Having a good portfolio and resume. I worked at Antoine Predocks and still peak in and help them with little things here and there. It was really fun working on large scale and highly visible projects; I was part of three competition winning teams. After a bit over a year I chose to work at the Architecture school as I thought I would have a greater effect teaching software and graphic design workshops.
never felt inspired to work for a starchitect, though i admire them sure enough.
However i have friends who worked for koolhaas and for most of the japanese starchitects. In the case of koolhaas my friend was brilliant (i think it is safe to assume that brilliance is a taken-for-granted pre-requisite) but got the job because of nothing more than good timing; they needed someone when my friend walked in the door.
Here in tokyo most of my classmates have worked for someone famous: Ando, Isozaki, Maki, Sejima, Ito, etc. Without exception they got in because they went to the right school and were introduced. Connections are an enormously important resource, even in the US. If you wanna work for Richard Meier an introduction from Kenneth frampton can take you pretty far...
most of my friends felt it was worth it, though some suffered physically from the long hours and poor diet.
What does it take to work for "starchitects"?
Have you ever dreamed to work for "starchitects" like Koolhaas, Libeskind, Gehry, Mayne, et. al.?
For you who have worked for any of them, what was the secret?
And after all the efforts, was it worth it?
Having a good portfolio and resume. I worked at Antoine Predocks and still peak in and help them with little things here and there. It was really fun working on large scale and highly visible projects; I was part of three competition winning teams. After a bit over a year I chose to work at the Architecture school as I thought I would have a greater effect teaching software and graphic design workshops.
never felt inspired to work for a starchitect, though i admire them sure enough.
However i have friends who worked for koolhaas and for most of the japanese starchitects. In the case of koolhaas my friend was brilliant (i think it is safe to assume that brilliance is a taken-for-granted pre-requisite) but got the job because of nothing more than good timing; they needed someone when my friend walked in the door.
Here in tokyo most of my classmates have worked for someone famous: Ando, Isozaki, Maki, Sejima, Ito, etc. Without exception they got in because they went to the right school and were introduced. Connections are an enormously important resource, even in the US. If you wanna work for Richard Meier an introduction from Kenneth frampton can take you pretty far...
most of my friends felt it was worth it, though some suffered physically from the long hours and poor diet.
a-lubricant
b-sometimes
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