The former will come from partnering and responding to RFQs; the latter by word of mouth from previous clients and friends.


Andrew Berman Architect


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Writing Studio; Long Island, NY 2008; Photography: Michael Moran

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Rooftop Residence; New York City 2006; Photography: Michael Moran

How did you initiate Andrew Berman Architect? What motivated you and gave you the confidence to go out on your own?
Andrew Berman: Around the time I had begun independent work, I was working with friends on some of their projects, as well as working on competitions. Having tasted the freedom and responsibilities that came with these more independent type work experiences, I no longer sought to go back into a full time office position. Working in this manner required me to be flexible and independent, responsible, and began increasing my tolerance for the uncertainty of a solo practice. Eventually, people started approaching me to undertake projects, and the practice was begun. It was an incremental and organic process.

How has the ongoing economic crisis impacted your practice?
AB: There have not been a lot of inquiries about potential projects lately. Several projects have been cancelled recently due to the economy. People are terribly wary and nervous. I see this manifested in all manners, obvious and subtle. Fortunately we have a number of projects underway, in design and under construction. And so we remain busy and focused.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
AB: I hope that our future work is much in the vein of our current work; interesting programs for clients who have sought us out. I always hope that our past work leads to the next project. And that in this manner the projects continue to get more challenging, or present us with the opportunity to make it so


A-I-R [Architecture-Infrastructure-Research]


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“Comfort Zone”; Phoenix Sky Harbor International Airport; Photos courtesy of Darren Petrucci

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“Garden Rooms”; Scottsdale, AZ; Photos courtesy of Darren Petrucci

How did you initiate A-I-R? What motivated you and gave you the confidence to go out on your own?
Darren Petrucci: Architecture-Infrastructure-Research Inc. was created while I was pursuing my tenure as a professor in the School of Architecture and Landscape Architecture at Arizona State University. The name represents the three focus areas of my work, and the hyphens are important because they both connect and separate these areas. The acronym also supports my desire to develop projects that are as simple and necessary as air. A-I-R attempts to synthesis my academic pursuits with my professional ambitions. The creation of the firm was much more emergent in its inception.

How has the ongoing economic crisis impacted your practice?
DP: Actually, I have more work now than ever. 50% of my work is infrastructural with public agencies and our specialization includes sustainable practices and materials, etc. so we have been busy. The private architectural commissions include a large residence in Paradise Valley, AZ and a few remodels. Currently our research endeavors are focused on a new solar canopy for parking lots for a start-up company.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
DP: In the next 5 years I hope to expand the office while keeping our focus on what we have been pursuing. We are also working on a collaborative consulting model to help other businesses develop and refine methods for innovation.


at103


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Ave Fenix Fire Station; Photos courtesy of at103

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Ave Fenix Fire Station; Photos courtesy of at103

How did you initiate at103? What motivated you and gave you the confidence to go out on your own?
Julio Amezcua: at103 stands A for “azotea” which means Roof, T for “Tiber” the name of our street, and 103, the number!!!!!
We knew each other for years before working at TEN ARQUITECTOS, and after we both migrated to NY - we started doing interior renovations and open competitions, the confidence to go on was based on the idea that we knew clearly what we DO NOT want, so it was easier!!!

How has the ongoing economic crisis impacted your practice?
JA: Architects especially in Mexico we are always in crisis, or at least it's what the conditions of a 3rd world country seems to look like, but crises always challenge creativity. Crisis is a postmodern force - we use it to create Low Tech–High Resolution Effects = means that here we can not find materials like other countries so you have to make it your way in order to generate the atmosphere wanted; sometimes we even design our own tools (ozuluma proyect). In terms of staff we did not feel it – since we started as I told you before – we try to keep small, always between 7 to 9...

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
JA: Its hard to tell but we are always looking for public spaces, we are currently working in a Youth Center (before News Divine – YOU Tube it)– which genesis is similar at the Fire Station, (where people died) so people start joking that we are the architect of the post disasters, we like to design buildings but also concepts which allow new programs, events.

After Ordos 100 clients (3) are asking us to design houses, we'll see!!!!!


coen + partners

Read about Coen + Partner's Westminster Presbyterian Church: Urban Columbarium in Archinect's ShowCase feature


Jackson Meadow Community: Wellhouse Marine on St. Croix, MN. Photo: Peter Kerze

Minneapolis Central Library: Custom bench and lighting Minneapolis, MN. Photo: Jeffrey L. Bruce

How did you initiate coen + partners? What motivated you and gave you the confidence to go out on your own?
Shane Coen: In early 1992, I founded the studio with my then partner, Jon Stumpf. We began planning our future practice within a year of my graduation from the University of Massachusetts, Amherst; so I have always been self-employed. I never lacked the confidence to open my practice, but I did lack experience and money. I was incredibly fortunate to partner with a registered landscape architect who also had 7 years of significant experience. In addition, the late industrial designer Bill Stumpf offered us a space within his design firm free of charge for the first years we were in business. Without these key people, I could have never have started this company. After 7 years, Jon left the firm and I took over as the sole owner, president and CEO of coen + partners.

How has the ongoing economic crisis impacted your practice?
SC: The current economic crisis has affected coen + partners dramatically. Prior to the end of 2008 we had over two years of new work under contract . We lost almost all of it (through cancelled projects or holds) within a few months. We have continued to market very heavily and to build relationships with emerging and established architectural talent, and with those whom we believe are great collaborators. These relationships as well as our past and current experience working in the Middle East have continued to pull us along during these times, but it has not been without great challenge and sacrifice.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
SC: Our outlook is extremely positive. We plan to continue orchestrating large scale projects where we work with a client to assemble teams of progressive architects, and to work as project collaborators on cultural, institutional, and urban projects. We believe our approach to landscape architecture, which is grounded in respect for architecture and respect for project context, is well suited for the increasingly complex projects now becoming the industry norm. At the same time our experience assembling and managing large teams of architects and designers has positioned us well to be a leader, during our recovery period and post-recession, if we can help our municipal, state, and federal leaders to realize the importance of great architecture and landscape architecture as a key component of the economic recovery.


LevenBetts Architects


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Mixed Greens Gallery 2005; photographer: Michael Moran

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CC01 House 2006; photographer: Michael Moran

How did you initiate LevenBetts Architects? What motivated you and gave you the confidence to go out on your own?
Stella Betts: We started Leven Betts in 1997 with small interior projects and furniture design.
We wanted to build our own designs and ideas so we just started working on small projects and building furniture in our loft.

How has the ongoing economic crisis impacted your practice?
SB: Not too badly (yet), but we have definitely seen a slow down in new work coming in.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
SB: We want to work on larger institutional buildings, public projects and infrastructure. We are interested in cities.
We’ll try and get there any way that we can – through competitions, research, etc.


Dellekamp Arquitectos

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Apartment Building; Mexico D.F.; Working with structural geometry, a 15 m. span is supported with no columns that would interfere with the view.
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Apartment Building; Mexico D.F.; The exterior façade of Alfonso Reyes 58 is composed of aluminum in various tones and textures.
How did you initiate Dellekamp Arquitectos? What motivated you and gave you the confidence to go out on your own?
Derek Dellekamp: Coming out of college it was clear that there where tangible opportunities to find work on my own. In the year 2000, when I founded the office, Mexico City, like other places, had an immense construction activity where a young practice could sell ideas.

How has the ongoing economic crisis impacted your practice?
DD: Fortunately this has been are best year so far in terms of the amount of work, these projects that where generated last year have followed up. On the other hand, we are developing a big scale social housing compact which has revealed to us great possibilities to shift our energy in that direction. We believe social, sustainable development today represents a true challenge to be reinvented, bottom up.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
DD: I think the next 5 to 10 years in terms of reality changes will be far beyond our imagination. The mould for “business as usual” collapsed first in Wall Street and will follow in other fields, the facts on Global Warming are clear and unquestionable, just to mention two factors. Therefore I hope to react in an active and flexible way to this global challenge by turning my architecture interest to a role for social benefit where design is used like a tool for systemic social dynamics and development, our velocity to adapt to change will never be more vital than in the near future, therefore I believe we must be keen to shift our methods, focus and knowledge.


Gray Organschi Architecture


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Storage Barn; Washington, Connecticut; 2008.; Photo by Bo Crockett

Design and structural development of a site contractor’s workshop and storage facility. An external storage system, sized for the articulated loader that the building houses, provides shelves for palletized construction materials and preserves flexible access to the materials for future use. The building’s insulated polycarbonate envelope lines the steel frame behind the material pallets, admitting daylight wherever material is not stored. The building is heated and cooled geo-thermally; it’s ground source heat pumps are powered electrically by photovoltaic panels.

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Prefabricated Footbridge at Green Hill Brook; Madison, Connecticut; 2000; Photo by Paul McGuirk

Offsite fabrication and installation of a footbridge that spanned the steep banks of a forest watercourse and its riparian wetland, a site under Department of Environmental Protection jurisdiction and with limited construction access. Building and foundation installation was not permitted within the 100 year flood plain. We elevated the bridge deck above that high water level and footed it on existing ledge outcroppings. The deck structure, a nested series of curved laminated beams, was delivered and installed in a single day.

How did you initiate Gray Organschi Architecture? What motivated you and gave you the confidence to go out on your own?
Lisa Gray and Alan Organschi: It would be more accurate to say that it evolved. In 1994, we returned from a nearly two year stay in Berlin-- Alan had a German Chancellor’s Fellowship to do housing research in East Berlin -- with the intention of using New Haven as a way station while we figured out where to move next. We had kept the lease on an industrial space in New Haven, where we had set up a woodworking shop in the economically lean years right after graduating from Yale. There was a message on the answering machine that our sub lettor had saved for us, from a friend of Lisa’s family who wanted to build a house and asked for suggestions of good architects. We gave them our name and then convinced them to give us the job in spite of the fact that we had no work to show them. We had a shared ambition to have an independent practice that would allow us to try lots of kinds of projects and we realized that New Haven offered the opportunity of a great community, with many interesting and smart people, in centrally-located, affordable, undervalued city.

How has the ongoing economic crisis impacted your practice?
LG & AO: Since we started our firm, we have been enthusiastic about taking many different kinds of projects. Because Alan was a woodworker before he became an architect, we have always had a shop, in which we built elaborate models, but also prototypes for various project elements, furniture, whatever was relevant to the project at hand. This familiarity with building allowed us to expand into construction management on certain projects, where we either wanted a greater level of quality control or were trying to deliver the project more quickly, or sometimes less expensively, than using an outside builder. Lisa also developed an interior design practice because we liked being able to finish our buildings with furnishings. Because of this flexibility, we have been able to continue working through the economic downturn thanks to a wide variety of project types – some revenue comes from standard architectural service, but another segment comes from construction management, furniture design, interior design – and that diversification seems to be helping in the current climate. We are also pretty diversified in terms of the kinds of buildings we do - we have a mix of small institutional projects, some municipal work, planning projects, residential at a variety of scales and budgets and even some light civil engineering projects such as bridges.

What is your outlook for the next 5-10 years? What kind of work do you hope to be doing, and how do you plan to get there?
LG & AO: We love the diversity of our project types, and the range of clients we get to work with because of them, so we'd like to continue doing a wide variety of types of work. It has been very gratifying to start to build institutional projects and we hope to have more work of that scale. We appreciate mixing the intensity and intimacy of residential work with the broader issues and larger groups we take on with institutional work. We're committed to continuing our daycare work, because we think kids are really an underserved group in terms of good architecture, and buildings have such a huge impact on children. We don’t plan to enlarge the firm because we think our current size – 10 people, including an interior designer and a full-time shop technician – allows us to take on large and small projects while still maintaining an intimate, collaborative working environment. Our plan is to continue delivering quality projects, look for appropriate competitions and RFP’s, maintain an excellent workforce, seek peer recognition such as the Emerging Voices honor because it’s very meaningful, and hope to keep learning, growing professionally and working on interesting projects.

Archinect would like to thank The Architectural League of New York for their support and assistance.

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