Sorry, I sat on this all morning.  AF is out today – lots of management going on here.

 

More info for AF.  Again, too much detail – but so you have a better idea.  Also the big deal is we can’t legally call him an “architect” until he passes those exams.  This is always a problem.  He is well on his way to being an architect, or he is on the path to being an architect, but he can’t say “I’m an architect”.

 

This is too much mumble below.  Once again – doesn’t say anything about what we do … most applicable line being: “I definitely can speak the language of the architect”.

 

I think we really need to focus a bit on WHY we created studio2a?  Or is the “about” section.

 

Also was thinking about it again last night.  I guess adam and I are “principals” and steven is our “senior artist”.  We have to be careful here because we look much bigger on the web than we really are.  And I am scared that even if we put “key players” on the bios page – we may end up looking small.

?

 

ak

 

 

 

 

I think in mine it should have a bit more depth about what I actually did, not just where I was.  He probably doesn’t know what I did, so here is a summary from which he can pick from:

 

When at Rafael Vinoly Architects I worked on The Kimmel Center for the Arts in Philadelphia, doing your standard sort of CAD stuff and also worked on several competitions doing drafting, 3d modeling, and graphics.  At Vinoly I worked about 2.5 years in only 16 months.  I was at KPF for about 5 years where I worked on projects as varied as a 50 story tower in Seoul to a modernization of a midtown manhattan high rise to a Children’s Hospital in Philadelphia.  In my time at KPF, I became sort of a problem solver.  It wasn’t always the best situation for me, because I’d often get thrown on to the messiest jobs because they it wouldn’t phase me.  I was thrust right in to the middle of things when it came time to modernize and reclad a 1950’s highrise right next to Rockefeller Center.  I was also right there when it was time to figure out how to build a stadium on top of a railroad yard.  Or when a complex sketch had to be transformed in to a working drawing that somebody could actually build, I was there trying to figure out how to communicate our intent to everybody from the client to the engineers to the guy swinging the hammer in the field.

 

At Elkus Manfredi, I once again found myself with complex puzzles of projects.  My focus was primarily on the schematic phase of the project where I would set the rules to follow for the future.  It was a game of tetris pushing and pulling pieces while delicately relocating them to a different place in the project.  I was constantly looking for the most efficient solutions that would also maintain our design intent.

 

What did I get from this experience?  I definitely can speak the language of the architect and now complex problems don’t really phase me, because I’ve probably seen worse.

 

 

Also, please note the correction in the paragraph below.  It wasn’t really 3d drafting it was modeling.

 

Thanks.

 

af

 

 

 

He didn’t do mine yet – waiting for feedback.

 

visualize!

www.studio2a.net

 

 

Adam Felchner

Having spent the entirety of his undoubtedly corn-fed youth in various Midwestern locales ranging in descending degree of bucolic tranquility from Omaha to Kansas City to Chicago, Studio2a principal Adam Felchner opted to move on to the figuratively greener pastures of the East Coast after finishing school. In New York, he did stints at such prominent firms as Rafael Vinoly Architects and Kohn Pederson Fox Associates; in Boston, he served with Elkus Manfradi Architects and caught some ballgames for good measure.

But it was earlier, during his pursuit of a bachelor's degree in architecture from the University of Kansas, that Felchner was introduced to the evolving discipline of 3d modeling drafting. "The technology was starting to become more accessible and we had access to some professional 3d software in our computer labs," he says. "I was always a bit ahead of the curve when it came to computers and technology because I didn't have the irrational fear of 'breaking' a computer. I saw a new tool and thought to myself, 'That looks fun, I think I'll see what I can do with it.'"

 

Stephen Garrett

The Nashville-born Stephen Garrett serves no master, retaining the fierce independence of spirit that has been his life's hallmark with the sole exception of this one time when he accidentally got married. "Firms are for pinks," explains the ardent anti-communist and probable Freemason. Over the years, Garrett has engaged in a wide range of pursuits, including motion graphics, technical illustration, compositing, character modeling, storyboarding of both the animated and traditional varieties, concept work, logo animations, company branding, and web design. He claims that he "has also been known to emit a particle or two," although this is difficult to verify independently due to the staggering number of court-enforced gag orders that cloak a large portion of Garrett's life in secrecy.

Garrett began to make the transition from police informer to honest creative class laborer at some point during the halcyon days of the '90s. "I was out visiting some friends in Los Angeles and I ended up marrying this girl who lived in Hollywood after knowing her for two weeks. At that point, I realized that I was going to be staying in Hollywood for a while, so I got a job at a studio that made music videos. Ta da!" he says. "The tools an artist uses don't matter if, in the end, he or she expresses an idea or an emotion in a way that makes you forget about how a particular piece was made."