Profile: Jessica Hische

Jessica Hische is a letterer, illustrator, and self-described “avid internetter”. After graduating with a degree in Graphic and Interactive Design from Tyler School of Art, she worked for Headcase Design in Philadelphia before taking a position as Senior Designer at Louise Fili Ltd. While working for Louise, Jessica also maintained a busy freelance career and after two and a half years of little sleep and a lot of lettering, she left to further her freelance career and embark on several personal projects.
Jessica has become as well known for her side projects as she has for her client work. While she doesn’t consider herself a web designer, many of her personal projects are web-centric. Her project Daily Drop Cap, is probably the reason you first stumbled across Jessica’s work, and she’s created several educational micro-sites including Mom This is How Twitter Works, Should I Work for Free? and Don’t Fear the Internet (a collaborative project with Russ Maschmeyer).
Jessica’s clients includes Tiffany & Co., The New York Times, Penguin Books, Target, Leo Burnett, and Wired Magazine. She’s been named a Print Magazine New Visual Artist (20 under 30), one of Forbes 30 under 30 in Art and Design, an ADC Young Gun, a “Person to Watch” by GD USA, and one of 25 Emerging Artists by STEP Magazine. She is currently serving on the Type Directors Club Board of Directors.



More questions for Darryl Condon
If you attended the last CreativeMornings/Vancouver, you may recall that we invited you to submit further questions for our speaker, Darryl Condon. Many of you did and Darryl has been kind enough to answer them for us.
Q: Given that the client (providing funds) is often different than the end user (for instance a school, library, community center, park, public space … ), how does one make a convincing argument for a design which includes not only their desired program, but other programmatic elements needed by the community?
DC: It has been my experience that, for the most part, the decision makers involved in public sector (such as schools, libraries, community centres, etc…) are in their fields because they believe in the social service role of these organizations. I find that it is easy to get buy in for these other types of project intentions once we have explained the potential and importance of design in achieving these ends.
Q: How can the designer try to ensure an active public space, not just a single destination? Does it require an engaged and willing client? Does an Architect have a duty of care toward the general public good? (… and should public money sometimes be able to enhance private building budget, if the public will be better served as a result? Vice versa?) As a corollary question: should the architect also become the developer? Would doing so help the public good and would the architect’s code of ethics improve the built result, or would the architect be forced to adapt to the cheapest common denominator?
DC: There are many design strategies that we utilize to help create active public spaces. Increasingly, we are beyond architectural thinking to help develop strategies. We are finding many great ideas from urban planning theory that have direct application be shifting them in scale from the outdoor public realm to the indoor public realm. As well, we are looking more and more to the social sciences for inspiration.
Q: The Norwegian viewpoints present a wonderful opportunity for young designers to get exposure, but they were the result of a top-down government program, and a societal climate which values public space for public good, not public space simply by private ‘favour’. Movements which do exist here seem to occupy the ‘bottom-up’ position (pun intended), how can the two be bridged?
DC: I’m not sure that I agree with the general premise of top down versus bottom up, however the question does highlight a very significant obstacle for us in North America. Norway, as if more typical in Europe, has a very ingrained design culture. There is much wider understanding in the general public about the value of design. As well, given a much longer history, decision making (both individual and institutional) seems to have a much longer term focus. As a result the investments made in the public realm generally are of a higher quality and built with more lasting materials. Too much of what we build is thought of as disposable.
Q: Adding new housing to the city cannot make the city more affordable without also lowering existing housing prices unless there are programs in place which separate the costs of new buildings, new owners, young owners, etc … how would you suggest adding density to the city to make room for the demand? What can an architect design to address the issue beyond increasingly smaller properties? How can architecture be taken away from being simply a per-square-foot commodity?
DC: I disagree with the comment that adding new housing cannot make the housing more affordable. The key is the type of housing that is provided. With few exceptions, housing pricing will be set using the economic forces of supply and demand, with tempered by policy. Until we recognize that the fundamental full cost of our housing typologies (including land value, infrastructure, loss of agricultural land, etc…) is in itself not sustainable we are only prolonging the challenge. We must find ways to accept that the manner in which we have come to build the vast majority of our communities over the past 50 years needs to change. We need more walkable compact communities with smaller homes in good proximity to transit. The challenge in a city like Vancouver is different than that in suburbs such as Maple Ridge. In this area, urban planners will have the greatest impact. We need to support their efforts. I agree with the introduction of lane housing, subdivision and the gradual intensification of existing neighbourhoods.
Q: Does the city/government itself need to become a developer? (thereby skipping a developer’s profit margin) Should city land be used as building space or should zoning itself be changed to allow further growth? How can an area which is ‘filled’ (most of Kits, for example) accept new density other than laneway housing (which can never add much density, given current footprint limitations), without also going through the unsustainable step of destroying existing buildings for the sake of bigger ones? Is there a way to create buildings in parallel to existing ones?
DC: I think that zoning is the key tool that cities have to address these types of issues. There will always be special situations where a city may want to take a more active role but in order to have wide spread positive change it needs to be embraced by the private sector developments. This will come through good planning policy and zoning that supports positive change.
Q: Are alleyways necessarily dead spaces in Vancouver, or should we start considering them to be just as much the ‘front’ of a building as the street? There seems to be so much space devoted simply to waste, and therefore aesthetically ignored.
DC: I strongly support the city of Vancouver’s laneway housing initiatives. I think that we need to see more of this type of infill housing. With this comes a tremendous opportunity to re-imagine the nature of the lanes.
Q: The following are all essentially different aspects of the same question, how can young architects survive the current building climate? (they don’t necessarily relate to the content of the talk, more the nature of most of those in attendance, being mostly young designers.) The AIBC, just like all architecture professional bodies, exists mainly to serve its existing members, not necessarily to cultivate new ones (and therefore increase competition), should there be local young architecture prizes and projects so that young designers can get a foothold? What role do architects in general play in ‘helping their own’ in absence of a real union of architects? Unlike many other areas of design, a good looking portfolio cannot be created without actual work experience, but that experience is difficult to attain without a portfolio which demonstrates a-priori ability, how can the profession encourage its members to embrace growth and foster experience in young designers?
DC: The AIBC’s role is to regulate the profession of Architecture and to protect the public interest. I understand the frustration felt by many Intern-Architects with the process of obtaining their registration. However, I disagree with your suggestion that the institute is motivated to keep new Architects out. Having said this I agree that the system could be made simpler and still achieve the desired result.
The AIBC does have an award program for “emerging” Architects and certainly more of this type of support would help. I agree that it is difficult for less experienced Architects to develop independent practices. It is our experience that clients are becoming less willing to take risk on projects and it is often thought that is it less risky to hire an Architect with more experience.
Q: Few architecture firms in Canada seem to advertise internships and several that do provide dubiously-legal compensation, what does HCMA do to nurture the next generation of designers? (Especially those who have graduated post-financial crisis, and are often out-competed by over-qualified older applicants for entry level positions)
DC: At HCMA, we are proud of our record of developing new Architects. Several years ago we recognized a problem with the length of time it was taking for our Intern-Architects to obtain their registration. We implemented a series of supports for Intern Architects that have made it much easier for them to finish the program quickly. This program has been highly successful as we seen a significant increase in the number of our Intern Architects get registered.
Q: I was curious to know what the relationship between architects and city planners/developers is like. Are they just as passionate about sustainability as well as use of city space or is it something that needs convincing most of the time?
DC: My experience is that the relationship between Architects and planners is very good. I think that the need to design our communities to be more sustainable is widely understood and that the passion for good solutions is shared.
Q: As mentioned in the talk… I find Europe is always steps ahead from North America. Their approach to architecture and space is completely different from the North American perception. I’ve looked at architecture in Europe and notice not only is it a huge consideration in city planning but is also highly accessible by means of schools, book stores dedicated to architecture, etc…We don’t have much of these resources here. Why is architecture not as important to North American society?
DC: As stated previously, I think that many European countries have matured design cultures where there is awareness in the general public of the value of design. This applies to many design disciplines. I am hopeful that this is changing and that over time North American society will appreciate the value.
Q: I’ve heard of cities that are being developed based on their transportation system, sustainability, etc…Do you find new cities that develop themselves within these structured plans are (in the long run) better developed or do you find focused cities such as these can become a problem?
DC: I don’t think is possible to generalize on this issue. What is most relevant to me and my work is the reworking of our existing cities so my focus in on that. Newly developed cities can provide interesting experiments that can help to inform changes within more established urban areas. Only time will tell if the new cities will develop into truly complete and balanced communities.
May icebreaker question and ticket giveaway
Enter to win a hassle-free ticket and some one-on-one time with architect Darryl Condon directly following his talk by tweeting or Facebook’ing your response to this month’s icebreaker question:
“If I could design a new public space in Vancouver, it would…”If entering via Twitter, be sure to include our handle: @Vancouver_CM. If entering via Facebook, be sure to Like and tag: Creative Mornings Vancouver
A really nice message from our sister chapter in Chicago
Hey CreativeMorning family,
Just wanted to share this really wonderful note from a fellow Chicagoan. He was visiting Chicago from out of town and—on a whim—attended CreativeMornings last summer. That very morning, he met some people, interviewed with them the same day, and moved his family here. These are the kind of moments that make me so proud to be a part of this all.
Happy Thursday!
Hi Mig,The session in July with Jason Friend of 37signals came on the last day of my week-long job scouting trip in Chicago. Because of a simple conversation in the elevator while leaving, I was referred to an open position which I ended up interviewing for – only a few hours later – before immediately heading to the airport to fly home to California.
Now, months into that great design position, I’m living in Chicago with my wife and get to be a part of the same neighborly design community which first brought it to my attention. What’s more, you’re now working with the very person you interviewed that month, Jason Fried.
These kinds of connections are no different than other industries. Kindness and interest in the well-being of others is everywhere. But, I wonder if we don’t just get to enjoy more of it as designers. We are, after all, about the process of ordering chaos for the benefit of others. The best work seems to always have people at its center.
So maybe it’s no surprise that meeting people and learning about people is at the center of Chicago Creative Mornings. Thank you for your time and hard work maintaining this healthy community who care about people.
Kindest regards,
Isaac Steiner
Curiosity and creativity and discovery and wonder; they aren’t traits of youth, they’re traits of learning. If you want to feel younger and you want to replicate the conditions of youth, do that.
Benjamin Salka, CEO of Story Pirates
speaking at CreativeMornings/NewYork (*watch the talk)
Darryl Condon - Profile and Q&A

Darryl Condon is Managing Principal of Vancouver based Hughes Condon Marler Architects. Darryl graduated from McGill University in 1990 and subsequently began his professional career with IKOY Architects in Regina. He joined Vancouver based Hughes Baldwin Architects in 1994 and in 1999 became a partner in Roger Hughes + Partners Architects, the predecessor of Hughes Condon Marler Architects.
Darryl has developed internationally recognized expertise in the design of community facilities. He has spoken to groups across Canada where he has championed the role of the profession in achieving design excellence in civic-minded community facilities. His passion for community facilities and his expertise as a designer have resulted in a series of community projects that have been recognized both nationally and internationally for design excellence. His current preoccupation is with the need to fundamentally re-position the “sustainability” discussion.
CMV: How do you define creativity and apply it in your career?
DC: In my role as an Architect, I believe in the power of design to solve complex problems with simple solutions.
CMV: Where do you find your best creative inspiration?
DC: I find creative inspiration in many different places. My most direct inspirations generally come from some sort of spatial experience. This includes everything from walking in forest, to standing in a memorable space. Simply walking down a vibrant street can also be very inspirational.
CMV: What’s the one creative advice or tip you wish you’d known as a young person?
DC: Save some of your ideas for the next project. A common problem I see with young Architects is the tendency to try to incorporate all of their exciting ideas in a single project. It is almost as if they are concerned that they will not get another chance. Projects are usually improved by a distillation process that strips down to the strongest core ideas.
CMV: What’s the most beautiful drive you’ve ever taken?
DC: I have been fortunate to drive a number of incredible routes through Norway, called the National Tourist Routes. In Norway, they recognized the potential in reinvigorating many of their old scenic highways with periodic rest stops and viewpoints. Many of the roads were virtually abandoned and replaced with new state of the art highways and tunnels. As a result the old roads tended to be in the most dramatic landscapes. They hold design competitions and hire innovative designers for these landscape interventions. The combination of dramatic landscape with bold contemporary design is something that everyone with an interest in design should experience. I would love to see some of our old roads utilized in this way.
CMV: What did you learn from your most memorable creative failure?
DC: One of the most transformation creative failures involved one of my earliest aquatic facility designs. I received a letter from a mother who was unable to bring her young disabled daughter to the facility do to some accessibility challenges, in spite of our meeting all accessibility codes and the best practices of the time. At the time, as a father of a young daughter, I was heart-broken by the simple yet emotional letter. Since that time, my approach to the design of public facilities has involved a much wider and far reaching notion of universal access. In our work, we look far beyond codes to find strategies that accommodate, with dignity, the widest range of our communities.
CMV: What specific example of architectural design do you appreciate the most and why?
DC: The Barcelona Pavilion, designed by Mies van der Rohe as the German Pavilion for the 1929 International Exposition, is one of the architectural masterpieces that inspires me the most. It is arguably one of most important examples of Modern architecture and its furniture, especially the chairs, are design icons in their own right. I believe that everything you need to understand about good architectural design can be learned from Mies van der Rohe. His attention to detail and in particular the relationship between detail and the broader architectural concept is admirable.
CMV: What is your personal view of the architecture in Vancouver and what the future of our built environment holds?
DC: Vancouver, throughout its history, has been fortunate to have many very talented Architects. Our moderate climate and progressive thinking as led to a high level of creative freedom. I think we are nearing a significant, and welcome, shift in Vancouver architecture on two separate fronts. In the downtown core we have experienced rapid growth and for the most part success in providing liveable high density communities. However the rigidity of the planning typology needs to change in order to provide more variety in our urban fabric. We need to provide catalysts for the anomalies that make good urban fabrics so interesting. The other major shift related to the need to transform the single family fabric that covers the majority of the area of our city. In order to fulfill the rhetoric of being a green city we must face up to the fundamental need to transform the suburban pattern. I am hopeful that both of these shifts are at hand.
CMV: Who would you like to hear speak at CreativeMornings/Vancouver?
DC: Brent Comber and Jill Anholt.
Amber Turnau knows Vancouver is awesome!
Congrats to our twitter contest winner, @amberturnau! She gets some one-on-one time with our illustrious speaker, Bob Kronbauer from Vancouver Is Awesome. See you all tomorrow, bright and early!

Vancouver really is awesome!

Last chance to let us know why you think Vancouver is awesome! Answer via twitter @Vancouver_CM and be entered to win a hassle-free ticket for the upcoming April 13th event with Bob Kronbauer, and get some one-on-one time with him after the talk!

