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"When you walk into a room who do you notice first?" asks architect Joseph Gonzalez.
"The guy that towers above the rest, right? But he's not always going to be the tallest; there's always going to be another guy who is taller. And you can't prevent that. While height is a good enough reason to allocate him some eyeball time, it may be a good idea to investigate the others in the room for the interesting ideas they may have.
"I support the idea of tall buildings, but like all things in major cities, they should be part of an overall grand plan. I prefer to look at a building development where the energy and value come from something internal. That something stops people in their tracks and makes them go 'Wow!' People must want to come to your property to do things, not just to look around."
For Gonzalez, principal founder of Chicago-based architectural firm Gonzalez Partners, Dubai is a welcome doormat for a world of architectural possibilities, not least carrying off the challenge of blending heritage with modernism and green building concepts.
This was evident at the recent Property Exhibition at the World Trade Centre, where Gonzalez spoke on the relevance of mixed-use properties. His first acquaintance with Dubai began with the heritage district of Bastakiya. Although he had not yet taken in the myriad Dubai property developments, he admits the city is "mind blowing".
Gonzalez's work has received international acclaim for its elegance, clarity and attention to detail. These range in scale from the simplicity of the Chagall Pavilion at Bank One Plaza, Illinois, to the complex renovation and expansion for the Chicago Symphony Centre. He has received numerous awards from the American Institute of Architects, Progressive Architecture magazine, the International Theatre Council and other organisations.
What underpins his creativity is a deep respect for heritage. He thrives on the challenge of integrating a design into a landscape while meeting the demands of functionality.
Background of a high riser
Gonzalez, 56, was born in New York City to artistically minded parents who emigrated from Cuba. He studied architecture in New York, then at Oklahoma State University, where he received a degree. But he says the learning has never stopped. "The study of architecture is a lifelong endeavour," he says.
While studying he also travelled throughout Europe and the US before moving to Chicago. In 1974, he started working for Skidmore Owings & Merrill (SOM) where he directed his own design studio and excelled in the design of numerous projects for more than 20 years.
"I left to explore a more individual expression in my design work and started a design consultancy with my partners," he says. He lives in a house more than 100 years old in Old Town, a historic urban neighbourhood a short distance from his office in downtown
Chicago.
Gonzalez's first work outside the US was in Hong Kong in 1982, where he lived for several years while doing design work on The Regent Hong Kong hotel. Since then, he has travelled extensively throughout Asia, absorbing lessons from the architectural landscape of Thailand, the Philippines, Indonesia, India, Japan and Nepal.
He has lectured at various universities and recently was a juror for a national design competition in the US, Housing a Community.
Mixed use buildings
Undeniably, we are in an era of multitasking – mothers, mobiles and now, it seems, buildings. But what happens if the mobile that's also a camera and a music player decides to give up? From having it all, we have zip. Is it the same with multi-purpose buildings?
"Buildings are much simpler than the circuitry in MP3 phones. The way I look at it is this: we try to make the structure and systems that serve the building simple and efficient. And then allow the diversity to come from the functional elements, such as hotels, offices, performing arts [centre] and the condominiums.
"We try to keep the basics the way they should be. So the mechanical systems that serve, say the hotel, are separate from those that serve the office building. The elevators that serve the office building are different from the ones that serve the condominium. If there's a problem in the condos we hope it will not affect the office space. You have to carefully analyse the technical systems that go into the structure of the property development."
In terms of energy-efficient design, the US standards Gonzalez complies with are up there with the best. When planning a building, there is a specific criterion regarding aspects such as roof drainage, window glass and the use of solar energy. All these form part of a checklist, which determines ratings such as sustainability credits. Gonzalez has a vast experience in integrating green building concepts into his designs. He says it's an evolving field but there are criteria to adhere to, which include an independent check by a leading certified professional (LCP) during the design stage and another evaluation of the building after it's completed.
But ironically, green developments can make investors see red – as the initial capital costs are high even though this may even out in the long run.
"The balance between initial costs and long-term advantages is something we always struggle with," says Gonzalez.
"Different clients have different attitudes towards that – so we push and ask, push and ask and depending on the response, [hopefully] arrive at a happy balance."
Juggling space
So what are the trends in spatial planning?
"Space planning is client-driven entirely," he says. "In a 20-floor building for example, on one floor a user may want closed offices yet on another a client may want open plan offices. There are various technologies available today for space planning but what the client wants ultimately determines how it is used.
"There are marginal systems using recyclable material that give you more flexibility. This is an emerging and a welcome trend. Recycling is critical to the building industry. We are approaching an era where as an industry we've got to be concerned about the environment and energy as a finite resource."
The urban condition
With the proliferation of skyscrapers and high-density living across the globe, what are Gonzalez's thoughts on urban claustrophobia? How can it be avoided?
"This would largely depend on skilled planning," says Gonzalez. "All cities require good planning. Chicago, my home city, has the benefit of Daniel Berman, a great planner who laid out a master plan. He dedicated almost 26 miles of the lakefront as public lakefront. He's set up a framework of streets, avenues, boulevards and playgrounds, green spaces and open spaces that make a city viable and pleasant place to live in. So a strong master plan is good place to start because it takes into account human beings and their needs.
"When we look at a building, the environment around the building is important – benches, trees, paving and shaded areas – if it's in a hot region, all these merit consideration. Most importantly, city planning involves the government and policy makers."
Transport and planning
Gonzalez is no newcomer to booming cities, having lived in Hong Kong and experienced the rapid growth there.
"I lived in Hong Kong between 1982 and 1983 and thought 'Man, this city is almost done'. But every time I go back there's something new. Something more interesting, something's been removed and something's been added. And it seems to work," says Gonzalez.
"I am a great believer in public transportation systems. I think you need metros and bus systems ... I was pleased to note Dubai is planning the metro rail system. That's what is great about the best cities of the world – such as Paris, New York, Chicago and now Hong Kong too – they all have great public transport systems."
Cultural spaces
New York has attracted people from all over the world, yet these migrants often end up in specific pockets of the city where their countrymen have settled. There's Little Italy, Chinatown and apparently now Little Britain too. Confronted by new surroundings, migrant communities have stuck together.
To some degree, cities are 'cultural melting pots' but at the same time, a degree of segregation is also present. Gonzalez has an interesting take on these seemingly contradictory trends.
"Little Italy or Chinatown – whether in New York or San Francisco – are not expat communities, they are neighbourhoods that have evolved over many years and people have stayed there by choice. The finest Chinese food, a good living environment and good access to other parts of the city are some of the reasons people choose to stay here.
"But if you consider the city of New York as a whole there is a Latino influence in New York, there is an Italian influence – and you know what? They all get along.
"You have to learn to coexist. In fact, public transportation is the real melting pot in urban areas. Some very wealthy people I know in New York take the subway by choice. Because they don't want to go into traffic and it's convenient. I would say in our personal spaces we maintain our cultural identities, but public spaces integrate us into a unified culture. Look at Washington Square in Greenwich Village – you can find [many nationalities]; it's the real United Nations.
"Cities are dynamic entities; we mustn't be in a hurry to grow cities. Look at Paris – it's one layer … over another. And it's rebuilt and rebuilt again and again – and that's what's wonderful about it."
Heritage
As someone passionate about preserving heritage Gonzalez wrote the first page of his Dubai diary on Bastakiya. So what has he learnt about the need to manage development and heritage?
"In Chicago I served on the Chicago Landmarks Commission. We set criteria for what buildings are important, what are historic, which ones should be preserved and why. I would advise any municipality to set up a commission to advise developers on the architectural perspectives that are deemed worthy of preservation.
"I don't know enough about Dubai to comment further, but my first impression tells me that there are lots of smart people here who can make that assessment."
First base
Gonzalez on the architectural design process:
Q: How does the process of design begin? Looking at the location, topography, client needs or the desire to create something outstanding?
A: The process begins with an understanding of context, community and culture. The larger, environmental view of place is my starting point.
Q: What has been your biggest challenge so far in creating new buildings, both in terms of utilising resources available and coming up with something extraordinary?
A: I do not set out to make something extraordinary. I start by determining what the challenges and opportunities of a project might be and then explore alternatives to test those opportunities. The design process requires a careful dialogue between the client, architect and the community.
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