Building The Future Show - Radio / TV / Podcast

Kevin Horek: Welcome back to the show.

Today we have Esther Sperber.

She's the owner at Studio s t Architects.

Esther, welcome to the.

Esther Sperber: Hey, thanks for having me.

Glad to be here.

Kevin Horek: Yeah, I'm excited
to have you on the show.

I think what you guys are doing is
really innovative and cool, but maybe

before we get into all that, let's
get to know you a little bit better

and start off with where you grew up.

Esther Sperber: Uh, sure.

So I'm actually originally from Israel.

I grew up in Jerusalem.

Oh, cool.

Um, yeah, and I went to architecture
school over there and um, at the

Teknion, which is in Kfa, it's kind
of a m i t ish kind of university.

And then I came to New York to do a one
year master's at Columbia University

and, you know, intended to stay for
a year or two afterwards to work and.

You know, 20 something
years later, I'm still here.

Kevin Horek: Very cool.

So what got you passionate about
architecture at an early age?

Esther Sperber: That's a great question.

So, you know, growing up I don't
think I knew any architects, and

I'm not sure I was even so clear on
what architects do as a profession.

Okay.

Um, I loved the art, um, and I.

Was kind of into some science stuff
and when I was thinking about what I

wanted to study, I was debating between
graphic design and architecture.

And I kind of had a hunch that I
might really like architecture,

but um, cuz it seemed to.

You know, be a, a really great synthesis
of all kinds of different things,

both the artistic and the kind of
practical and the scientific side of it.

Um, but because it's not something you
really experience in, in school, it

was, it was a little bit of a gamble.

Um, but I applied and got in
and I immediately loved it.

Like, I, you know, my first semester,
um, I was just so happy studio, you

know, people stay up all night building
their models and coming up with designs

and, you know, I knew immediately that
that was something I wanted to do.

Kevin Horek: Very cool.

Well, and I, I've never been, but
I'm assuming the architecture in

Israel is probably amazing, right?

Like the inspiration just everywhere
you go because the, you know,

it's such an old place, right?

Esther Sperber: Yeah, it's a really
interesting mix because there

are some really ancient buildings
and unbelievable archeology.

Okay.

Um, but then, you know, there's
also like a lot of 20th, 20th

century and 21st century, um, stuff.

So it's, it's an interesting
mix of very old and very new.

That's cool.

Yeah.

And also kind of a mix of, you know, the
more European influences of modernism

with kind of a more traditional
Middle Eastern type of architecture.

Kevin Horek: Got you.

Okay.

That Very cool.

So you get outta university,
walk us through your career up

until founding your own company.

Esther Sperber: So, as I said, I
finished my architecture studies

in Israel and I worked there for a
little while and decided that I was

really interested in doing another
master's, which wasn't really required.

But this was in like the late nineties,
and it was just around when using

computers and architecture was starting.

So we had drafting
tools like AutoCAD, but.

Um, starting to build models
in 3D was a new thing.

And so I applied to Columbia, which
had this at the time, really cutting

edge, innovative program where instead
of building models and drafting

with a pen, everything was done.

Um, It wasn't the cloud then, but
everything was done on, on the computer.

And that was a really intense
and exciting, um, experience.

And after that one year masters, I
went to work at a really wonderful

firm called Pay Partnership Architects.

It's now called Pay, um, which
was founded by the two sons of Mr.

Iam Pei.

And he was part of the firm and
he, you know, is one of the.

Architects of the 20th century, um,
known for the Glass Pyramid in the Louv

and East Wing of the National Gallery
in DC and a bunch of other buildings.

So I worked there for about five years
and it was a really, you know, Influential

and kind of very educational experience.

Um, the firm, even though it's
very famous, is not very big.

And so I got an opportunity to
do really hands-on work, both

with Mr Pay and with his son.

And I worked on a bunch of big
and complicated buildings there.

Ronald Reagan Hospital in la and
I'm of Islamic Art in Doha Cutter.

Um, and.

You know, I felt like I learned a lot.

There were people who spent their entire
career at that firm, um, and just had

a wealth of knowledge and experience.

Um, but I did feel like, you know, a kind
of, it, it itch to like do my own thing.

And so after about five years, I, I
left that firm to start my own practice.

And initially I shared
space with two friends.

My Columbia Architecture School
program, um, and we did a

bunch of competitions together.

Um, starting a practice is, I'm
sure you know, is not so easy.

First of all, you need to find clients.

Totally.

Yeah.

And so we had a few small projects,
um, and, and then we spent a lot of

time just really creating a portfolio.

Kind of to show what we could do,
which was what we did while we

were doing these competitions.

So we have entered these big international
competitions, which our chances

for winning were not that great.

But it was a way to have, you know,
to show someone, Hey, this is like,

what kind of a, this is the kind of
museum, this is the kind of library

I would do if I had the chance.

And slowly if we got, you
know, a bunch of clients and.

Started getting more work.

Uh, my two friends that I started out
with ended up moving back to Europe,

um, and they're in Paris right now.

Um, and so I was kind of left on
my own to, to, you know, grow the

business and um, you know, go on from

Kevin Horek: there.

Very cool.

So you've run the company
for close to 20 years now.

How has it evolved?

Like, what is it kind of, how has
it evolved over the last 20 years

and what type of stuff are you
doing and designing currently?

Esther Sperber: Um, so yeah, it's
interesting to kind of look at,

look back at the 20 years and what
has changed and what is the same.

So some things are, um, you know,
we have, we have a bigger firm,

we have more people, we have great
staff, which I'm super grateful for.

I would say that we have kind of
grown really steadily and slowly, um,

and our projects have become kind of
bigger and more complex over the years.

So we started out with smaller,
you know, apartment renovations in

Manhattan, kitchens and bathrooms,
and, um, than added to that portfolio,

some more institutional work.

So we've done some work for schools.

Um, we.

Back about 10 years ago, a big renovation
of a community center, the 14th Street y.

Um, but I would say in the last
three years we've really kind of

grown from being two or three people
to being, um, eight people on staff

and running much bigger project.

So in the last, actually over the
pandemic, we've kind of had our biggest.

Gross spurt, which is kind of strange.

Um, so we just finished our first
ground up apartment building that was

about 6 million construction costs.

Um, we're finishing up two big
synagogue renovations, one in

Manhattan and one, um, near Chicago.

And our residential interior projects
have also kind of grown from.

You know, the kitchen and bathrooms,
two full gut renovations, duplexes,

um, and larger apartments that are,
you know, 3, 4, 5, 6,000 square feet.

Mm-hmm.

Um, it's been really
interesting to kind of.

Look at what is, what is
different and what is the same.

Um, there are many things
about architecture that are

the same on every scale.

So whether you're doing a small project,
you're a big project, you're going through

the filing process with the municipality,
you're dealing with client's,

anxiety, you're managing contractors.

Um, but obviously as the projects
become bigger, There is, there's more

supervision and more drafting and more,
um, specifications that you need to do.

So, you know, I feel, I feel good about
kind of growing at a kind of slow and

steady pace and being able to, um, get
to a point where we feel confident about

these bigger and more complex project.

Kevin Horek: Sure.

So how do you come up
with your initial ideas?

Because you just outlined, obviously,
you know, doing, uh, interior

renovation to like the Prague
library and, and then some, the

sustainable stuff that you've done.

Obviously, some of that stuff just
based on the materials and, and budget,

you know, you can maybe do something a
little bit more creative than, uh, you.

Not, I guess, right.

Whereas like something like the Prague
library looks really cool, like how do

you come up with your ideas and kind
of stay current and, and modern and

you know, do you know what I'm getting

Esther Sperber: at?

Yeah, it's a great question.

Like I think, you know, so many, so
many philosophers and psychologists.

Other people in other fields have kind
of tried to figure out how you can,

how people are become, do creative
work and what, what triggers that

and how, how you can foster that.

Um, I'm not sure I have
one good answer for that.

But I would say that, um, in architecture,
I think every problem is a unique problem.

Each site is different, the program
is different, the clients are

different, um, you know, the location.

So it kind of forces you to almost
start from scratch with each pro project

and try to really understand what's
at stake for that particular project.

Um, but then with that, there's
also kind of a body of knowledge

that you acquire or habits, or you.

Instincts that you get over time, which
maybe help you jumpstart that process.

So you talked about the Prague
Library, which was a competition

entry We did a while back and
actually got to like the semifinals.

Okay.

Um, that was really focused on the
particular, um, situation of that library.

It was a kind of library where only
a small part of it was accessible.

To visitors, and most of it
was gonna be like book stacks.

So we were trying to come up
with an idea that would visually

and formally express that.

So it was like, you know, a very dense
structure that was based on bookshelves,

basically like a huge books stack.

And then we were carving out of
that, these open spaces where people

would be able to access the books.

So reading halls,
conference room, cafeteria.

Um, and so we ended up with this.

Almost strange structure that was like
this very dense, almost like, um, web

of, of structure with these like carved
out strange cathedral type of spaces.

And I think that's, that was specific
to that particular kind of library and.

You know, a, another project that
I can think of that has like a very

clear concept is our 14th street wide
renovation, where it's a community

center and it had like a very strange
circulation system where you came into

like a little hallway that seemed like a.

Doctor's office and when we looked at
it, we would, we thought, let's try

to celebrate the fact that this is
a community center and all kinds of

different things happen at the same time.

So even though there's no like, Clear
circulation space, we can actually

enjoy the fact that you have to go from
one space to another and see all these

different things that are happening.

So we created these bands of activity,
like a big new lobby, and then, um,

fit, uh, locker rooms and fitness
center and the pool and that like bands

of organization that had different
colors and different lighting, um,

helped express the fact that you
were going through these different.

Um, areas and that this was, you
know, not your Equinox, but some

kind of more communal experience
where you see all kinds of different

people doing different things.

Kevin Horek: Very cool.

Interesting.

So, so I'm curious to know, how do
you, because you do so many different

things in, in so many different kind of
industries, do you approach a project.

Kind of the same way from like a
budgeting and deliverable stance,

or how is it similar and different?

Because obviously doing like a,
a big building or something for,

um, you know, like a religious
building or a housing project.

Is it the same or is it different?

Or, or walk us through that.

Esther Sperber: Um, I think there
are things about our approach

that are similar to each project.

Um, okay.

But there are obviously different
problems and different budgets

and different timelines that
we're trying to accommodate.

Right.

So, you know, I think one thing that's
really important when you start any

project is to try to figure out,
especially with renovations, why.

Why we're coming here to change something?

What, what is missing?

What are, what are the deficiencies
of the space as it is now?

So, for example, we, you know, we have
recently, um, been working on a renovation

of a synagogue here in Manhattan.

And, and the.

The problems with their existing building,
which is about a hundred years old, were

pretty clear both to us and the client.

Their lobby was way too small.

Um, the sanctuary wasn't accessible.

There was no elevator that
went up to that level.

Um, in addition to like aesthetic
problems of, you know, just being old

and dreary, um, and, and systems that
were missing, like air conditioning.

Mm-hmm.

Um, so those were like the first
things that obviously we were trying.

Fix with our new design, you know, taking,
we relocated their offices and opened up

a wall so we could make a bigger lobby.

We found a spot for this new elevator.

Um, we created bathrooms and coat
rooms and all these missing things.

Um, but then in terms of budgets
and, and schedules, it's a.

You know, very different
for different projects.

So at least from our experience,
our institutional clients

usually have a very tight budget.

Um, it, you know, depends on fundraising
and, um, there isn't, there isn't

money coming in from anywhere.

Um, so we, we have to be really
creative on how to create something

that is durable and beautiful and
functional, um, within the budget that.

Able to, that they're able to raise, um,
some of the more residential projects,

especially if it's for individual clients,
um, have a bit of a more flexible budget.

And, you know, if they love a really
gorgeous stone, they're, you know,

often happy to pay extra for it.

Whereas in a, in an institutional
project, you kind of have to really

stick to the original budget.

Um, yeah, that makes sense.

Does that, does that make sense?

Kevin Horek: Yeah, no, that makes sense.

I, I guess the other thing too is just
how we live today is obviously a lot

different than it was a hundred years ago.

But then I'm curious how has
the pandemic changed or, or

has it changed how you guys.

Come at a project because obviously
I think just a lot of people now want

a home office if they didn't have one
or they maybe wanna get a better home

office or, or what have you seen, how
is it similar or different, um, just

kind of now coming outta the pandemic?

Esther Sperber: That's a great question.

I think it's really interesting
and I think we're just like in the

beginning of trying to figure out how.

The built environment in general
is gonna shift post pandemic.

Um, I think it's true for apartments,
like you mentioned, and it's also

true for, you know, how we use the
public spaces of cities and um,

schools and hospitals and all of that.

But if I could say, you know, So
one of the projects I mentioned was

our apartment building in Jersey
City, which is 10 apartments and

um, a ground floor commercial space.

And our client, it was really
interesting cuz we did most of

the design before the pandemic
and our client was really adamant.

Um, that each apartment had to
have outdoor space, like some

kind of terrace or backyard.

And also that he wanted a shared
roof terrace with a garden.

Um, in addition to some other nice
things like a bike room and, um, Little

fitness center, and I think he was really
fortunate for having that kind of insight

even before the pandemic, because as
soon as the project, the building was

finished, which was in, um, Early summer
of 2020, like in around July, August.

Right.

Um, the apartments were really
like rented within a week.

Um Oh wow.

Because I think these amenities are
something that now we all value so much

and realize how important they are.

Um, so having, you know, outdoor space
is I think something so many people want.

Now, I think what you mentioned about home
offices is something that's here to stay.

Most people, even if they're
back to working in an office,

are still not going in every day.

Um, and many people are working
from home, um, full-time.

So I think a lot of our clients
have been looking at creating, um,

multiple, you know, like more than one
home office sometimes if, you know,

there's a husband and wife and both of.

Um, working home, everyone
wants some kind of desk people.

Some of them are not
necessarily big spaces.

I think a lot of people realize most of
what you need is a desk and a a screen.

Um, but ne But that does, they
do need like a quiet place where

they could close the door and
have a conference call or zoom.

Um, I think a lot of people also have
realized how dependent we are on having.

Just good internet and consistent
wifi throughout their apartments.

We, we've been doing a lot more of
that than we used to a few years ago.

Um, just making sure everyone hates
it when there's like a spot in there

on this couch I can't connect on.

Yeah.

You know, I don't have cell
coverage and my zoom drops off.

Um, so that's another thing that
I think we've all kind of become

aware of how independent we are.

Um, You know, I hope there are
also some bigger things that we,

we learned from the pandemic.

Um, we did a, a kind of competition slash
like, Project op-ed, I would call it.

It was like a little project that
we did in order to try to kind of

shift consciousness and, um, by
publishing it and promoting it.

Um, the project was really
about creating more affordable

homes, um, within the city for.

First responders and essential workers.

I think we've all learned how dependent
we are on these people who Totally, yeah.

Who ran our cities, um, during the
pandemic when many of us were fortunate

enough to be able to work from home.

Um, and finding ways to make our our
cities more resilient in that way,

I think is a really important thing.

Um,

Kevin Horek: yeah, we have learned.

No.

Interesting.

So I'm, I'm curious, is your team back
in the office full-time, part-time?

How does that work?

Esther Sperber: Um, so we're back
in the office three days a week.

Okay.

Um, we've, we weren't in the
office for almost two years.

Um, however, that didn't
really mean that we were.

You know, out of our, out of our bedroom
and our pajamas, because we had a lot

of projects in construction, right?

So throughout the pandemic, like as
soon as construction, um, was permitted

to restart, and I think it was like
June, 2020, we were back on site.

So, um, we probably had, you know, two or
three days a week of, of site supervision.

Right.

Um, project meetings, but we're.

Doing those as well as
being back in the office.

And I'm, you know, I don't know if
everyone feels this way, but I'm so

happy to be seeing our team all in person
and shifting our, our weekly meetings

from Zoom to sitting around a table
and eating snacks while we're talking.

Kevin Horek: Yeah, it, it's interesting
cuz most of the stuff I'm working

on these days is the teams kind
of spread out and I, I really like

working from home, but the one thing.

That I find can be really challenging
and, and why I asked how you're, you guys

are managing it right now is not being
in person to come up with creative ideas,

whether it's digital or kind of in the
physical world can be a real challenge.

And I think the only way to really do
it is be in the same room when you're

coming up with some of these ideas.

And it sounds like you
would agree with that.

Esther Sperber: I totally agree with that.

And I think there's, I think
there's that part which is.

Okay, we know now we're starting a
new project we need to come up with.

Cool.

I, you know, a cool design and you
could schedule, uh, you know, this week

we're gonna work together in the office.

But I actually think that there's a
lot of other residual stuff that, um,

happens when people are in the same space.

Um, that might seem less important,
but I feel like it's really crucial.

Like just someone walking over to
someone else's desk and saying, Hey, can.

Show me how you did this detail
on another project, or do you have

the phone number this fabricator?

Um, I feel like there's a lot of
good kind of chance and count.

It's not even like the water
fountain conversations.

It's really a little more practical,
but just so fast to do when

you're sitting in the same place.

Um, and so clunky when it's
like when you're trying to

use teams or slack or zoom to.

Bounce off those kind of
very quick little questions.

Kevin Horek: No, that makes sense.

So I'm curious, how have you, or
what advice do you give to other

women in the architecture space?

Because like you're, there's probably
not that many of you and it's probably

been a struggle at times because of that.

Is that fair to.

Esther Sperber: Yeah, it's
definitely fair to say.

I mean, the, the profession
is still very male dominated.

I think there's like 17% of
architecture firms are owned by women.

Oh, wow.

Um, actually it might
even be less than that.

Um, and the profession, it's not
just that our, you know, little.

Bubble of architect are, um, very male.

It's also the industry, you know,
like the consultants, the engineers,

the contractors, the guys who
actually are building the stuff.

They're often, you know, no women other
than you know, or me and some person

from my team, um, that are involved.

Um, you know, it's interesting, I think.

I haven't, I have found that, you
know, when you start a new project or

start meeting with a new contractor or
come on the construction site, often

there's some, um, Some hesitation
on their side to, to listen.

You know, they're, they're
little, you know, does she

know what she's talking about?

Why do we need to listen to her?

We've built things all our life.

Um, but pretty quickly we've, we
typically kind of earn people's trust

by, you know, showing that we know what
we're doing and we're smart and we're

willing to listen and, um, And try
to create a really collaborative and

productive, um, type of working alliance.

Um, in terms of, um, running my
own practice, my own company, you

know, in some ways that actually
has been a lot easier, I think, than

potentially working at a big firm or
at or at someone else's firm where.

A lot less control and, um, maybe
an expectation of, you know, working

crazy hours or less flexibility in
terms of taking time off when needed.

Um, I really, um, I'm very
confident that that's not the only

way to, to be architects and I've
really strived in my office to.

Keep the balance between personal
time and work time and allow,

understand that people leave the
office when office hours are over

and are not necessarily gonna work on
night, at night or on the weekends.

And I think keeping that kind of
balance and allowing people to.

You know, come in a little later if they
have to drop their kids off at school,

or, you know, taking time off when
they need it and making up that time,

um, or whatever work they need to do.

Um, I think that's, that's
a much healthier and more

sustainable way of working.

And I feel like we've
doing amazing work and.

You know, able to be both creative
and very organized and competent and,

you know, while not doing, you know,
architects are famous for working

all night and that kind of thing.

And I think that's not a
healthy way to live your life.

Um, and at least for me it's not sustain.

Kevin Horek: Yeah, no, that,
that makes a lot of sense.

I, I do like the fact that you
mentioned the flexibility as like

another kind of creative person.

It's, it was always weird to
me that I needed to be creative

nine to five, Monday to Friday.

It's like, it doesn't
really work like that.

Right.

But like, if you're not a creative
person, sometimes you just, they

don't get that cuz they never
really thought of it like that.

Right.

You know what

Esther Sperber: I mean?

Yeah.

Yeah.

And I really don't care, you
know, if, if you wanna work from.

Noon to whatever hour in the night.

That's, you know, as long as you
can answer the clients on time

and show up for meetings when
we need it, that's fine with me.

Um, yeah, we had, we had one guy
a long time ago who did not like

to wake up and be at the office
before 11th and that was fine.

Yeah.

Yeah.

Kevin Horek: Well, interesting.

So I'm curious how.

How do you, because obviously there's,
there's a lot of, you know, maybe like

bad things that are happening in the
world sometimes and trying to consider

some of that, the safety stuff while
still being creative and, and coming

up with something maybe not always
necessarily a hundred percent unique.

And then also throwing in maybe
some of the sustainability

stuff, like how do you manage.

All those different challenges
because that's, that's challenging.

Esther Sperber: That's a good question.

I mean, I think, um, I mean, one of the
things that I love about the work I do is

that it's really multifaceted and complex
and you can go as deep and as wide as you

want in all kinds of different directions.

Um, you can focus on.

You know, the psychology of things.

You can focus on sustainability, you
can focus on affordability, you can

think about, you know, social justice.

There's, there's a lot that,
you know, you can dive into.

I think questions of security
are, are interesting.

They've come up the most for
us on our synagogue project.

Right.

And it's unfortunate, but you can't.

Responsibly, just ignore the question,
especially if it's, you know, a big

multimillion dollar renovation and you
kind of have to justify what you are

aren't doing in terms of, of security.

And I think it's interesting that there
isn't, I think, one correct answer on.

How you treat these risks
and how, how much you want

that to influence the design?

So one of the projects that we
did, um, the clients really were

not super concerned about it.

Um, and they didn't feel that that
was an area they wanted to invest a

lot of money and, and thought they
wanted to be thoughtful about what

they might wanna add in the future.

But that wasn't a kind of front
and center thing that they.

Thinking about, um, on another project
that we, we did, that was a real concern.

And, um, the challenge for us on that
project was coming up with a system

that would give them the kind of
security that they felt they needed.

So, you know, having the ability
for a lockdown system where someone

can press a button and all the
doors automatically lock, um, having

kind of door front doors that.

Bulletproof or some kind of, um,
special rating of that nature.

Um, but while doing all of that,
making sure that the space doesn't

feel like a fortress, because yeah,
that was never the intention, right?

So trying to really in some ways
disguise all those, um, security.

Layers and still make the space
feel like it's inviting and it's

welcoming and it's a communal space.

And um, if you're not familiar with
the congregation, you can still feel

comfortable, you know, coming in the
front door and, you know, joining in.

So, um, I think that was an interesting
challenge and we spent a lot of time

on trying to find a way to create.

Lockdown system and these more secure
doors that would still not look

like, you know, ugly metal doors,
but something that fit this, um,

landmark building and the kind of
look and feel that we were going for.

And I have to say it, it was, and
still is a bit of a challenge, but.

I think we're, I think we managed to, to
find a way to merge those two desires.

The, the sense of being an inviting
space and then also having this

layer of security, um, that hopefully
they'll never, ever have to use.

Kevin Horek: Yeah, fair enough.

That makes sense.

Interesting.

So I'm curious, how, what would
you say to people that are maybe

thinking about becoming an architect?

Because I, I think everybody seems, well
not everybody, I shouldn't say that.

Like obviously chat, GT G T P and
everybody's worried that a bunch of

their jobs are gonna get automated,
and that may or may not happen.

We don't need to talk about that.

But like, where do you see the future
of architecture going and, and how do

you inspire people to maybe go into
the space, especially if maybe it's

a young girl that you know, because
there's not a lot of girls in the space.

Esther Sperber: I really
love what I'm doing.

I think it's like a little funny to
be like, you know, in your fifties and

still excited about your profession,
but I think it's a really exciting

profession because you get to do, kind
of envision some, envision something

and then actually see it being built.

You know, the real world and then used
by your clients and enjoyed by them.

And I think one of the interesting
things, so I don't know how AI

will affect the design process.

I think it's really, I think
it's really hard to imagine

how this will be taken over.

Um, these type of tools.

But, um, I hope that the dreary
parts of it, um, will be, you

know, automated in some ways.

Like, you know, making
lists of Windows and Sure.

Door handles.

I would love to stop doing that stuff.

Sure.

Um, so I think there, there might
be a way for automation to help.

You know, be more efficient and,
um, maybe even more accurate

on some of those things.

And then still give us a lot of
freedom to do the design part,

to do the, um, you know, I really
love, I love the design part.

I also really love the construction
administration part because there

are always problems that come
up and there's a lot of like

common sense problem solving and.

Innovative problem solving, like
coming up with something new of

how to resolve something that
you could not have anticipated.

Um, I think there's a lot of interpersonal
stuff that goes into this profession.

It's not, um, you're not just
sitting at your computer.

There's a lot of
handholding of the clients.

Um, Negotiating and collaborating with
engineers and with with contractors.

And I doubt that that part can be replaced
by something other than human beings.

Um, and I find that it's, I think
it's a really, really exciting

profession and I don't really see any
reason why, you know, a young girl.

Should shy away from it.

I think it's a, it's a
great place to be, I think.

Um, yeah, I, you know, I really love,
I have had a bunch of either high

school students or college students
who ask to come, either be interns or

just shadow us for a week or two cuz
they're curious about the profession.

I think the vast majority of them actually
have been women, and I'm always really

happy to, to do that because I feel like
it is an opportunity for, for younger

women to experience a profession that
they're probably less familiar with

and, um, maybe be excited about it.

Kevin Horek: Yeah, no, I think,
I think that's good advice.

The other thing too is if
everybody has access to the

same, AI tools and it generates
basically the same type of thing.

Sure.

That might be an okay starting
point, but it's really where a

human being takes it from there.

Right.

Or mon, many human beings take it
from there and you know, and then

to your point, it's, well, how is it
gonna solve all these combination of

things that come up along the way?

Right?

Like, we're pretty far away from
any of that, if that's ever even a

Esther Sperber: reality.

Yeah, I mean, it might be, it might
be more useful for like, you know,

when you're building, if you wanted
to build a building that's made

out of modular elements, right?

You designed it and fabricated.

I think that could be a
really straightforward and

interesting, um, AI project.

But, People in architecture schools
and the professors, they're all

really geeky about some of this
stuff and trying to figure it out.

So I'm curious what innovations
are gonna come out in that space.

Kevin Horek: Yeah, that
makes, makes some sense.

I, I'm curious to get your thoughts on
some of the sustainability stuff because.

I've heard mixed thoughts on
some of that stuff from, it's

just not cost effective yet.

Um, to, yeah, everybody should kind of
be doing that and everywhere in between.

What are your thoughts on kind of
building sustainable buildings and

residential and, and just kind of as
somebody that's in it and doing it?

Esther Sperber: I think the costs, the,
the question of cost effectiveness I

think was more, True like a few years ago.

I think it has kind of, I don't
think the cost is significantly more.

Um, you know, I think, I think we don't
really have much of a choice, right?

I think if we're, I think we know that,
that there's climate change happening.

I think, um, buildings.

One of the things that contribute to
that, both in terms of their energy

use and trying to make buildings more
energy efficient, um, by designing

their exteriors better, by designing
systems like air conditioning and

lighting that are more energy efficient.

I think those kind of things are no
brainers, and I think we're, I think

it's becoming kind of standard to do
as much as possible in that direction.

I think questions of like, you know,
how materials have been manufactured

is a little bit harder to trace, right?

Like where it was been made and
how much, how much, you know,

the carbon footprint of it.

And that is a much harder thing
to, to trace and especially in kind

of a global world where different
elements are made in different places.

Um, but I think there is, there has.

A lot of work done in that
direction and, and people, um,

are more cognizant of that.

I think the other piece that we've
been very involved in is, um, because

a lot of our work is renovations
is just thinking about that.

Like we have a lot of existing
buildings and some of them are

really inefficient energy wise.

Um, and how can we bring
them up to 21st century?

And also being aware that keeping
these old buildings is much better

for the environment than demolishing
them and starting from scratch.

Right.

Um, and so there's a value in this kind of
being in that renovation adaptive space.

Um, trying to respect like these
buildings and what, you know, the

logic of how they were built, and
then also trying to see, you know,

how we can make them much better.

Um, and that's something
that we are very focused on.

Kevin Horek: Sure.

So you do a lot of kind of public
speaking and, and talks and lectures.

What do you like to cover in those?

Esther Sperber: I love speaking
about, um, Kind of the intersection

of psychology and psychoanalysis and
architecture, kind of understanding

how space affects people, affects,
um, families, affects, um, society.

Um, I've also been very interested in, in.

Synagogues, but not just synagogues kind
of worship space and how, um, space is

created for community, um, can bridge
the sense of needing to, especially

in sanctuaries and, and um, spaces for
worship where you wanna both feel the

sense of communal, a communal experience.

You wanna hear everyone singing together.

You wanna kind.

Sense that holding environment.

And then on the other hand, you
wanna also be able to have a kind

of individual spiritual experience
and how we can kind of think about

that when we're doing design work.

You know, trying to balance those two
needs, the need for feeling that you're

with other people and the need to be able
to kind of have a personal experience.

Kevin Horek: Yeah.

Interesting.

Uh, what's the story behind the name?

Esther Sperber: I'm just curious.

Um, so es my name is Esther, but
growing up my nickname was Estee,

which is kind of a shortened version.

And so the letters Estee, uh, came
to kind of be a play on that Estee.

Very cool.

Kevin Horek: But we're, we're kind
of coming to the end of the show, so

how about we close with mentioning
where people can get more information

about yourself, the company, and
any other links you wanna mention?

Esther Sperber: Yeah.

Thank you.

Well, I guess the best place to go
is our website, uh, www.studio dash,

like a hyphens st like sam tom.com.

Um, but if you google my name
Esther Sperber, I think all our

socials and LinkedIn and Instagram
and et cetera will will show up.

Kevin Horek: Perfect, Esther.

Well, I really appreciate you
taking the time out of the, your

day to be on the show, and I look
forward to keeping in touch with you

and have a good rest of your day.

Esther Sperber: Oh, great.

Thank you so much for having me.

It was really interesting and fun
to kind of think out loud together.

Yeah.

Thank you.

Kevin Horek: Okay.

Bye bye-Bye.