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Renzo Piano, world-renowned architect who created The Shard in London, museums and other high-tech public spaces, spoke candidly about the attributes of successful architects in his 2018 TED talk, The Genius Behind Some of the World’s Most Famous Buildings. “Architecture is an art at the frontier between art and science. As an architect, at ten o’clock in the morning, you need to be a poet. But at eleven, you must become a humanist, otherwise you'd lose your direction. And at noon, you absolutely need to be a builder.”

Blending a healthy balance of artist, humanist, and physical constructor in the project’s process is integral to delivering a positive outcome.

Indeed, working as a designer, whether it’s creating buildings or transforming spaces and experiences within them, presents this unique challenge. Blending a healthy balance of artist, humanist, and physical constructor in the project’s process is integral to delivering a positive outcome. How do today’s sought-after church designers, integrators and architects bring their own brand of genius to a new client undertaking?

Church.Design reached out to designers who are at the forefront of managing faith-based projects. They shared methods they employ to connect with new clients.  

debartolo architects

Owner and Architect Jack DeBartolo 3, FAIA, of debartolo architects in Phoenix, strongly believes that the design process in initial meetings begins with listening. “We want to really get to know our clients--who they are; their values and goals; their mission and purpose; how they worship, equip, and reach the lost.” For DeBartolo, that listening process extends well beyond the first meeting. “We often spend weeks, even months, becoming familiar with the people we serve,” he says.

Jack DeBartolo 3, FAIA, Owner & Architect, debartoloarchitects, Phoenix, AS

The first meeting often becomes a reciprocal conversation, with the architect helping to illuminate the project’s path. DeBartolo starts this process by educating church clients on architecture and construction. “We want to walk alongside them as their guide throughout the entire process, and that begins very early by helping them to appreciate the art of design and the complexity of the process they are about to embark upon,” DeBartolo says .

CSD

CSD's David McCauley, principal, is known as a great communicator who has over 30 years of experience in professional theater, live production, and consultation. He specializes in unique projects that require ingenuity. When planning initial design meetings, McCauley’s approach is to intentionally gather information before sitting down with new clientele. “I like to do research on a client, to see as much as possible where their heart is, and where they have been allocating their time and efforts. Then you can enter the meeting already knowing who you’re talking to,” says McCauley.  “The next thing to do is listen when you get there. I think a lot of times designers go into a meeting with an agenda, and if they push their agenda, then they can miss out on some great nuggets.”

David McCauley, Principal, CSD, New Haven, IN

“The other big one,” says McCauley, “Is to try and find out as early as possible who the actual decision makers are. There can be a lot of people talking and asking for things that are going to send you running down rabbit trails, so being certain you’re talking to and listening to the people who have authority is key.”

Trilogy Architecture

Trilogy Architecture in Redding Calif., is a leading architecture firm for environmentally sustainable design practices and spatial architectural planning. James Theimer AIA, LEED AP BD+C, founder and director of design at Trilogy, utilizes powerful visuals as the backbone for his meetings. “When going into our initial meetings with a new client, the first thing we do is explain the process. We do not think of design as a straight-line, linear undertaking. This usually surprises clients. We like to think of the process as a circle, divided into quadrants, with arms like a clock, and four points on it,” he says.

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James Theimer, AIA, LEED AP, BD+C, Founder & Director of Design, Trilogy Architecture, Redding, CA

Theimer emphasizes to clients that each segment on the clock represents a separate piece of the process. The first segment on the clock – labeled building, is used to gather information on the client’s needs and wishes regarding the facility design, form and function. “Once we get to the point where we understand everything about our client, as much as we can, then we move on to the second segment of the clock which is discussion about the site. Maybe they don't yet have a site, so that becomes a different issue.”

The third segment of the clock, from six to nine o’clock represents community. Theimer explains, “How will this design relate to the community--physically, visually and emotionally? Because this is a faith-based project, where you're building a church or worship space, the community is critical. Is the site in the middle of an urban neighborhood? Involve outreach? How do we respond? Because that's all part of the design process.”

The final piece, which moves the hands from nine o'clock back to twelve o'clock, Theimer involves his clients in discussions about the planet. “We talk about the planet, and maybe this is the last thing our client wants to talk about, but it's incredibly important. How is the design going to relate to healthy planet sustainability? Does it mean energy efficiency, or recycled materials?

Theimer explains that, in reality, each of the four segments are not necessarily equal. Some are more important than others. “When the clock is filled in, you might notice that the most important thing to this client is their community, so it becomes a bigger piece of the pie, and the intent of the initial designing is to figure that out. It’s us figuring out where they are to start with.”