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Jeanne Gang

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2026-04-30
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2026-04-30
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  1. Like building with earth or rammed earth or building with cordwood masonry or these kind of things, I'm really fascinated by. And so I'm always trying to, whenever I go somewhere look at what was built there originally just with what was around. What can you build with what's nearby and what's available? Of course, you can't build tall buildings with those means. I always learn just from, I really am interested in those, I guess it's low tech. But of course, those low tech things can be upgraded too. And we can reuse what's smart about them.

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  2. I mean, I see things every day that I think are interesting. I guess. I'm most interested right now in reinventing vernacular ways of building somehow. So looking to Old ways of building and trying to update them into the 21st century because a lot of times some older ways of building that were vernacular, in other words, people did it on their own without architects, there's knowledge in those things.

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  3. No. I mean, in that he was a developer, he also built large buildings that do impact our cities. So, in that sense, yes, but I think in terms of influencing trends now.

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  4. One of my offices is in Paris. So I really like the arch that is there. And I like Paris has a very strong urban plan that gives you axes to landmarks. But the landmarks are not just about individuals. There are things of different eras. But no, I mean I still haven't quite gotten my head around what this arch is. It's just big. I don't think there's any reason for it. There's no victory And most of the time, arches were made for victories.

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  5. I don't think so. I mean, I don't think it would be from the environment standpoint, it wouldn't be worth tearing it back down or, you know, so I think it's going to be there. So maybe it has to be balanced by something else. Maybe we just have to.

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  6. Oh, oh, oh, I would never be picked for that project. I think it probably needs to be, you know, something that. Again, like grafting can.

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  7. Preserved from day one. So a kind of appreciate that, and I think it could use a ballroom. So I'm not totally against it. I think the process is important to get the best result.

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  8. Well, I think there is a fine arts commission that would be asking these questions. Yes. But I'm not that up on what it would be. But some of the things I know about are just sight lines and scale with respect to the grounds and I think it's admirable in a certain way that there's initiative taken to build onto the White House because it's not like it's some perfect thing that was.

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  9. And that's why we have a lot of input. It's not only architecture input, you know, there's urban planning, there's public input that goes into the process of making public buildings. And I think that's, we talked about New York and how it can slow things down. Yes, it does slow it down a bit because you need to be able to take all these, and that's how you get better buildings. You get better buildings when you have. You get the shades that you wouldn't think of as one person, you can't think of all the negative things that could happen. Or even all positive things. So that's why it's important to have

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  10. Well, I mean, in some sense, in one sense, adding on to the White House is kind of a distraction because it's not like the most important thing going on right now. But we do have a democracy and we have public buildings that are supposed to last a long time. And that's why there are, we have created, we, the people, have created. Ways to get input, public input, and Urban planning input and to preserve the beauty of and the symbolic nature of Washington DC, there's certain sight lines that were created initially. So I think to respect that is respect the country and to respect the city and to keep it beautiful. Yes, that's why we have the rules.

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  11. Has to. Because we're not going to just keep investing in buildings that then are outdated. And we need to get, plus, if we want to regenerate our economy, we need to be producing things. Yes, like solar panels and other inventions that Americans can come up with in this space, also within the material space for what we use to build architecture. We would love to use more timber products. And I have a dream that the Midwest, which has a lot of industrial pollution from previous era, could regenerate and create timber lands that help to also clean the phytoremediate the lands, but also start to become a new industry for timber for construction. For building in a place where we need to make buildings, so near cities. We have two big forest areas in the US, southeast and the northwest.

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  12. Yeah, and it's very exciting because it's like a glimpse into the future of what campus architecture can be. And so these things are still happening. And it's just the ones that are hurt the most are the ones that aren't getting the help to get to those resilient technologies and sustainable technologies because they don't have the funding.

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  13. Well, I feel very grateful and privileged to be able to now work with people who are like-minded and also like pushing the boundaries of this. So, for example, with Harvard University, we designed the first mass timber building on the campus. It's called the Treehouse, and it's a gathering place. It's a David Rubenstein Treehouse.

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  14. Any incentives that were federal are gone. And so that is impacting because not everyone can afford it to start out. Yeah, it's devastating in that sense.

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  15. Disaster, but you're right that these rollbacks are not helping at all, and we need to states are taking action on their own, of course. Individuals are taking action, but it really should be something that we should be out in front of. And we should be leading. Like renewables energy

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  16. These are serious rollbacks. But I think what I've found is that most people, I think it's obvious that there's climate change going on and including People from all my clients, but all reaches of the American public, I would say. And they need some assistance to help envision. It comes from them, but they need the skill I'm talking about for the architects is being able to assemble people, gather, draw, you know, charette is what we call it, which is like getting together in a room and getting people to participate and to help them create a vision. And what does it look like? And that's what I think we will need to do more.

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  17. And we're working with other architects and people who are donating time to help them make a plan and envision what they want in the future. And that will help them to go after some grants and help to get things back on track. So I think it's a skill that future architects are really going to need to lean into.

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  18. Yeah. We worked with this group called We Grow Food and we designed for them. They had had a An indigenous market that they grew their own food and had their own market going. These are people that were living on the island. And the west end of St. Thomas. So we actually met with them and found out what they needed to continue to make their operation flourish and be more resilient in the future. So that was the project. But what I realized, I think, is that, and now we are getting into this because everyone is experiencing storms, fires, different disasters because of climate change. So architects might need to shift a bit and start working more with communities to help them rebuild in a more resilient way, to help them plan. We're working now with a community in North Carolina that was affected by Hel

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  19. This is so important. That was one of the first studios I taught on that subject. And I took students down and we went and did some recovery work, which was less about building and more about just cleaning up. But it was the students told me later this was one of the most important things they'd ever done. They'd never been asked to do that before and they saw the devastation of the power of these storms and what it can do to ruin people's homes and their lives. And so that was really to awake in the students about the What these storms can do, but then the project was to propose something for the islands that would help them be more self-sustaining. I don't know if you know, but some of these islands that they don't even have their own food source, everything has to be shipped in.

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  20. It really needs to have the flow and further movement and the functionality to work robustly connected on the interior. And then architecturally style-wise, like what is the thing that you haven't common? Like some people will look at the American Museum of Natural History and say, oh, it looks so different than Rut's next to it. Remember, this is a campus of 25 buildings. Many of these buildings are very curvaceous with turrets and all kinds of things. So kind of like riffing on that, but also being true to the construction type that we're doing. And we used a similar granite on the outside as on the opposite side as a building on the central park west side. So there's like a tie there. So it's about, you know, this asynchronous collaboration with the previous architects and the previous architecture to make sure that there's something that

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  21. I think all of them have worked that I've seen of ours so. Because we're really being very careful attention to it, so making sure that the flow, that there's a redundancy in the connections. Not just one little straw, connecting the.

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  22. No, there has to be some commonality, some way that it can be combined. So I was trying to in the book, trying to come up with some basic rules, let's say to be debated, but I was just tired of talking about Reuse and adaptive reuse, and all these words that are just lost or meaning or they're not inspiring and trying to open it up more for architects so that we could develop more precise language around what it is, what you do when you add two things together.

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  23. It new life, let it because if you only preserve something, it might not live, it might not have enough functionality in our day, in our current contemporary life to make it work. So it's really about bringing this new quality to it. But you can't just graft anything to anything like in nature also. You can't just, you know.

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  24. Graft in plants is like when you take a root stock Lot of times in agriculture and then add a new plant scion of a new plant that you want the qualities of like tastier fruit or more beautiful flowers or whatever. So this is like an ancient craft in horticulture and agriculture that goes way, way back. And the reason I was attracted to that is that it could be a metaphor, but it's like a place where humans and nature are humans are nature, but work together to get something. I don't think there's really any just untouched raw nature anymore. I mean, we are part of it and we've always been here for a long time. So I love this craft of crafting. So with architecture, maybe the same thing. We could take the rootstock and existing building and give it new life. And that's the most important thing, life.

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  25. Now we can make a column like that out of smaller, thinner strips laminated together, you know, so they're engineered products that do the same and they take the advantage of the qualities of wood. And so we're using a lot of, like in San Francisco, we design the California College of the Arts in timber and UC Santa Cruz, Kreske College dorms, residential hall, and academic buildings. Really great. Lots of different forms, beautiful buildings made with timber. It's great. So, bio based materials reuse of buildings and reinvention of buildings because the most carbon you can save is if you

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  26. The embodied carbon of the buildings. So, how do you get the materials? What are they made of? How much energy do you take to get it to the site? So there's just a lot of challenges and we need to address all of them. I mean, one of the easiest first things that everybody has to do is get into an electrical, get off fossil fuels 100% off so that you can start to supplement the renewable energies in there. But for the carbon A lot of things that we're looking at are the bio-based materials, so wood and things that are naturally produced. And there's a lot of new products that are made with wood. If you look around Chicago, we have all these old loft buildings, same in San Francisco. There may be some still left where the columns are like the whole tree, basically.

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  27. We think about it a lot, and it's the most important challenge that we have as an industry, I would say, more than any other. But, okay, so we have to think about our carbon emissions earlier. It was all about how is the operational energy of a building, like how much heating, air conditioning. But now we need to cut it faster. So that means we have to cut it out of our materials

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  28. Constraints Can narrow down what that means. But I don't feel like that is hurting the quality. I feel like it's creating a city, New York, that has a special character because of those constraints and because of the process. New York is one of the few cities where there's a community board and every single neighborhood there's a review. So it's very democratic in that sense. People get to voice their concerns. Maybe that can slow you down, but it's a great process. I really enjoy that. I enjoy that New Yorkers are engaged with what's going on in their community. So, to Justin's point, I think if there's a code to be cracked, it's like working within the constraints and trying to find what that potential it brings out, I guess, that the code to be cracked.

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  29. Wow, he's great. Great journalist that I really respect. The question of Best work. I think it's. I always feel like I'm doing my best work and we're doing our best work.

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  30. Where you can maybe use more of your voice. I still tried to find out more about the place that I'm working in. If I'm doing a competition, but you still, you would be putting forward more of your artistic vision than you would if you were doing a community project where you're engaging with the community itself, which you.

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  31. Oh, yes, but I think there could be a model as an architect as God, but there's also the owner, it could be the god figure. So, yeah, it exists. And of course. Occasions where you need something monumental and you need something that has symbolic meaning. I mean, that definitely exists in our society. And if you do a competition, sometimes we win work through our competition. That is also another way where it's not so much the influence of the people around you because People running the competition just want to put this design against this design against this design. And so that's

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  32. Because without the benefit of going out and interviewing people, they were able to find a lot of information about at least what people put online, about what they are missing, what they want, what they wish they could have, how they live their life every day if they're an artist. So that was how I was working with the students to try to understand people that were designing for.

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  33. Because we learn, we have to learn our trade, our skills. And so when you're in school, it's really like you're doing it from, you don't have a real client, you don't have a real community. So what I've tried with the students this semester was we use technology, we tried to find profiles of people who might be candidates for living in an affordable housing, which they're designing for New York City for Queens. And the students found profiles of people who were very much oversharing online, but we're talking about their apartments. We're focusing on artistic people. How do they live now? What do they say they want?

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  34. Well, I don't think that asking people what they want precludes your design talents. It just engages with people and they're not telling you to draw the line here or there. They're just saying what they want. So it's a great question, though.

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  35. Start to talk to each other, like, you know, and they're just doing something and they're looking at the river and they are inspired to communicate that experience with each other. And that is, there's something in that, there's a key to what we need, I think as community to connect that architecture is able to bring out and experience is able to bring out needs something a little distracting not so that you don't just look at your phone, you know. Right. Right, right, which is what people do.

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  36. It's amazing how well it works. It's just because I think because they feel it's theirs and it is, and it's just the beautiful design that brings people closer to the water. We did this one really interesting thing. We have this big canopy there and it's called the sunset canopy and the structure is it looks like cranes that they used to use along the river. So it's kind of inspired by the working waterfront. So the shade is created. It's very flexible underneath. You can play basketball, you have dance, you can yoga, all those things. And then there's these swings that are hanging from the structure and they're very wide and long. So they're big enough for people to sit on that do not know each other. The same swing, and it's amazing to see them.

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  37. Imagining what they would see. And what was really interesting is what we heard over and over was people wanted just everyday things in this park, like bathrooms and concession stands, something to keep out of the rain's shade was a big thing. And so what we tried to do there is just elevate those things being on this very prominent riverfront, but using very like the programs people gave us. injecting them into this landscape and park.

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  38. Yeah, I think my favorite example of work that we've done recently is in Memphis where we did a riverfront plan for them as being on the Mississippi, the Memphians, they were using it more like a loading zone, not a gathering space and focused more on the streetscape. But they want to kind of reorient to the river. And we did a park called Tomley Park. How do you start? Right, it's like we want to talk to a lot of different groups. What do you want to see in Tomley Park? We had this youth design leadership group that was high school students that worked with us for a while.

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  39. No, I know it's there's nothing like getting together in a physical space with others. And so the architecture can set up like a way for people to connect with each other. In a comfortable way so that it's not awkward. And it's like about setting up a spaces that encouraged behaviors that are community oriented There's two ways of thinking about community. One is like how you design it so that it encourages that. So like the physical space. But before that, it's like asking the community what they want. I think that's really important. And so engaging with people. That's not something you can do through technology, really. I mean, you need to talk to people, hear what they care about, and especially for public space so that it can inform the response and also to make it so that people are part of that process in a democracy.

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  40. No, it's like trying to find the poetry in the everyday things that you have to make. And so we've never had really big budgets on our projects ever. I mean, I started out with community centers and not-for-profits all over Chicago building community centers. And there's never much excess budget. So then you have to try to find out how can you make something special, customize it for them and make a discovery. I love discovering things like it could be a discovery in form or it could be a discovery in what a material is capable of. And that's how I get adrenaline rush.

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  41. Yeah, yeah, exactly. It's part of a community of buildings that make a city. You can have a dialogue between buildings of different eras, like an asynchronous collaboration, if you will.

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  42. Should be quieter and flexible, and so those are all things that we have to take into account, all of us architects and budgets. There's many, many factors. That's one reason I love architecture. It's like it's not just my art. It's what I do with each client that makes, produces something totally different and new.

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  43. Well, I think modernism was a very strong influence on a lot of us. And And not that many people can do beautiful curves, to be honest. I mean, some people make curves and they just look ugly. So they know it and they just stay away from it. And I'm not saying I do all curves, but, you know, I know how to make it look good. And so there's maybe an avoidance of it because there's difficulty. There can be expense if you're not using the right materials. very difficult to curve, let's say wood or not just wood, but any material. Concrete is pretty easy because it's fluid. Anyway, that could be one reason. And then I think that it's not just the architects. It could be that the owners of the people commissioning the buildings want something more ordinary or that looks like whatever is next to it. Not every building should be extraordinary, maybe.

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  44. Functional reasons, technical reasons. At the time with Aquitower, it was like. You can't make every floor different. Are you crazy Because, how are we going to build that? And luckily, working together with engineers and the developer of that building, Jim Lomberg, who happened to be an architect also, but he was a developer, he was like, I think we can do this. We talked about flexible form work. We could use GPS to lay out the points. And all the technology was there. It just hadn't been used that way before.

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  45. You just can't be outside outdoors and see other people. And that's one of the things that led to the design. Yeah. So like with my work and our work, I would say we always try to find like

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  46. Bigger firms, and really at that time it was really the corporate firms that were doing the high rises. So I got a lucky break. I ran with it. I hadn't pictured it before, but when I started, I like to start with like this beginner's mind with everything. And I did with that. I was like, what are people, why are people designing high rises the way they are, which were really, and you still see this, like compositions of different patterns of grids and different curtain walls and colors and textures. And I was really thinking about like, how does it feel to live there? And it can be isolating. I mean, getting an elevator and you are, it feels awkward. You don't have an outlet for connecting to your neighbors very well. So that was driving it. That was one problem I saw or opportunity. And then just the fact that you

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  47. I did not want to. I just didn't think anyone would ever ask me to, to be honest, because when I started my firm, I had worked in.

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  48. Well, like I said, I really look a lot at nature and the processes of nature. And sometimes you find patterns that exist in one thing or a totally different thing. In this case, I was kind of inspired by those rocks along Lake Michigan that are eroded by the wind or water. But then that also looks like a pattern. Someone sent me a photo of a pattern of sand on a beach that looked exactly like it. Jasper Wind has hit. Yeah. So, yeah, you find these synergies between these different patterns that you find in nature. And they're always for a reason and they exist at different scales.

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  49. And this is, you still want privacy. If you live in a tall building, but you also want community. And that's what. We were trying to bring to that project.

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  50. Chicago, which is windy and also pretty cold most of the time, but the idea was just like at the time, how can we do a tall building that allows people to be out and be part of the city and part of their building at the same time kind of in a community see each other and just step up. Which when we did that, it really wasn't that there weren't that many buildings. No, they're straight up and down.

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