This week’s interview is with Asaf Gottesman.

Asaf didn’t start his career in architecture right away. He did a detour studying liberal arts, worked amongst other things as antiques dealer and property developer. But when he finally decided to study architecture, he founded his first architectural practice in 1992 right after graduation always concentrating on architecture led development.

With A. Gottesman Architecture he was both successful and working to capacity, but was still not earning a living. So he decided to design on to larger scale and go beyond designing villas. Together with Ami Szmelcman he founded GSARCH and moved to Paris.

Asaf is now looking back on a 25 year career and found himself again at a crossroad. He passed on to Ami Szmelcman the responsibility of leading GSARCH and created a new company under the name of Gottesman Architecture – fully dedicated to entrepreneurship.

Keep reading to learn about Asaf’s career steps and that it is never to late to change the path of own career.

Enjoy the interview!

You founded your first practice right after university. Looking back, was this a good decision?

I think so. Unlike most architects, it took me awhile to enter the profession. Prior to studying architecture I was a soldier, studied French Civilization at the Sorbonne, I earned an honors degree in History of Art and Comparative Literature from Columbia University, I spent a year in Florence writing a book (unpublished or un-publishable), I was an antiques dealer, a commodity trader and a property developer.

In preparation for my studies at the AA, I worked on a building site for almost a year; moving from one trade to the next, until I finally learnt to appreciate a good glass of whiskey. During my studies at the AA in London I undertook in parallel several property developments, which, apart from their financial benefits, was a great way to accumulate experience.

At graduation I was 33 years old, a father of two with a third on the way. I simply did not have the time to spend a few years in someone else’s office and I felt that my accumulated experiences would enable me to overcome whatever challenges lay ahead.

Could you tell us about your first project, the restoration of the famed Richard Kauffman Bauhaus building in Tel Aviv over 25 years ago, and how it determined your career? 

Hess 21 was a family project. My parents bought the building for themselves and entrusted me with the job of designing and managing the project. Many architects begin their careers working for a family member but I felt that in this case my parents’ generosity and trust was extraordinary.

When we bought this wonderful urban villa it was in a terrible state; it was divided into six apartments and offices, the garden had been converted in to a parking lot, there were discarded needles of junkies in the back and the building was falling apart. The climate in Tel-Aviv is extremely corrosive, especially close to the sea and in order to renovate this building it was necessary to strip it to the core.

The notion of building conservation was a new thing in Israel. Coming from England, where building conservation at the beginning of the 90’s had descended into dogma and the debate about architecture was generally reduced to a discourse about “styles,” it was a pleasure to enter into a dialogue with Richard Kauffman; to study the building and its original plans and to formulate a view that responded, not only to the integrity of the past, but also took into consideration present day culture. There is something debilitating about full-blown conservation. In the quest to preserving the remnants of a culture that arguably no longer exists, we often sacrifice the culturing of contemporary culture. For me conservation, or indeed architecture, is about sensitivity; about reading the forces at play and formulating an approach that enriches our reality. One must respect the past, consider the forces of nature, take account of all aspects of our surroundings (both urban or rural), but ultimately our role is to transform reality and enrich it.

Working on Hess was a remarkable experience because Richard Kauffman was an exceptional architect who bridged 19^thcentury culture and the early days of modernism. When he chose to diverge from tradition he understood the consequences and although he was a great architect at every scale, he had a sense of space that was extraordinary. He created quiet spaces; well proportioned, with just the right amount of light.

What made you decide to found Gottesman–Szmelcman Architecture? Was there a particular moment that sealed the decision for you?

Prior to the creation of Gottesman Szmelcman Architecture I opened my own practice in 1992 under the name A. Gottesman Architecture. After completing my parent’s home I wanted to concentrate on architecture led development. I partnered with some developers and in parallel built my own home in a village north of Tel-Aviv. It is a simple fair-faced concrete and glass building but when it was completed the reaction was surprising.

Suddenly, clients who wished to escape the prevailing style of Tuscan Villas, were approaching me and before I knew it I had a practice with 15 architects and up to 20 villas on the books. What was remarkable about my clients was their curiosity. Private homes are the stuff of dreams and I always felt that in their specificity they are a form of portraiture. Each home became a reflection of the client(s); its materiality, texture, scale and composition reflected for me a dialogue between what was necessary and what, nevertheless, needs to be expressed. In eight years I basically completed 10 villas, all of them substantially different and challenging.

In the process I had become a kind of brand. I was charging the highest architectural fees in the country but I was still not earning a living. In several cases I lost money and in the rest I basically broke even. It took me on average 6,000 hours to complete a project with all the unique detailing. There was no way I could recoup the costs. I realized that in order to advance I needed to design on a larger scale and go beyond designing villas. With three years of work on my books, we moved to Paris in order to expand my practice into Europe. It was then that I met Ami Szmelcman who came for an interview. Rather than offering him a position in the new Paris office I suggested we create the Paris office together and that is how Gottesman-Szmelcman Architecture was created.

Your practice goes beyond the conventional architectural package. Could you elaborate on this statement maybe with the example of the recently completed Arsuf Residences?

Architecture for me is an all-encompassing discipline. It is about responsibility and creating values; social, cultural and yes monetary. I am committed to addressing all aspects of the project. It is not only about design but also the consequences of the design. In order to take responsibility, one needs to understand the big picture including the political and financial aspects of the project. This extends to marketing strategy, financing, tendering, fund raising, and negotiating with banks or donors.

Architecture for me is an all-encompassing discipline. It is about responsibility and creating values; social, cultural and yes monetary.

Regarding Arsuf; I won the project in an invited competition in 1995 or 6. It is hard to summarize in a few lines a project that took 20 years to complete. The project required the altering of an urban plan for a hotel into a residential complex comprised of 10 unites; each approximately 360m². This was a challenging project in every respect; urban planning, working on a coastal cliff, managing the topography and the unstable terrain but the ultimate challenge and success of the project is due to the clients. Over a period of 20 years the clients never lost faith, remained civil and friendly both towards each other and towards me. In spite of each apartment being different, everyone got along and focused upon their own good fortune rather what their neighbors got.

At a critical moment I totally transformed the project but they all had the good sense to realize that the new scheme was substantially better. The long realization process was due to the challenges of gaining the building permit and once that was achieved it took slightly more than 2 years to complete construction. The clients never waivered and rarely compromised even when some suffered financial pressures.

Your company has now been in operation for more than 10 years. Looking back, what was the best decision you made for your practice?

There were several critical decisions that I feel need to be mentioned. The first was making Ami a partner. He is a wonderful architect and an extraordinary person.

Our move to Paris was also critical to our evolution as was the decision to not create a one-stop shop. Rather than undertaking the entire design process within our practice, we focused upon creating relationships with local practices. We became “concept architects” yet remained engaged throughout the realization process. Each region has its own set of challenges and cultural/technical characteristics. We found it invaluable to have the local perspective, to establish a dialogue with fellow architects who have the ability to reveal to us the underlying forces and challenges that need to be addressed.

My involvement as both an architect and developer has substantially expanded my understanding of the potential of architecture.

Finally what was a game changer for me was enlarging my activities so that they included real estate development. Since 2005 I have worked as both an architect that offers a service and as a property developer. My involvement as both an architect and developer has substantially expanded my understanding of the potential of architecture. It has enabling me to address ever increasing complexities and to benefit financially from my own creativity.

What are you working on right now?

I will be 60 years old this year and I am at a crossroads. It has become increasingly clear to me that what I wish to focus upon is architecture led development and not the service sector, As a result, I have passed on to Ami Szmelcman the responsibility of leading GSARCH and I have created a new company under the name of Gottesman Architecture which will be fully dedicated to entrepreneurship. We will continue to cooperate at the architectural level but while Ami will expand GSARCH’s service footprint, I will concentrate upon real estate development.

Do you have any advice for archipreneurs who are interested in starting their own business?

In 2013 I published an e-book under the title “The Architectural Condition.” It is an analysis of the architectural profession, its inherent flaws and potential. Although it was written in the midst of the global financial crisis, I believe that it is still relevant today. I recommend it both for practicing architects and those who feel that they are not maximizing their potential.

How do you see the future of the architectural profession? In which areas (outside of traditional practice) can you see major opportunities for up and coming developers and architects?

Architecture, as a traditional service industry, is in trouble in my opinion. It is badly structured, poorly remunerated and, in most cases, flawed in the scope and depth of the service. I think the profession needs to undergo some profound changes in order to remain viable to more than the top 1%. I believe that architectural studies are a real gift but they stop short at a critical point.

I think the profession needs to undergo some profound changes in order to remain viable to more than the top 1%.

In order for architects to be able to deliver a better product or service they need to specialize. The all-encompassing architect who can design anything and avoids specialization yet avoids overall responsibility is reducing the effectiveness of the profession. Once we embrace specialization we can encourage research (which is basically non-existent in architecture) and begin to expand into adjacent fields such as virtual reality, entrepreneurship, and even Art. Actually it is this need to splinter the profession in to specialized domains that is the principle conclusion of my book.

About Asaf Gottesman

Asaf Gottesman was born in Israel in 1958 but lived the majority of his youth in London. In 1977 he enlisted in the IDF where he served in the Paratroopers. After his military service Asaf moved to Paris to study at the Sorbonne before continuing to the USA where he earned an honors degree in History of Art and Comparative Literature from Columbia University. After working in commodity trading for a couple of years, Asaf enrolled at the Architectural Association and in 1992 received his Architectural Association Diploma & RIBA II.

That same year Asaf established his own architectural practice in Israel where it quickly became a leader in the domain of private homes. In 1999, the practice expanded its activities into the research of the virtual domain. The research lead to an important US patent that introduced innovative user interfaces and 3D information environments that were the precursors of such products as Apple’s Coverflow, Microsoft’s Vista 3D environments, as well as, various other 3D display & search environments.

In 2003 Asaf co-founded Gottesman Szmelcman Architecture with Ami Szmelcman. The partnership has won several international competitions and awards. It has projects in Israel, throughout Europe and has recently begun working in the USA. 90 Morton is the first NYC project designed by Gottesman Szmelcman Architecture.

Visit Gottesman Architecture for more info.

Asaf is the author of “The Architectural Condition;” an e-book that analyses the world of the architect and speculates upon how to address the many shortfalls of the profession.

As of 2005, Asaf Gottesman has worked as both an architect and a property developer, undertaking projects in Poland, France & the US and as of the end of 2017, is fully focused upon creating Architecture led developments.

Asaf is married to Miriam for over 30 years and they have three children; Adam, Danielle and Dafna.

The post How To Create Value Through Architecture Led Development With Asaf Gottesman appeared first on Archipreneur.

Innovative tech solutions– from 3D printing to project management tools and drone-based monitoring systems– are revolutionizing the way architects work. These tools allow them to optimize their workflows, increase ROI and communicate better with clients. Since the advent of the smartphone, app developers have been rolling out small, nimble tools that tackle all sorts of problems professionals encounter on a daily basis, both in the studio and on the construction site.

These 10 apps for architects have proven to be extremely useful across different aspects of the profession. They are intuitive, enhance collaboration and can integrate well with the most popular design software solutions used in the AEC industry.

Best Mobile Apps for Architects List:

#1 MagicPlan

MagicPlan makes augmented reality work to an architects’ advantage by allowing them to create accurate floor plans without the use of measuring tape, pencils, or paper. The app assembles a floor plan in a matter of minutes. All that is required is that the user stand and point a device toward the space that needs measuring. Users can also export these drawings as a PDF, JPG, or DXF and share them with collaborators. The app also includes tutorials on how to use it effectively and get fully adjusted to it.

#2 Autodesk Formit

Autodesk created Formit as part of the company’s Revit software package. The app allows architects to use real-world site information during the early design stage of a project. Formit is an intuitive, easy to use mass-modeling application helping designers make informed decisions while accessing site and climate data. It allows designers to sketch proposed design options that can be compared with program requirements and then shared with the project team for continued collaboration through Autodesk® 360. The Pro version allows users to build larger models and includes built-in Solar Analysis. FormIt started life as an iPad application, but is now available on Windows, Mac, iOS, Android and in the web browser.

#3 iRhino 3D

With iRhino 3D, architects can view models created in Rhino 3D on the go. It allows users to view native Rhino 3DM files on their iPad, iPhone, or iPod touch, pan, zoom, and rotate using typical commands. By using the navigator, they can scroll through thumbnails and quickly jump to different models, showcase them to clients and colleagues and save views as images for markup and emailing. You can load Rhino models from websites, Google Drive, Dropbox, email attachments, or from iTunes.

#4 BIMx

BIMx is GRAPHISOFT’s mobile BIM communication tool for viewing ARCHICAD models on smarphones and tablets. Architects can use this free app for Android and iOS to share designs, view them in 2D and 3D, or in virtual reality on the iPhone where the Google Cardboard is supported. BIMx Viewer allows users to download models from other sources or from the BIMx community site through iTunes to the iPad.

#5 Morpholio Trace

Morpholio Trace is perfect for architects who love to create quick sketches with the intelligence and accuracy of CAD. The app allows them to draw on top of imported images and templates, add comments and annotations, and quickly visualize ideas. It provides instant scaling, allows users to create custom entourage, landscapes and graphics, and send or print packages. It includes the ScalePen, a patent-pending technology that checks the drawing scale and zoom level continuously to automatically assign a calibrated set of technical pens. The result is simple but powerful – an array of perfect pen sizes that dynamically responds as you move around, through and into the drawing.

#6 IrisVR

With virtual and augmented reality tool gaining popularity, this new technology has also become a medium that is transforming the way the AEC industry communicates and creates designs. Tech startup IrisVR, which develops virtual reality software for professionals in the AEC industry, has already developed two useful pieces of software: Prospect, which instantly and automatically converts 3D models into fully navigable VR experiences for the HTC Vive and Oculus Rift headsets, and Scope, an app that allows you to view rendered 360° panoramas with a Google Cardboard, GearVR, or other mobile VR headset.

#7 Storyboard VR

Storyboard VR is a free prototyping and visualization tool that allows users to pull in, arrange, scale and animate simple 2D assets. Architects can upload transparent drawings and environment maps from existing sketching tools to Storyboard VR and use the app to get feedback early in the design process. It also features a VR version of PowerPoint which creates slides for effective presentation purposes.

#8 Pair

Pair (formerly Visidraft) is a tech startup that built an app which allows architects to drag-and-drop 3D models of consumer furnishings and appliances into their designs using iPhones or iPads. The firm built Pair using their proprietary computer vision and augmented reality technology that makes the app different from its AR competitors. Architects and consumers can physically walk around a virtual 3D product like it is in their home, office space or design.

#9 Drone Deploy

Drone Deploy is an app that allows architects to collect aerial construction site data and images using drones, upload imagery to create accurate, high-resolution maps and 3D models for detailed analysis, manage hundreds of users and connect teams with one-click collaboration and admin tools. Project monitoring thus becomes easy and consistent, with the app helping to improve site planning and quality control, managing assets, and reducing risk on the job site.

#10 ArchiSnapper

Archisnapper is an app for iOS and Android devices which allows users to create and access field reports and punch lists on the construction site, as well as to photograph, draw, sketch, annotate and add comments. It streamlines the creation and organization of construction site data that typically requires the use of several devices and cumbersome processes. With ArchiSnapper, architects can automatically generate and edit field reports and share them with their collaborators and clients.

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Let us know which of these apps for architects do you find most useful, or if you think we’ve missed other important ones you can’t do without.

The post 10 Best Apps for Architects That Make Life Easier appeared first on Archipreneur.

Roger Zogolovitch, Founder of Solidspace, is a practicing architect and independent developer with 40 years of experience in the field that he told us about in a recent interview. He has built an impressive portfolio of urban housing projects on gap sites in London – such as the Zog House, but also more experimental architectural design projects.

The Houseboat, an award-winning single house with a more organic form than other Solidspace rectilinear projects, is one of them. It is not a gap site project, but located on a beautiful site overlooking Poole Harbour on the south coast of England. It was designed in collaboration with Meredith Bowles of Mole Architects and the project was managed by Rebecca Granger Architects.

The house has been conceived as two upturned hulls propping themselves together facing the sea, and has been built with an in-situ concrete base and a Douglas Fir timber frame constructed shell. The plan is butterfly in shape. The building emerges with floor plates fanning out from this concrete structure. Accommodation is split between the two wings connected with steps and landings bridging the voids.

The arrangement of the split-level is designed using the Solidspace DNA which works on half levels and leads the eye from a first to second space and finally a third. The lower ground level accommodates the sleeping quarters which are acoustically separated from the rest of the open plan volume.

The upper ground floor provides a kitchen and dining room with terrace overlooking the sea, rising a few steps to the sitting room and concluding the eyrie at the top level.

The Eat/Live/Work sectional arrangement is maintained making a single volume under the protection of the upturned hulls, giving spatial clarity to form and the experience.

The Houseboat is the winner of a South West RIBA Award 2017 and has been shortlisted for World Architecture Festival Awards 2017 House/Future category.

As most of the houses build for Solidspace, this house was promoted and sold by Inhabit Homes, the company founded by Roger’s son Gus Zogolovitch that evolved from Solidspace.

photos: Rory Gardiner

Location:

Poole, Dorset, UK

Project Data:

• Architect: Meredith Bowles of Mole Architects
• Developer: Solidspace
• Planning/Construction:  – 2016
• Residential units: 1
• Storeys: 4
• Net saleable/rentable area: 255.5 sqm (2750 SF)

The post The Houseboat – an Experimental Architectural Design Project Developed by Solidspace appeared first on Archipreneur.

3D printing – also known as additive manufacturing – turns digital 3D models into solid objects by building them up in layers. The technology was first invented in the 1980s, and has since found its way into our everyday life – and in architecture and interior design. Architecture firm DUS has a vast expertise in architectural 3D printing, and is now applying its expertise to interiors and retail spaces.

“3D printing is an ideal technique to tailor-produce to a space or a brand,” says Inara Nevskaya, head designer at DUS. “We can link a furniture’s functionality with unique form features to create statement pieces, special focal points that frame new experiences for the consumer in the retail landscape.”

The interior design of the new Loft Flagship store in Ginza, Tokyo marks DUS’ entrance to designing 3D printed solutions for private, public and commercial interior spaces. 3D printing allows for unparalleled design explorations: “We had the liberty to design without conventional restraints. For this design, we found great inspiration in Japanese folding and drawing techniques, which resulted in cyclic printed patterns with delicate harmonious changes.”

Because of the digital design and production, the design process was quick and flexible. The one of a kind products where digitally shared and aligned with the client, and then 3D printed in their final form. A great advantage is the high level of sustainable production, as the prints are made with a bio plastic and there is hardly any waste in the process.

Architect Jo Nagasaka of Schemata was responsible for the 3,306 sqm overall interior design of the Loft Flagship store. He asked DUS to come up with ‘novel 3D printed furniture’. Clients Loft acknowledged the importance as a household name warehouse to always find new ways to distinguish themselves and show their products.

DUS responded by developing 6 new furniture typologies that bring out the highlights from each product category. DUS combined 3D prints with new and known materials influenced by traditional techniques, resulting in entirely new functions and tactile features:

All the elements and materials were developed and produced in close collaboration with Aectual, a company specialised in 3D printed interior and building products, which will launch its first line of products during Dutch Design Week 2017.

Location:

Loft Flagship store in Ginza, Tokyo, Japan

Project Data:

• Architect/Designer: DUS architects
• Design Team: Inara Nevskaya, Hans Vermeulen, Ivo Toplak, Alessandro Giacomelli, Onur Can Tepe, Jay Chenault
• Client: Loft
• Store Size: 3,306 sqm (35,585 SF)

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Morpholio was founded by Anna and three more architects who wanted smarter mobile tools for all phases of the design process. From our interview with Jim Keen we already know how amazing architectural illustrations can be by using Morpholio Trace. Besides Trace, for sketching and drafting, the suite for iPad and iPhone includes Morpholio; a digital portfolio, Board, for mood and design boards, and Journal, a sketchbook for drawing.

Morpholio believes that design tools should amplify the creative process, that thinking with your hands is critical. And that smart software should be accessible everywhere. And almost two million downloads and users in over 150 countries speak for themselves! The apps put designers first as they fuse the fluidity and speed of working by hand with the intelligence and precision of device and CAD technology.

Keep on reading to learn how architects founded this tech startup and how Morpholio could help your practice.

Enjoy the interview!

Could you tell us a little about your background?

I am an architect. I worked in New York City as an architect for almost ten years, spending the most time at Work AC, an OMA offshoot, and then at Columbia University curating and creating public programs, publications and exhibitions at the Temple Hoyne Buell Center for the Study of American Architecture. A notable exhibition from that time was Foreclosed: ReHousing the American Dream in collaboration with the Museum of Modern Art. My interest was always in the way that design interacts with the public and it’s ability to shape culture.

What made you decide to found/create Morpholio and who are the co-founders?

Morpholio happened when the first iPad came out, in 2009. Suddenly, we were carrying these incredible devices, but they weren’t meeting any of our creative or professional needs. We were first struck by the beauty and mobility, and therefore created a portfolio app so that we could share and present our work anywhere. But, as a team, we felt strongly, even from this early moment, that the touch screen was a gift to creatives. We believed that the ability to interact with our work in a new way – by hand as opposed to mouse – would have tremendous potential for designers and artists.

My co-founders were friends from the Graduate School of Architecture at Columbia University who were starting to build apps, as well as another architect.

Because we all knew design culture so well, it was easy to generate ideas about how it might translate into device culture.

What is your role in the company?

We all collaborate on designing the features and experience of the software. I also handle all of the PR and work hard to build relationships with our community and share their stories.

What is Morpholio’s business model?

Our business model is based on subscriptions. The app is free for basic use. Pro Tools have a free trial and then a monthly $3.99 or yearly $11.99 subscription.

Morphilio’s flagship app is Trace. Could you give us some examples of how it can be used and how it helps architectural practices?

Canary yellow trace paper is very familiar to architects. It’s a tool we’ve used for decades as a drawing medium, and yet, it was one of the last things to get translated into the digital workflow. Architects use so many programs fluidly, but hand sketching is ultimately the way we communicate to create, develop, and discuss ideas.

This is where Morpholio Trace comes in. It is the only tool that takes you through the entire design workflow. From start to finish, whether you are sketching early ideas over a site photo; developing massing that require scale and measuring tools, marking up drawing sets and details, or capturing images on-site and making notes to share with a contractor; all you need these days is your iPad Pro and Apple Pencil.

It takes the fluidity of hand drawing and merges it with the precision and smart tools of CAD.

This means that not only can professionals benefit from this fast new intersection of thinking and drawing enhanced by digital magic. But that anyone can experience architecture and have access to design-specific tools that will help them start a renovation or dream up a new plan for their home or office.

Morpholio has just lanched two new augumented reality tools. Could you tell us a little about them?

Yes! Morpholio is excited to add augmented reality to Trace with the launch of AR Perspective Finder. This new drawing tool lets users uncover virtual perspective girds, to scale, anywhere — making complex sketching easy and accessible. The scaling of the projected grids is revolutionary. And is only made possible by the power of iPad and ARKit to read and interpret the environment for you. You can now capture any space and sketch on top with perspective grides and guides to help you get it right!

Morpholio is also exploring new territories in Augmented Reality with the launch of AR Color Capture, a new feature in its already popular Board app, a mood boarding app primarily for interior design ideas. The new tool lets anyone virtually sample, experience and record colors from the world around them. Not only is this a new way of experiencing color, but also a new way of allowing color to influence décor, design and sourcing.

How has your architectural training helped you in the actual running of your businesses? What specific/transferable skills have proved the most useful?

Practically, architects are trained to work very hard, and to try their hand at a variety of skills. From graphic design to various software and techniques. Which means that architects are well versed to tackle the day to day needs of a startup as they arise.

But, above all, architects look at problems differently. When faced with a challenge, we are encouraged to rethink the angle, look at it from a new perspective, maybe even reframe the question in order to propose something that is both smart and novel.

The building industry is known for being slow to adapt to now technologies. How is your experience with this? 

Designers are generally early adopters. They are not afraid to try new things and genuinely enthusiastic about finding ways to make their work smarter, faster and more productive.

Do you have any advice for Archipreneurs who want to start and build their own business?

Go for it! But stay lean. We’ve built a creative team that allowed us to do most of the work on our own without expensive outsourcing. They say that startups that have to make tough decisions early on about priorities sometimes make smarter decisions than those who take investment and don’t have the same constraints. Don’t be afraid to take risks and fail along the way. It’s all about experimenting and getting feedback as you build a community.

In which areas (outside of traditional practice) can you see major business opportunities for up and coming architects?

I believe technology is opening so many doors for makers. We see this in the Brooklyn neighborhoods where warehouses and office have been transformed into furniture, fabric and product studios and showrooms. Digital processes and fabrication are really creating new possibilities for creatives and architects already know how to work with materials and details.

On the other had, we’re seeing really interesting think tanks gather teams around solving problems across the city. I heard a story about a startup gathering architects, technologists, urban planners and public health specialists to rethink a group of disfunctional neighborhood health clinics into a highly performing network of care providers that could also better track the data. And therefore the needs, of the population they were serving. This feat required the application of both technology and design. I imagine this is more of a “social” opportunity than a “business” opportunity, but certainly an interesting segue career that could have various immeasurable rewards.

About Anna Kenoff

Anna Kenoff is an architect, curator, and a co-creator of Morpholio; a software company that makes mobile design tools for creatives and professionals such as architects and designers. As an architect, she worked in New York City leading projects for Work Architecture Company; and exhibitions and public programming for Columbia University’s Buell Center for the Study of American Architecture.

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Anna would love to see your work and hear about your experience with Morpholio Trace or Board. Drop her a line at community@morpholioapps.com

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