The architect’s services do not end with finalization of the drawings and specifications (construction documents). During construction, the architect has an important and valuable role: using his or her eyes, ears, professional expertise, and judgment to determine if the work is being done in accordance with the construction documents. The architect’s involvement in the construction administration phase enables you, the owner, to have confidence in several things:

The contractor’s work is being monitored by a third party so you will get what you have agreed to pay for. Decisions that arise during the construction process will be made with the integrity of the design concept in mind. Work deemed unacceptable will be rejected by the architect. The contractor’s requests for payment will be reviewed and judged for appropriateness relative to work completed. The project is not complete and the final payment to the contractor is not paid until the architect says so and issues the appropriate paperwork.

To accomplish these goals, the architect visits the construction site at agreed-upon intervals to stay generally abreast of the progress and quality of the work. During these visits, the architect usually makes notes and touches base with the contractor, providing clarification as needed. Sometimes he or she will arrange to provide a modified or additional detail drawing.

When issues, problems, or questions regarding the design arise during construction, the architect brings to the solution full knowledge of the process and reasoning that yielded your design’s configuration, details, and spirit. He or she understands your budget and your expectations. With this knowledge, the architect can keep the design on track. Without an architect’s advice and consultation, and without an understanding of the larger picture, the contractor can take the design off course. He or she can potentially make decisions, substitutions, and/or alterations on the basis of expedience or short-term cost savings that will leave you dissatisfied and disappointed.

Changes during construction, such as substituting one product or fixture for another, may be initiated by the contractor, the architect, or you, the owner. If the modification is minor and will not affect the design intent, contract sum, or contract time, the architect may authorize it on the spot. If a proposed change is more significant and will affect the design intent, contract sum, or contract time, the architect will review and present it to you in writing as a change order. He or she will evaluate the validity of the proposal, analyze its consequences, and advise you whether to reject or accept it.

The architect has authority to require additional testing or inspection if there is a question whether a product, material, or assembly meets the specifications. He or she reviews shop drawings (such as those prepared by cabinet makers), product submittals, and finish samples to check for conformance with the design concept expressed in the construction documents.

Finalization of the drawings is an important milestone in the process of building—one celebrated by both owner and architect. You can hold in your hands a detailed representation of your new kitchen, deck, master bedroom suite, or entire new home. The ultimate goal—completion and occupancy of the project—is best reached with the architect’s involvement and service through the construction phase. Construction administration can be considered design insurance. It is an excellent way to maximize the success of a project.

Responding to Neighborhood Context

Just as the people living in them do, neighborhoods have distinct character. When you compare the “flavor” of a city block in old Charleston, South Carolina, with that of a suburban cul-de-sac in Denver, it is clear that certain design choices and constraints are at play in each case. As a homeowner planning a remodel, you should be aware that changes you make inevitably have some effect on your neighborhood and surroundings and are affected by the surroundings as well.

Regionalism: The Feel of the Place

The distinct look and feel of communities in different parts of the world are largely formed by influences of the geographic region itself—especially the climate and available resources. Choices made historically in response to these factors contribute to design consistency. Thus, in Seattle, a region of abundant rain and formerly abundant timber, wood houses with prominently overhanging roofs are common; brick houses and flat roofs are rare. In Tucson, Arizona, where timber is scarce and temperatures are extreme, readily available and thermally consistent adobe is frequently used. In Charleston, side porches running the length of houses provide much-needed ventilation.

People tend to enjoy the distinct identifiable features of design in their region. Regionalism gives a sense of place.

The advent of higher technology has wrought changes in regional character. We now have the choice to go against the prevalent stylistic grain, replacing climate-responsive design features with air conditioning and central heating. For instance, a desert house’s thick adobe walls are not essential if there is an adequate and affordable supply of power for cooling.

On the other hand, we may choose to follow the historical local style even though technology has rendered its distinctive features unnecessary. Obsolete features may be provided for correct “flavor,” rather than for practical use—for instance, nonfunctioning shutters are found on many Colonial style houses in the Northeast.

Community Requirements

There are several ways in which communities control homeowners’ design choices and thus shape the neighborhood context. Zoning laws set limits for density and spell out allowable uses. They dictate setbacks, allowable lot coverage, and allowable height, as well as type and amount of required parking. There may be limits on resource use, such as the quantity of bathroom fixtures in a dwelling. Most communities can enforce compliance with zoning laws.

Design covenants are restraints imposed by a community and attached as terms of the deed. They may significantly limit your choices in such things as style, materials, color, and placement on the lot. Be aware of these limitations before purchasing property.

Communities wishing to encourage or discourage certain types of development may designate special districts with unique constraints. These may be historical districts, pedestrian zones, urban villages, or other “overlays” that carry special design requirements. In such cases, it is best to check with your local construction permitting agency prior to undertaking a remodel project.

Things at the Mercy of Neighborliness

Some highly valued things are not perfectly protected by zoning laws, design covenants, and the like. Their preservation depends instead on each contributing neighbor’s sense of community and respect.

For instance, views can be obscured by new construction that may be well within the letter of the law. Solar access can be obscured by a neighbor whose project casts shade on yours. Trees, prized by some, may be considered nuisances or view-blockers by others. They are controlled by the owner of the property on which they stand. Privacy sometimes depends primarily on new projects respecting the locations and orientations of structures already in place. In some communities, there is nothing dictating or controlling the style of houses. This may lead to exciting visual variety and diversity, as well as to an occasional drastically out of place creation.

Individual Choice

As a homeowner considering a remodel, you have great freedom of choice in many aspects of your project. You must comply with community requirements, and you may choose your approach to things at the mercy of neighborliness.

You may wish to make your project reinforce the prevalent context. In this scenario, decisions about how it looks, functions, and sits on the lot will be based on precedents. If your neighbors have large front lawns with the house set way back, you might choose to do the same. This approach generally allows your project to blend in and not draw too much attention.

There are many occasions and reasons for wanting to break with the context. Perhaps a particular functional need requires an unusual architectural solution. Perhaps you have a strong sense of originality, a desire to buck trends. Perhaps there is an economic opportunity—for instance, fixing up a house in a modest neighborhood to a level of detail and quality above that of the existing homes. Perhaps your taste is different from the dominant taste in your area.

When remodeling, know your options for conforming or not conforming to the existing character of the neighborhood. Exercise and enjoy your freedom, but remember the golden rule: Treat your neighbor as you would have your neighbor treat you.

Architectural Approaches to Home Renovation

The issue of style is frequently raised in my architectural practice. Clients ask if I can produce designs that are “traditional,” “neoclassic,” “contemporary,” or “high tech.” They ask because the home they wish to remodel is in one of these categories and they want the new work to be consistent with the existing work. Or they ask because their house is of a disliked style or “no style,” and they wish to convert it to a style that is recognizable and preferred.

I am sometimes asked if I have my own style. But remodeling is done in response to an already existing style, so when designing remodels, I work towards harmonious interaction with the style of the existing work.

The following hypothetical scenario illustrates architectural approaches to home remodeling and the context of style: Let’s say a client desires a new kitchen addition to a 100-year-old house. By looking at the house and identifying how it has been laid out, constructed, and detailed, I determine that the house is Federal style. Federal style was used in the United States in the late 1700s and early 1800s, after the Colonial period and before the Greek revival style. Like any other architectural style, it is defined by a set of characteristic design choices. These affect everything from layout and massing to methods of construction, materials, and scale and degree of ornamentation.

The following are some typical Federal style choices:

  • Central transverse stair hall with rooms to either side
  • Stone or brick foundations
  • Slender columns flanking front doors to residences
  • Lunettes with patterned leaded glass
  • Arched windows
  • Carved sunbursts
  • Dentils, cornices, and entablatures

Armed with this knowledge, it is possible to design solutions for this particular house that share Federal style’s typical set of characteristics. For instance, how a porch typically attaches to a house. Or how a roofline typically accommodates an addition. Or how gable ends are typically trimmed.

This house was built 100 years ago, yet it was built 100 years after Federal style was current. So even in its day, it was a revival of an older style. Styles can come and go and come back again in architecture as they do in fashion. When working with a building of an older style, it is important to think through your attitude towards the original work. It helps to differentiate between the letter and the spirit of the style.

Following the letter of the style involves reproducing the exact qualities of the existing work. In this case, the original construction includes hand-carved wood, molded plasterwork, and leaded glass windows. These materials and processes are no longer standard practice and may be attainable only at considerable effort and exorbitant cost.

Following the spirit of the style, on the other hand, allows for compromise. Perhaps it is possible to attain proportions and textures similar to the original by substituting modern materials. For instance, where the original has fancy doors with carved panels and elaborate doorknobs, the addition could also pay special attention to doors, but the panel proportions might be slightly different than the existing, using a shelf panel door. The doorknobs might be ornamental, yet simplified. Even if this solution does not match the existing work exactly, it will reflect the spirit of the original. This design strategy consists of a particular balance of old, new, and faux old elements, made with the integrity of the whole house in mind. I endeavor to apply the strategy consistently throughout the project, from the largest design decisions of layout and mass to the smallest details. The old and the new can be made to coexist graciously.

When it comes to a kitchen, the letter of the style of an old house is usually unacceptable for modern tastes. In fact, even the spirit of the style can be seriously challenged by current kitchen needs. Microwaves, refrigerators, cooktops, under-counter lights, televisions, and the like have no place in the kitchen of a true Federal style house. But most homeowners choose to compromise authenticity for the sake of practicality when it comes to kitchens and bathrooms.

No one is going to think this addition is an authentic Federal style kitchen built just after the Revolutionary War, or even a 100-year-old kitchen, original to the house. However, for continuity with the style of the existing house, I can select colors, finishes, a cabinet style, and lighting scheme in keeping with the appearance of these elements a hundred years ago.

I must emphasize that there are no hard and fast rules to design. The approach outlined above describes how I might choose to design. Another approach to expanding the Federal style house, which might also produce wonderful results, would be to make the new work high-tech and contemporary, in distinct stylistic contrast to the existing house. This strategy would compromise the continuity of the whole finished project for authenticity of the parts. It would use contrast to tell the story of what is new and what is old.

Either method has the potential for valid and good results. Success depends upon a well-thought-through understanding of the issues of style and choices available, followed by consistent handling of design elements.

Bring Problems, Not Solutions

To get the most out of an architect’s skill, it is best to present him or her with a problem statement rather than a solution. But isolating the problem apart from a solution is easier said than done.

I find clients usually understand their design problems perfectly. They know what parts of their layout are inefficient, which finishes are outdated, which views are not accessed, which views should be blocked, what needs are simply not provided for in their home.

Most clients take the next step and propose a solution: “We need a room laid out like so, with a door here and a window here.” Whereas this particular design may or may not be the best way to address all of the issues raised by your project, a good architect will take in this information along with other information in order to come to the best solution. Of course, no one knows your house better than you do. However, an architect can step back, analyze your needs, and study your house as a system that accomplishes the following:

  • provides space for needs and uses
  • allows varying levels of access
  • expresses family priorities
  • allows for privacy as well as togetherness
  • interacts with its surroundings

By taking all of these factors into account, in addition to issues of structure, cost, codes, and so on, an architect can present a solution that perhaps you’ve never thought of that solves your problem very well.

Here’s an example: A two-career, two-computer couple hired me to add a study/library to their home. They were sure that they wanted this room right off of the kitchen, because it would be “close to everything.” In their minds, the problem that needed solving was, how do we get light into the kitchen if we block off its sliding glass door with another room?

I understood that this couple needed a new room, but questioned whether it had to be right off of the kitchen. In fact, that would make it too close to everything. Another location was proposed, a little further off the beaten track and secluded enough for actual study to take place. It had the added benefit of being structurally simple and not taking away light and access that were established and enjoyed.

Bring a Notebook

I recommend that clients keep a record of the design process. Keeping a notebook or journal allows you to have a central location for questions, issues raised at each meeting, items to consider for the next meeting, opinions, priorities, lists, and so on. Many clients also clip (or download) photos of projects they like. (I regard these as impressions of style, not as solutions to reproduce.)

Bring Hard Information

If you have house plans already, by all means, bring them. It will give the architect a good head start on preparing “as-builts.” This can save many hours of billable time.

Bring a budget, even if it is not “set in stone.” Without a budget figure to work with, an architect will probably propose more or less than you want.

Eventually, you will also be responsible for providing data such as your legal description and tax assessor’s number (for permit). And, if site analysis is required, such as a letter or report from a soils engineer, it is typically provided by the client.

Bring an Open Mind

Your architect will help peel apart the issues driving your design. The first few sessions may well consist largely of discussion and questions about your house, your needs, your priorities, etc. When presented with solutions you may never have thought of, it is best to have an open mind. You may discover that the architect has hit upon a great solution! It goes without saying, though, that you are the final judge. A good way to evaluate a design is to ask the following question: Does it solve your problem? This is the most important thing a design must do.