WH rendering McCrerery Architects

Would You Work for Trump?

Every architect understands that an ethically challenged client or project can imperil a practice. Perhaps apropos of this: The design for Donald Trump’s $200 million White House ballroom, renderings of which were released in July, has yet to undergo a full, official public review by the National Capital Planning Commission. If the National Park Service or any other federal agency is carrying out the planning, development, and construction of the proposed addition, then the project has to undergo review under Section 106 of the National Historic Preservation Act. The absence of review for the president’s project thus far hasn’t stopped construction equipment from removing old-growth trees to excavate the ballroom’s East Wing site.

Though the building will be a reported 90,000 square feet, nearly twice the size of the original 1792 design for the White House, no floor plans or other project details have been publicly released. With no substantial information on the ballroom’s design, AIA leadership in August sent an open letter to the Committee for the Preservation of the White House decrying the lack of transparency on this important project. The letter took issue with the fast pace of decisions made regarding the ballroom, and how they’ve been made. According to an AIA spokesperson, the institute has received no response to the concerns it raised: there is no knowledge of a qualifications-based architect-selection process, no historic preservation review, no public input, no public accountability.

It might be the case that design documents have yet to be completed for the review process to begin. But the lack of transparency from the White House and the project designer—McCrery Architects—make this difficult to determine. Recently, I sat down with Tom Fisher, former dean of the University of Minnesota’s College of Design and current professor at its architecture school, and the author of several books and articles on architectural ethics, to talk about the ethical dimensions of this high-profile project and working with a client who might seek to end-run the review process. The absence of review for the president’s project hasn’t stopped construction equipment from beginning demolition yesterday of the historic East Wing. Back in July, Trump claimed that the ballroom “won’t interfere with the current building.” 

 

MJC: Michael J. Crosbie
TF: Tom Fisher

MJC:

What’s the range of problematic ethical behavior that you see in the context of this project?

TF:

Before Donald Trump was ever president, I gave a lecture on the Trump organization in my ethics class covering just about every possible ethical lapse I could think of. For the White House addition, many of the same issues come up. “Virtue ethics” focus on honesty, being prudent, being temperate in your behavior. It’s a large project, so it’s hardly prudent in terms of thinking about adding to the White House. Then there’s “contract ethics”: obeying checks and balances, following processes, procedures, acting on contractual obligations. The Trump organization was legendary considering the number of times it would not fulfill contractual obligations with architects. In “duty ethics” you have an obligation to think about your actions. If everyone else did the same as you did, what would the world be like? If everyone just built whatever they felt like, whenever they felt like it, we wouldn’t have zoning laws or building codes. These are ethical issues that lapse into legal issues regarding what architects and clients are supposed to adhere to. Finally, “utilitarian ethics” is the concept of what’s the greatest good for the greatest number. The White House is also called the “People’s House.” It’s our house, not the president’s. Making a major modification to a house we all own is problematic because of this building’s historical importance. We accept presidents coming in and redecorating, but when you’re adding substantially to the building itself, that’s a different matter.

MJC:

Does the fact that this is one of the most important buildings in the country add another ethical dimension to an architect’s role in working on it?

TF:

Absolutely. Architects have a responsibility not just to design a building that meets the client’s needs, but one that meets all of the review and approval processes. There are all sorts of processes that architects must go through whether the client wants to go through them or not. It’s the architect’s responsibility to make sure that they go through them. An architect who knows, for example, that the client might not want to go through them has to say: “That’s potentially a violation of the law. You have to go through these review and approval processes. It’s just part of doing buildings.” What’s really peculiar about this project is the idea that somehow Trump can just forgo those things. Like so many other things we’re seeing the Trump administration do, it’s pushing the boundary of what’s legal. Building an addition to the White House without going through review and approval processes is, as far as I’m concerned, an illegal action.

 

white house renovation:demolition

Demolition crews ripping up the facade of the East Wing of the White House for Trump’s $250M ballroom addition, via Yahoo News.

MJC:

It’s also possible that the preparation of documents for review is in process, but the lack of transparency on the process leaves us guessing. I would welcome the lead architect for the project, James McCrery, AIA, to contact me with any information that could clear up these mysteries. The AIA Code of Ethics has two mandatory rules that seem pertinent here: Rule 2.101 states that AIA members “shall not, in the conduct of their professional practice, knowingly violate the law,” while Rule 2.106 says that “members shall not counsel or assist a client in conduct that the architect knows, or reasonably should know, is fraudulent or illegal.” Architectural licensing boards and professional associations dictate that one must uphold the law. Would continuing to work on a project for a client who appears to be ignoring required design review regulations suggest a possible violation of the Code of Ethics?

TF:

I would say yes. But the bigger question is about the loss of architecture licensure. In many jurisdictions violating the law, particularly if it’s in regard to your practice, is cause for loss of licensure. Different jurisdictions have different levels of this. For example, some require that it be related to practice. Continuing to work on a project knowing that the client might forgo review and approval processes may be a cause for loss of AIA membership and licensure. What the architect appears to have done so far is not problematic: some schematic drawings to show what’s possible, right? But what happens next? If a set of contract documents is handed over to the client that do not go through all of the required reviews and approvals, that’s potentially an illegal act.

MJC:

You’ve written that large-scale, high-cost building projects are often susceptible to financing shenanigans, money laundering, influence peddling. According to the White House, the ballroom’s cost will be paid by Trump and a host of private benefactors. If that happens here—there’s already congressional concern about foreign investment—does it become an ethical issue for the architect? 

TF:

It’s really ironic that an administration that keeps talking about wanting to root out waste, fraud, and abuse is using private financing, which is open to all sorts of fraud. Without transparency, we don’t know if the proper procedures for hiring were followed. To do a federal project there’s an RFP submission process. It might have been followed, but without transparency we don’t know. One question an architect should ask is: “Without going through a federally mandated hiring process, is my selection potentially illegal?” One might be concerned about whether the architect paid to get the commission, or do a favor. In a project with full transparency, we would have answers to these questions. We see how the Trump administration is treating lawyers: to get federal court cases they have to do favors for the Trump administration. You can’t require an architect to do pro bono work for a federal project. The fact that it’s being paid for by private money is also concerning because there could be all sorts of influence-pedaling on the part of both foreign entities as well as domestic to curry favor with the president. This is why we have processes in place to prevent this kind of behavior. 

MJC:

McCrery is a faculty member of the Catholic University School of Architecture and Allied Arts. CUA’s architecture dean, Mark Ferguson, informed alumni of McCrery’s White House project and that McCrery had asked for a leave of absence, which was granted. According to CUA’s Faculty Handbook,  faculty are required to be faithful to the university’s concept of academic freedom, which in part presumes “observance of the professional standards of one’s discipline.” Faculty also have an obligation to “moral integrity, including respect for the ethical obligations of the teaching profession” as well as observing “appropriate norms of ethical conduct expected of teachers, researchers, and other professionals.” Again, without transparency, we don’t know what the circumstances really are. But do you see potential ethical lapses here? 

TF:

Universities have a couple ways of thinking about conflicts. One is “conflict of commitment” and the other is “conflict of interest.” The conflict of commitment comes up when faculty members have outside obligations that prevent them from fully engaging in faculty work. That McCrery has asked for a leave of absence is probably a good thing, because it addresses the potential conflict of commitment he might encounter. In a conflict-of-interest issue, a faculty member is involved in some business-related activity that can compromise the faculty member’s integrity. It might reflect negatively on the institution itself. The danger here is that Catholic University could be swept up in this controversy and potentially has legal liability because of McCrery’s role in it. Typically, a conflict-of-interest management plan is developed with the faculty member in partnership with the institution in terms of how this potential conflict is managed. If CUA hasn’t developed a conflict-of-interest management plan, it’s leaving itself open to liability. 

MJC:

You’re a former dean. If this were one of your faculty members, what would you do? What questions would you ask? How does one square a faculty member’s professional practice with their responsibilities to educate the next generation of architects? 

TF:

Good question. This is a real learning opportunity for an architecture school. Practitioners constantly face potential conflicts. There will be clients who want to cut a corner on some requirement or not be totally honest with a code official. Architects have an obligation to tell the truth. If they sense that a client is anticipating doing something that violates a code requirement or otherwise breaks the law, the architect has an obligation to notify people in power about that. This could be a great opportunity for CUA to have a series of symposia or public conversations about this situation because there’s many aspects to it: the architect’s responsibilities vis-á-vis the client, the architect’s responsibility to a major historic building, myriad preservation issues. While I think it’s less important there could also be a conversation about aesthetics: Is this design the right thing to do architecturally, apart from legal, ethical, and practice questions? There’s a teaching opportunity here, and that’s what universities should engage in: take up controversial topics and have civil conversations about them in public fora. There’s a huge opportunity for Catholic University to take a leadership role here, engaging a broader public in what this means. It would be really unfortunate if this is just an argument about Classicism. If the profession goes down that rabbit hole, it’s going to seem as though we don’t really care about these larger ethical and legal issues.

MJC:

Agreed. It turns out that CUA is hosting a symposium next spring on “Architecture & National Identity,” which could be a spring board for a discussion of this very topic. Let me ask you: If you were in McCrery’s position, what kind of a conversation would you have with a client who might be resisting a project review?

TF:

Any architect has an obligation to tell the client about the implications of not going through required review and approval processes. Whether the client listens, of course, is another issue. In this case, he also has an obligation to be honest with his employer, Catholic University, about that client conversation, because liability could come back to the institution itself. He also has to decide whether to continue with this project if a review process is to be ignored. One of the most important acts any architect can take is to walk away from a project. There would be no addition to the White House if every architect refused to do it. Architects can simply say No, we’re not going to participate unless the required review processes are obeyed. If the president doesn’t want to do that, then no architect should be willing to do it. I’ve been studying situations where a country is run by a dictator, and how that country’s architects behaved. António de Oliveira Salazar, the dictator of Portugal until 1968, declared that all government buildings had to be classical, and he didn’t obey selection, review, and approval processes. There were a few architects who worked for Salazar, but most of them didn’t. They said, We’re not going to do government buildings. But for the few that did, when Salazar was out of power, those architects’ careers were ruined. There are many reasons to be ethical, but one of them is your reputation. Once you do unethical things and violate the law, you damage your reputation with your colleagues, with other clients, and with the community. It’s a great way to destroy your career.

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