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| Billie Silvey |
| Interview with an Architect |
| February 2007 |
| Mary Archer holds a painting by Carol Henry, a gift from the artist when Mary received her architect's license, in a photo taken at the site of the remodel of the artist's home. |
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| Q. As I see it, architecture combines engineering and art. Which aspect is most important to you? A. I regard each aspect equally. I have always said that, for me, architecture as a profession is the serendipitous marriage of two subjects I love--art and science. In problem-solving, there may be times when one aspect needs more attention than the other, but I always have to step back and review the whole picture to maintain a balance. The Roman architect, Vitruvius, expressed it as firmitas, utilitas, and venustas (i.e., structural stability, appropriate spatial accommodation, and attractive appearance). Ian Davis, in his article on “Christian Ethics and Architecture,” quotes Sir Henry Wooton as suggesting a moral imperative in architecture: "'The end is to build well...well building hath three conditions: commodity, firmness and delight.' These conditions still relate to the challenge facing any designer to satisfy and integrate social, technological and aesthetic requirements, in order to produce a holistic approach to architecture and physical planning.” Q. What architectural movement or period resonates most with you? Why? A. Art Nouveau. Although short-lived and narrow in its influence, I love it for its decorative qualities that range from whimsical to elegant artistry. One of my favorite architects worked in this period--Antoni Gaudi. I spent a year in France during college. It was a unique opportunity to explore the origins of this movement and see the work in-person. I visited many of the works of Gaudi in Spain and other Art Nouveau examples in France. Q. What do you think is the best-designed structure in Los Angeles and why? A. There are so many good ones--large and small, public and private. A well-designed structure has to be evaluated for not only its visual qualities, but also how it functions and serves its intended purpose. To be fair, I can admire a lot of structures from the outside, but never know how they really function. One example is the Getty Center, by Michael Graves, et al. It’s a complex of structures and experiences, including indoor and outdoor spaces. Of course, the thing about museum design is that the indoor space becomes secondary or is often hidden by the exhibit display itself. The outdoor spaces play a large role in the whole experience of the place. The technical aspects of the design and quality of construction are very high. I’m sure the whole design team enjoyed the luxury of a healthy budget--something that always affects the final product. Another of my favorites is the Japanese Pavilion at LACMA, by Bruce Goff and Bart Prince. It is such a finely tuned, full-concept, organic structure, down to its smallest detail. Q. If architecture is a means of enclosing a space to allow it to fulfill a function, what sorts of functions would you most like to apply your skills toward? A. I don’t think there is any particular favorite function I prefer to apply my skills toward. I gain fulfillment in making any space work best for the user, whether it’s commercial or residential--the types of architecture I am most familiar with. Q. What work that you’ve done is most satisfying to you personally? A. I have always had a passion for re-using something old. Maybe not so much to preserve its “oldness” for the sake of strict historical preservation (although there is value in that), but to re-make it into something new, while preserving its historical qualities. For me, the synergy between old and new working together can be exhilarating and comforting at the same time. Buildings allow this kind of relationship more than other man-made things. Q. As a Christian, have you been able to express your faith through your work? How? A. I have a daily opportunity to express my faith through my work by dedicating each day to glorifying God in my work and actions. I rely on His help to solve problems and serve my clients, my employer and my co-workers with a positive, joyful attitude. I believe this has been the key to growth and success in my profession. |
| Mary Archer, AIA, grew up in the Kansas City area and lived in both Missouri and Kansas. She received a B.S. in Architecture at the University of Illinois, Urbana-Champaign, in 1981, spending her last year in a collaborative program with the Unité Pédagogique d'Architecture at Versailles. The school was housed in the former stables of King Louis XIV’s lavish monument to himself and the extravagance of the era. While there, she spent many days in Paris and took weekend trips to surrounding towns in Northern and Central France. The program curriculum included independent travel/study which gave her the opportunity to travel extensively all over 'free' Europe (the 'Iron Curtain' was still up in 1980-81), spending some third of the academic year visiting nine countries. After college, she worked for a Kansas City firm, then moved to the L.A. area where she attended Pepperdine University. In L.A., she worked for general contractors and a developer, gaining much-needed experience and knowledge in construction. In 1987, she began working for a 20-person architectural firm, Rick Leslie AIA & Associates, obtaining her California Architect’s license in 1991, and completing a double certificate in construction management through UCLA Extension in 1992. With Rick Leslie, she worked on a wide variety of commercial and residential projects, including retail shopping centers, auto dealerships, restaurants, office and industrial buildings. Her residential experience includes custom luxury single-family homes and remodels, and multi-family condominiums. Recently, she accepted a new position in a 250-person architecture and construction management firm, gkkworks, in Glendale. An active member of the Culver Palms Church of Christ, she has been generous with her time and talents. She designed and coordinated the construction of the interiors (mostly wood paneling and finish work) in the early '90s, working on lobby, auditorium and fellowship hall and kitchen, as well as improvements in the education wing. She also designed and constructed sets for Vacation Bible School and the photo cabinets in the foyer. Most recently, she designed and helped build the “stadium” seating in the teen room. A kind and thoughtful friend, Mary worked with Art Sims, Jr. to replace a termite-eaten beam in the front porch when Frank and I bought our house near the church building. I asked her several questions about her field. |