Local architect Dave Ackerman (of architecture firm Wolf Ackerman Design) graduated from both Princeton and the University of Virginia, co-founded Formwork Design and spent 11 years as an adjunct faculty member at UVA teaching architectural design—but his interest in architecture began long before any of that.
“When I was 10 or 11, I would draw our house floor plans on graph paper and suggest alternate furniture arrangements to my mom,” he said. “I’ve always liked to design and build and ‘invent’ things.”
In 1989, he moved to Virginia and set about designing spaces that are still recognizable today—from Rapture’s R2 nightclub to the Charlottesville Center for Contemporary Arts. Wolf Ackerman keeps a mix of residential, institutional and commercial projects in the studio at all times, which accounts for Ackerman’s varied portfolio. “Every project is different; it never gets old,” he said.
Why architecture?
I never really considered anything else. Growing up, my favorite subject in school was art and I was good at math (I’ll bet that’s a fairly common denominator for architects). At that time, my two favorite magazines were Sports Illustrated and Better Homes and Gardens. I’ve always liked to design and build and “invent” things. I think at its essence, architecture is about creative problem solving.
Why did you choose to practice in Virginia?
Why not? Charlottesville is a great place. After working for three years in Cleveland, I came to UVA to go to grad school. Cleveland is the North Coast of America, but it doesn’t have mountains, the sun doesn’t shine much and the winters are brutal. My wife, whom I met in the architecture program, attended Oberlin College as an undergrad, so she was familiar with the Northeast Ohio phenomenon. We’re both very happy to be in Charlottesville.
Tell us about your college studio experience. Was there a stand-out teacher who had a lasting impact on you?
There were many. At Princeton, Dean Robert Maxwell was very kind and encouraging and helped me establish my architectural footing. My thesis advisor was Alan Chimacoff, who was very accessible. At the time (1986), Princeton’s Architecture department was very narrative based and allegorical. He was plain spoken and could synthesize complex concepts in a straightforward fashion, which I appreciated.
At UVA, I had a lot of great instructors. I worked for Jim Tuley one summer. He was a great guy and one of the last old school, no BS modernists. On the other end of the spectrum, Merrill Elam taught a studio that was a real departure from the typical stuff, more about process and unselfconscious exploration. I think my favorite studio was in Venice with Ed Ford. Understanding the connection between the big picture concept and how that might manifest itself in the small scale details is something that continues to interest me.
On process: How does it begin?
It starts with input from the client, which leads to a programming diagram that establishes the size of the pieces and their relationship to one another. This is a kind of idealized organization that morphs in response to constraints and opportunities presented by the context (site). The resulting diagram is the nexus for a site or floor plan which is infused with hierarchy and made unique due to its response to the program and context. There isn’t a single solution for this diagram; there can be many. At this point, you can describe and demonstrate the basic concepts to a client and develop the collaborative process. From there, it’s about elaborating concepts and testing alternatives. It’s an iterative, non-linear process. More often than not, you spiral in on the solution.
What inspires you?
I’m interested in almost all things designed and built/manufactured: electronics, vehicles, packaging, furniture, agrarian and industrial buildings and, of course, architecture. Generally speaking, I am drawn to solutions that are simple and elegant. Last summer, however, we visited Barcelona and toured the Sagrada Familia. I’ve always considered the architecture of Antonio Gaudi to be overly organic and willful, but the interior of that cathedral was truly awe-inspiring, It was the single most moving, emotional response I’ve ever had to a built space. The entirety of the space was full of people shuffling about with a look of shock and awe and, most importantly, joy. How great is that?
How does the site or sense of place inform architecture for you?
It’s critical. It’s what roots the project to its surroundings and gives it meaning. The response can be in accordance with its context, comment about it or work in opposition, but it has to respond somehow. It’s the main difference between mass-produced housing and custom-designed homes.
What’s in the studio at the moment?
We’re finishing up a large office addition for the Insurance Institute for Highway Safety in Ruckersville. We have a new elementary classroom building under construction for Mountaintop Montessori. We are just starting a new restaurant, and we are working with a local nonprofit on a new space. Additionally, we have a handful of small, interesting residential projects. We like to have a mix of project types in the office at all times.
How would you assess the state of architecture in our region?
It’s gotten a lot more interesting in the last 10 years. I’m not sure if it’s the result of a changing demographic in [our] area, or a newfound openmindedness about design as a result of mass media (Design Within Reach, Dwell, Abode?). In any event, it seems as though this area is more accepting of interesting, modern design solutions than ever before, which feels like progress.
