Monday 10 January 2022

SHoP employees plan to unionise to prevent "exploitation of our time and our talent"

Midtown Center by Shop Architects

Employees of New York-based SHoP Architects have announced plans to form the US's first union of architecture workers since the 1940s in response to an alleged culture of "endless overtime and deadlines".

The group, which calls itself Architectural Workers United, filed an election petition with the National Labour Relations Board on 28 December, beginning the formal process of organising a union.

They revealed their plans in a letter sent to their employers on 20 December, which was reported by the New York Times.

"We have grown accustomed to unsustainable practices such as endless overtime and deadlines which result in burnout and a lack of work-life balance," the letter reads.

"Pushed to the limits"

"We have accepted the lack of value of the architect within the building industry. We have normalised the exploitation of our time and our talent," it continues.

"Many of us feel pushed to the limits of our productivity and mental health. These conditions have become detrimental to our lives and in extension the lives of our families."

AWU logo
Above: SHoP employees have founded Architectural Workers United. Top image: SHoP Architects' supertall skyscraper 9 DeKalb seen in a render by SHoP

Architectural Workers United (AWU) aims to affiliate with the International Association of Machinists and Aerospace Workers (IAMAW), an American union with almost 600,000 members in industries ranging from manufacturing and engineering to local government, defence and aviation.

The group has the support of advocacy group The Architecture Lobby, which issued a statement saying: "The Architecture Lobby stands in solidarity with Architectural Workers United at SHoP Architects and unequivocally supports their efforts to form a union in their workplace."

"As an organisation of architectural workers, we call on the firm's principals to voluntarily recognize the union and engage in good faith negotiations with the collective bargaining unit."

SHoP is "definitely not the worst"

SHoP is among the most highly respected architecture firms in New York, responsible for projects including the Barclays Center and The Brooklyn Tower.

It was founded in 1996 by Christopher Sharples, Coren Sharples, William Sharples, Kimberly Holden and Gregg Pasquarelli. The company name derives from the initials of their surnames.

The firm has approximately 135 employees. Around two-thirds have pledged support for unionisation.

Megan Peterson, who is among the founders of AWU, told Dezeen the ambition is not just to bring more equity and transparency to SHoP, but to provoke systemic change across the industry.

According to Peterson, SHoP employees can work between 50 and 80 hours a week. But she believes that conditions are even worse in many other New York firms.

"This is definitely not the worst," she said. "We hear horror stories from other New York offices that are much worse than ours. It makes us realise that the bar is so low in architecture."

"It's not a sustainable way of working," she continued. "People are getting physically ill and struggling with mental health. The turnover rate is high and the cycle just continues."

Midtown Center by Shop Architects
The Midtown Center in Washington DC was designed by SHoP Architects. Photography is by Ty Cole Photography

The decision to take action came in late 2020 when employees were working from home due to the pandemic.

"Once you remove the perks of the office environment, you start to you realise how many hours you work and how much it's affecting your life and relationships," said Peterson.

"I found myself sitting at my kitchen table 70 hours in one week and it was exhausting."

SHoP wants to empower its staff

SHoP has not directly responded to the claims made by its employees but it sent Dezeen a statement pointing to some of the benefits it currently offers staff. These include full health insurance, 30 days paid vacation a year and starting salaries of $60,000 plus bonuses for graduates.

"SHoP was founded to practice architecture differently and has always been interested in empowering and supporting our staff," it said.

"To secure that mission and future leadership for the firm, in March 2021, SHoP through the ESOP process became a 100-percent employee-owned company, furthering our shared commitment to a culture of innovation and the next-generation practice of architecture."

The first allocation of equity shares was distributed to all employees on 31 December, it said.

AWU hopes to meet with SHoP management soon to discuss next steps, although Peterson said that no plans had yet been made.

"We think that we're in a place where we can work together to do this," she said. "We don't want to tear down our office. Aside from the issues, we all like working here."

Other architects moving to unionise

Peterson said she is aware of  "a handful of other firms in New York" who are moving to organise a union but have not gone public yet.

David DiMaria at IAMAW, the union that is welcoming AWU as an affiliate, told Dezeen that he has been approached by staff at several other architectural firms who are also looking to unionise.

He noted a general trend for unionisation among white-collar workers, pointing to tech companies and non-profit organisations as other sectors where working conditions are poor.

"Decades ago, the standards were high in a lot of these professions," he said. "But we've seen things develop to the point that standards are actually dropping below what we traditionally see as blue-collar work."

"When you look at how much money an architectural worker in New York puts into the schooling and licensure, how much time they spend on the job and what they get for it, there's a complete disconnect. Meanwhile, a diesel mechanic in New York with a couple of years training can easily be making six figures."

New legislation for architecture workers

DiMaria sees an opportunity to introduce new legislation that would give architectural workers more legal protection from exploitation, which could have an impact across the country.

"No one firm can fix these issues, which are endemic in this industry," he said. "If we really want to try to uplift this profession, we've got to think about our organising more broadly."

The US is the not only country where architects are exploring unionisation. In 2019, a group of architecture workers in the UK formed a grassroots trade union, United Voices of the World's Section of Architectural Workers (UVW-SAW), to tackle issues of unpaid overtime, unfair pay and harassment.

In early 2020, UVW-SAW took action to protect members who were exploited due to the pandemic.

Read on to see Architectural Workers United's letter in full:


Dear Bill, Chris, Corie, Gregg, Angelica, Dana, and John,

We write this letter to inform you that the International Association of Machinists and Aerospace Workers, District 15, AFL-CIO (IAMAW) has been aiding us as architectural workers in our endeavor to form a union at SHoP. This will be the first union of architecture workers in the United States since the 1940s. Today, hopefully with your support and understanding, we are ready to do what SHoP has done so many times before and make history.

We have been working collectively and are now writing collectively to share our vision for a new phase in the partnership between the employees at SHoP and their management. As a group, we are committed to the success of our office, the advancement of our profession, and the improvement of our shared built environment. Motivated by a deep care for our firm and for our profession as a whole, we have decided to come together as a community to form a legal union. A solid majority of employees support this campaign and we are asking you today to honor the law, remain neutral, as well as collaborate with us by recognizing our union.

We have grown accustomed to unsustainable practices such as endless overtime and deadlines which result in burnout and a lack of work-life balance. We have accepted the lack of value of the architect within the building industry. We have normalized the exploitation of our time and our talent.

Many of us feel pushed to the limits of our productivity and mental health. These conditions have become detrimental to our lives and in extension the lives of our families. These concerns are the product of larger systemic issues within the discipline of architecture and are in no way unique to SHoP. From the moment we begin studying architecture we are taught that great design requires endless time and effort, and in turn demands the sacrifice of personal health and relationships. We are taught that architecture is a greater calling and regardless of how the client is willing to compensate us, we will perform our duty because it is critically important for the greater good.

SHoP did not create the challenges that are systemic to the discipline of architecture, but we believe that SHoP is the firm that can begin to enact changes that will eventually ensure a more healthy and equitable future for the generations of architects to come.

By organizing, we aim to harness the legislative and political power of our union to push for a fairer and more sustainable industry as well as work towards creating conditions that will allow SHoP to continue to grow and thrive.

We are embarking on a campaign to transform the profession and would like for you to join us. We believe it is in our shared interest to make the publicity around this event one of unity, not contention. We see the unionization of architecture not just benefitting us as employees, but all architecture professionals in this undervalued industry.

There is no one among us who is not proud to be a SHoPper; our desire to unionize comes from a place of deep affection and respect for each one of you. We believe our union will benefit SHoP and we are ready to take these next, historic, steps with you all.

In Solidarity,
Architectural Workers United
Together We Build

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Call for entries to Mona's Renaissance metaverse competition

Dezeen promotion: metaverse platform Mona has launched Renaissance, a digital competition calling for designers, architects and artists to create new virtual worlds.

The competition tasks entrants with building their own metaverse focused around one or more of three themes: spaces to gather, spaces to display and spaces to perform.

Previous virtual worlds uploaded to Mona's 3D NFT art gallery include a Greco-Roman-themed pavilion in the clouds and a Blade Runner-style neon city.

A visualisation of a Greco-Roman-themed pavilion
Previous virtual worlds uploaded to Mona's 3D NFT art gallery include a Greco-Roman-themed pavilion

Mona hopes the event will prompt more designers to create interactive and social 3D environments for the metaverse, an emerging digital universe that exists in parallel to the real world.

"Humanity may soon spend more time in virtual worlds than in the physical world," said Matt Hoerl, COO and co-founder of Mona. "It is important that these virtual spaces are beautiful and habitable for all."

A visualisation of a colourful building with a tree next to it
The competition tasks entrants with building their own metaverse

The spaces to gather category invites participants to create places intended for meeting and sharing ideas, while the spaces to display theme asks for areas for presenting artworks.

The third and final category called spaces to perform tasks entrants with designing an events space for live performances.

A visualisation of grid-likes space located in the universe
The entries should be focused around spaces to gather, spaces to display and spaces to perform

Designers can make their virtual worlds using whatever 3D modelling software they have, such as Rhino, Blender or Gravity Sketch. Their work will then be imported into Unity using Mona's Unity Template.

Final submissions must be made in the form of "unity packages" that can be easily exported and published to the Metaverse using Mona's online portal.

A visualisation of an abstract structure within the clouds
Designers can make their virtual worlds using Rhino, Blender or Gravity Sketch

Entries will be judged by a panel of industry experts, including Juan Benet, CEO of open-source research and development lab, Protocol Labs.

"Our judging will be centered around the utility of spaces, but the aesthetic interpretation is where you can let your imagination run free," explained the organisers.

Winners will be announced and published in February 2022

All entries must be submitted by midnight (PST) on 27 January 2022. Winners of the Renaissance competition will be announced and published in February 2022.

The top 18 virtual space designs will be minted as Non-Fungible-Tokens (NFTs) on the blockchain and bid on by Protocol Labs for three different prize amounts.

There are three grand prize amounts of $30,000, five top prizes of $10,000, and a further ten design prizes of $3,000.

A visualisation of an open space with a pool and root-like sculptures
Entrants must be over 18 and from any country across the globe

There are also 20 creator prizes up for grabs at $1,000 each and 100 submission prizes of $300. An additional $30,000 in community bonus prizes will be awarded.

All of the virtual worlds submitted to the competition can be minted and thus owned by their creator, regardless of whether they win one of the prizes or not.

A visualisation of a new world
Entries will be judged by a panel of industry experts

Entrants must be over 18, but can come from any professional background and from any country across the globe.

For more information on the competition and how to enter, or to view some exemplar virtual worlds, visit Mona's dedicated Renaissance website.

Additionally, any questions about the build-a-thon can be asked via Mona's Discord messaging platform.

Partnership content

This article was written by Dezeen for Mona as part of a partnership. Find out more about Dezeen partnership content here.

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Milan to build Cambio network of "super-cycle corridors" linking 80 per cent of the city

Bike symbol on a bike parking station as photographed by Pawel Czerwinski, illustrating a news story about the planned Cambio cycling network in Milan

Milan has committed itself to constructing 750 kilometres of bike paths by 2035 as part of a plan to make cycling the most convenient form of local transport.

Based on data about the daily movements of residents, the Cambio network will link existing cycle paths and supplement them with new "super-cycle corridors" that will connect the city of Milan in northern Italy and all 133 communes within its wider metropolitan area.

Once completed, it will place 86 per cent of Milan's population and 80 per cent of services, including hospitals, schools and businesses, within one kilometre of a bike route.

The network of 24 cycle highways is set to be completed in 2035, by which time the city hopes that 20 per cent of all local transport will be undertaken by bike.

The initiative forms part of the city's larger goal to reach net-zero emissions by 2050, in line with the goals set out in the Paris Agreement.

Routes of planned Cambio cycling network in Milan
The Cambio network will span 24 different cycle highways. Image courtesy of the Metropolitan City of Milan

"It is a system project that sees cycling as a driving force for development, which integrates environmental protection, safety, economic development and general wellbeing," said the Metropolitan Council of Milan.

"​​The development of cycling leads to the reduction of greenhouse gases, creating green corridors for the protection of biodiversity, making travel safer for all types of cyclists, improving public health and increasing the daily opportunities for exercise and movement."

The Cambio network will consist of four circular lines arranged concentrically around the city centre and intersected by 16 radial lines, while four long-distance greenways will connect the metropolitan area's perimeter.

As well as cycle paths, the network will have dedicated bicycle parking stations, physical and digital wayfinding displays as well as low-impact lighting. This will be charged during the day and light up only in response to movement at night, in order to conserve energy.

Although the project will cost €250 million, the Metropolitan Council of Milan estimates that it will generate savings to the effect of more than €1 billion by reducing congestion and road accidents, as well as improving the health of both people and the environment.

A similar infrastructure overhaul is being undertaken in Paris, where the Plan Velo will see 130 kilometres of cycle paths constructed by 2026 to make the entire city accessible by bike.

As the European Union works to meet its own net-zero goals, the European Commission recently proposed formalising these disparate schemes as part of a bloc-wide policy to fund and prioritise "active mobility" modes such as cycling.

The top photograph is by Pawel Czerwinski via Unsplash.

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Graux & Baeyens adds sunken bike workshop to Ghent townhouse

House C-DF in Ghent

A sunken bicycle workshop sits at the end of a classical-style walled garden at this extension to a townhouse in Ghent, completed by Belgian practice Graux & Baeyens Architecten.

In addition to the workshop, a stack of three new forms designed by the local practice adds a kitchen and dining space, bathroom and bedroom to the dwelling on the Visserij canal.

Graux & Baeyens Architecten added an extension to the rear of the building
House C-DF was extended and renovated by Graux & Baeyens Architecten

Called House C-DF, the townhouse had an existing narrow rear extension that has been extended to fill the width of the plot, creating a "logical flow" and visual connection through the home to the garden.

"While the main residence required few modifications, tabula rasa was created with the old extension of the house," said the practice.

The kitchen extension at House C-DF
The home was extended to fill the majority of a narrow plot at the rear

"Rather than keep this extension narrow and deep as it originally was, it was decided to have it fanned out over the full width of the outdoor space," Graux & Baeyens Architecten added.

"This intervention immediately improved the enfilade between the front, intermediate and back chambers."

Original wooden staircase at House C-DF
The new extension visibly contrasts with the existing building

The existing extension was enlarged with a structure of prefabricated steel, left exposed internally to create a series of fins that contrast the original structure and to create space for built-in cabinets.

A triangular skylight has been inserted between the old and new extensions to illuminate the space, and wood-framed sliding glass doors lead out onto the paved garden.

"The steel fins were deliberately not concealed, but subtly painted in white and milled, creating a poetic play of light in the extension," explained the practice.

"The fins also determine the rhythm of the cabinets that came between them, which, thanks to a subtle interruption, accentuate the depth of the house," it continued.

Interior image of the bathroom at House C-DF
Terrazzo was used throughout the new extension

Atop the steel frame of this rear extension is a new first-floor bathroom, lined in terrazzo and featuring a full-height window overlooking the city's rooftops that "ensures the residents shower with a view of Ghent," according to the practice.

On the second floor, a new bedroom and a mezzanine play room also features a fully-glazed wall looking out towards the rear of the home, contrasted by a thin dormer window opposite that overlooks the canal.

Floor to ceiling windows are wood framed
Large windows frame city views

"The high window offers a beautiful view of historic Ghent but remains surprisingly human-sized thanks to the playful layout," said the practice.

At the end of the walled garden, the sunken bicycle workshop sits in a small volume finished in grey brickwork to match the existing garden walls, which have been fully restored.

The pale stone extension blends in with the original structure
The practice used materials that mean the extension could blend in with the existing structure

Externally, the extensions have been unified by the use of pale timber planking and window frames, intended to create a "subtle point of contact between the two constructions."

Other extensions recently completely by Graux & Baeyens include the renovation and extension of a 1960s chalet in Destelbergen, and the modernisation of a bungalow in De Haan.

Photography is by Jeroen Verrecht.

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Filmmaker Nathan Eddy presents Battleship Berlin documentary

Exterior of Mäusebunker

Filmmaker Nathan Eddy has teamed up with Dezeen to offer readers a 10-day screening of his documentary about the brutalist Mäusebunker building in Berlin, Germany.

The 40-minute film, titled Battleship Berlin, is available to watch exclusively on Dezeen, above, until 20 January 2022.

Image of Mäusebunker from Battleship Berlin film
Battleship Berlin documents the brutalist Mäusebunker in Berlin

Battleship Berlin sheds light on the threats currently facing the brutalist Mäusebunker, or Mouse Bunker, which was built between 1971 and 1981 for the purpose of animal research.

Designed by German architects Gerd and Magdalena Hänska, the concrete edifice is now vacant and threatened with demolition. However, campaigns to save the building are also in place.

Concrete exterior of Mäusebunker in Berlin
The concrete structure is currently at threat of demolition

Berlin-based Eddy's film summarises these efforts to save the laboratory as well as the opposition to it, as it moves between interviewees with starkly opposing views.

The 10-day Dezeen screening follows its premiere last year on the website of König Galerie, a gallery founded by Johann König who is among those featured in the film.

As an advocate for the building's preservation, König proposes transforming the building into a cultural centre, taking cues from the König Galerie that he created within a brutalist church.

At the other end of the spectrum is Axel Radlack Pries, the dean of the Charité hospital that owns the building, who described it as "a huge concrete monster" and supports its demolition.

Still from Battleship Berlin documentary
Battleship Berlin features interviews and footage of the building

Eddy told Dezeen that the conflicting views over the future of Mäusebunker were an "inevitable" subject for a film.

"In the case of the Mäusebunker and Battleship Berlin, it was inevitable that I was going to make a film about it as soon as it exploded into view in front of me," he told Dezeen.

"The conflict between the two opposing mindsets – preservation or demolition – is always the key storytelling element."

Woven between the interviews is footage of Mäusebunker from different angles, highlighting its famed pyramidal form, projecting blue pipework and triangular windows. Lesser-known details, such as its heavily tiled interiors, are also revealed.

Eddy hopes the screening of Battleship Berlin will help to "spotlight the cultural value of brutalist architecture" around the world.

Brutalist architecture is characterised by bold monolithic forms cast from exposed concrete. It is one of the 20th century's most controversial architectural styles.

"These are not easy buildings to love, they are downright loathed by many, but they are important and they are unique," Eddy said. "But they are, admittedly, difficult to repurpose."

"Therein lies the challenge, but I like an uphill battle, and a chance to change minds."

Triangular windows of the Mäusebunker
Triangular windows are among Mäusebunker's distinctive features

Another film directed by Eddy that celebrates brutalist architecture is The Absent Column, which focuses on the Prentice Women's Hospital by Betrand Goldberg in Chicago.

Eddy recently published a documentary with Dezeen that explores the life and work of Helmut Jahn, the American-German architect who passed away in 2020.

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