David Meckel

Meckel holds a BS in Architecture from the University of Southern California and a Masters in Architecture from Columbia University. David Meckel is a licensed architect and arts educator who began his career working with Charles and Ray Eames in their Venice, California studio. A few years later David Meckel directed all of the design work for the 1984 Olympics, which Time Magazine declared “Not just the year’s, but surely the decade’s most glittering and effective demonstration of the power of creative design.”

While in Los Angeles, David Meckel co-founded the Interior Architecture program at Otis Art Institute with TED Conference creator Richard Saul Wurman. He relocated to the bay area to found the California College of the Arts architecture program in 1986. CCA’s San Francisco campus, a 150,000 square-foot solar-heated facility, was named one of the Top Ten Green Buildings in the United States on Earth Day 2001. From 1987-1997, David collaborated with graphic designer Michael Manwaring through their multidisciplinary design firm, Ei, to create public-realm projects in Rotterdam, Los Angeles, and Taipei. He was chosen as one of ID Magazine’s “ID Forty” Design and Technology Innovators in 1997 and was named a Fellow of the American Institute of Architects in 1998.

David Meckel

David Meckel


For the past 20 years David Meckel has been a professional advisor for design competitions and architect selections for cultural and educational institutions. He’s been deeply involved with SFMOMA running both their Rooftop Sculpture Garden Competition and directing the process for selecting their building expansion architect, Snohetta.

Below is from AIACC reporter Tim Culvahouse, FAIA.

Our Trusty Reporter recently sat down with David Meckel, FAIA, to learn how the Bay Area cognoscento keeps up with the news . . . in print. His method is elegantly refined.

“I subscribe to two dailies and three Sunday editions: the Wall Street Journal and the San Jose Mercury News, and—because you have to read your local paper, whether you like it or not—the San Francisco Chronicle, plus the New York Times on Sunday. Before I leave the house in the morning, I scan through them, read some of the lighter stuff (The Wall Street Journal summaries column, you read that, and you’re set for the day), pull out things I want to read, fold them, and put them in my bag. I’m looking at the news for who would benefit if I shared it with them.” He doesn’t bother with The New York Times on weekdays, confident that everybody else will keep him abreast of it.

David stops for coffee each morning at one of his favorite San Francisco spots. Once at Caffe Centro on South Park, Sightglass in SOMA, or Piccino in Dogpatch, he pulls out the stack of neatly folded articles, reads them, and saves the good ones to share. “Almost everything I love is in the business section, because it’s there first, before it hits ‘Arts & Leisure.’ The Mercury News business section is awesome, the Chron . . . not so great.” He notes that business writers write more from research, so their observations are more useful. He’s interested to know why things happen in the physical world; for example, he is fascinated by the expanding use of alternative fuels and the ripple effect this creates.

Arriving at his desk at California College of the Arts (where, by choice, he’s the only upper-level administrator without a private office) he cuts out the articles and photocopies them, resizing them to 8 ½” x 11”. Some, he posts on his “news wall”—a ten-foot row of photocopies at eye level in one of the campus’ most trafficked passageways—items about design, architecture, and art, often in their business context, with the names of alumni, faculty, and students highlighted or encircled with his trademark cloud. As the school term progresses, the pages stack up.

David also subscribes to a number of blogs, including Kristen Richard’s ArchNewsNow and Core77. His current favorite in this category is The Atlantic Cities. Even though he reads the print version of the Atlantic, he likes the urban focus and data visualization featured in Richards’s. “When I’ve sent a link to a colleague from ArchNewsNow or other link aggregation sites, in addition to ‘thanks,’ the second most common response has been, ‘I didn’t know you read Der Spiegel.’”

Articles go into folders at his desk, in categories such as interactive technologies, energy, and new business models.

And the originals? They go into envelopes, tagged with Post-Its with elaborate messages like, “Bob—look—DM,” and into the mail to colleagues near and far. He likes to send the originals, because they often include graphics that web versions omit. “It’s a great way to keep your business relationships alive. It’s non-threatening, and it doesn’t require a response.” Yet he does get responses, often gratifying, and sometimes much later: “We’re doing this now, and we found out about it through the thing you sent us.”

2018 History Graphic Design

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