• Jack Pyburn of Lord Aeck Sargent, Diagram of Historic Preservation, 2014

    "All preservation is in the present seeking to link the past into the future. It is research-based design based on intervention, and conceptualized as one of four types of architectural treatments:

    1. Preservation (n): The act or process of applying measures necessary to sustain the existing form, integrity, and materials of an historic property. Work, including preliminary measures to protect and stabilize the property, generally focuses upon the ongoing maintenance and repair of historic materials and features rather than extensive replacement and new construction. New exterior additions are not within the scope of this treatment; however, the limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code-required work to make properties functional is appropriate within a preservation project.
    2. Restoration (n): Focuses on the retention of materials from the most significant time in a property’s history, while permitting the removal of materials from other periods. Historic use will be continued; any new use should reflect the property’s restoration period. Archaeological resources should be protected and preserved in place, not disturbed or removed. Work should be physically and visually compatible with existing material, identifiable upon close inspection, and properly documented for future research.
    3. Reconstruction (n): Reconstruction is defined as the act or process of depicting, by means of new construction, the form, features, and detailing of a non-surviving site, landscape, building, structure, or object for the purpose of replicating its appearance at a specific period of time and in its historic location.
    4. Rehabilitation (n): Defined as the act or process of making possible a compatible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values.”

    Historic Preservation does not have a treatment described as “adaptive (re)use”, because the users adapt the space as soon as the project is opened. Additionally, Historic Preservation dismisses the term “renovation” as it indicates thoughtless treatments of existing structures. 

  • we like to build
    and we believe in reality.
    but we also believe in possibilities.

    we imagine alternatives
    and we rethink the givens.
    we search for meaning.

    we think of architecture
    as a place of habitation
    as a social construct
    as a space for the life of human beings.

    we see beauty in rawness and refinement,
    in dematerialization or even monumentality.
    we are interested in how architecture creates memories
    and how it creates stories.

    we are interested in narratives,
    in the stories that could be imagined
    and that could unfold
    within the spaces we create.

    design is simply a tool
    it is the tool we use in our work,
    but it is not our work’s meaning or content.

    architecture should connect
    the people that inhabit it,
    the people that imagine it,
    cultures and natures,
    technologies and materials,
    psychologies and experiences.

    we are inspired by complexity.
    by its beauty and freedom,
    by its subversive nature,
    by its inability to be completely defined.

    but we are also committed to clarity,
    to a strong rationale and logic,
    and to a thorough understanding
    of whatever is at stake.

    we are professionals,
    but we question our own assumptions.
    we don’t simply tell you what you want to hear,
    but we try to identify what you should know.

    we do not only observe or analyze,
    but we engage and become involved.
    and we change our own position
    while we change our environment.

    architecture is about responsibility
    and it requires the fullest commitment
    to its realities and its fantasies,
    to its demanding and intricate process.

    we are partly european
    and partly asian.
    our minds and experiences
    are a hybrid of different cultures
    and contexts.

    we are interested in what we can learn
    and how our own position
    creates links between the multiple realities
    the world is embedded in.

    we engage in an exploration of strategies
    rather than the implementation
    of predefined methods and matrixes.
    knowledge is as important
    as the ability to think things anew
    and differently.

    we believe in our intuition
    and we believe in its utmost importance
    for everything we do.

    —  Buro Ole Schereen, Positions and Intentions, c. 2013

  • As a standard for what is worthy of preservation, we use the benchmark of National Register of Historic Places eligibility. This means that what we seek to preserve is valued not only as a worthy part of Atlanta’s but also of the Nation’s history and culture. The National Register seeks the preservation of historic entities which are 50 years old or older and which retain the integrity of their historic character defining features. Thus, qualifying sites may now be eligible if they were built before 1964.

    —  E.H. Boyd Coons, “On the Phoenix Flies,” Atlanta, GA, 2014 (via apc)

  • We have a City filled with historic treasures which represent more than 150 years of Atlanta’s culture and achievement. We believe this is what gives Atlanta a unique sense of place and a richer daily experience, and it is for this purpose that our mission of preserving and protecting Atlanta’s historic and culturally significant buildings, neighborhoods and landscapes is pursued.

    —  E.H. Boyd Coons, “On the Phoenix Flies,” Atlanta, GA, 2014 (via apc)

  • Sherman did not destroy everything.

    —  E.H. Boyd Coons, “On the Phoenix Flies,” Atlanta, GA, 2014 (via apc)

  • At the heart of innovation was a desire not to mimic what had come before, but to synthesize the known and the unknown.

    —  Blake Butler, “How Is Literary Success Defined?" 2014

  • What is considered publishable often depends on what had already been successful in the past. Never mind that the literary canon is for the most part built on people who did something that had never come before … where it falls in “the conversation” [outweighs] how it breaks new ground.

    —  Blake Butler, “How Is Literary Success Defined?" 2014

  • Everyone begins an outsider.

    —  Blake Butler, “How Is Literary Success Defined?" 2014

  • I look for rules, principles, methods or processes that generate change by visual means and lead to a consistent process that is governed by intuition.

    —  Kurt Kranz, “On Art,” c. 1930 (via socks)

  • Simon Ungers, Errat Ecclesia, 2004

  • Simon Ungers, Museum for Russian Revolutionary Art, 2004

  • Simon Ungers, Silent Architecture: Cathedral, Library, Museum, Theatre, 2003-4

  • Simon Ungers and Matthias Altwicker, Cube House, Ithaca, NY, 2000

  • Simon Ungers, Waterfront Proposal, New York City, NY, 1988

  • Simon Ungers, Memorial to the Murdered Jews of Europe Proposal, Berlin, Germany, 1995