Corey Papadopoli

I have wanted to be an architect since about 4th grade. I always knew I wanted to combine science and art in some way and that seemed like a good way to do it. Haven't looked back.

We are an architectural firm in Blue Hill, Maine engaged in the design and renovation of residential and institutional buildings. Much of our work is on the Maine coast and islands, and it is this extraordinary environment – natural, cultural and architectural – that provides our starting point and inspiration. A common theme of work in progress at Elliott Architects is our search for an architecture that expresses something essential and authentic about its owner, place, and time.

I like a challenge so anything that requires complex thinking to achieve what ultimately appears to be a simple solution.

This project, the Old Yacht Club, is one of my favorites. It was challenging to achieve the clients' goals due to the regulatory and structural requirements. Also, renovating a historic structure requires careful thought and consideration as to how the old and new will interface.

It is hard to come up with just one material. I do like wood a lot as it is versatile, environmentally friendly, and exudes warmth.

Most of my creative thinking happens while I'm driving. It gives me time to run through solutions in my mind, test them, and think about the project before I ever put pen to trace.

Defining the problem and then seeking a conceptual solution that binds all elements of the project together.

There's always a sense of joy when a project is complete and the owners are thrilled with the result.

When the problem is solved in a way that exceeds everyone's expectations.

How did it solve the problem? Is the solution overpowering and noisy or is it quiet and subdued?

Climate change is an existential threat so designers have a responsibility to their clients and the planet to provide a sustainable solution to their problem.

One of the big unknowns is the impact of AI. I think there can be positive aspects to this but also negative aspects if not used appropriately. We need to proceed cautiously.

These vary quite a bit. Usually, I start with the site and the program and work to define the problem. From there the definition of the problem often leads toward different means of inspiration.

I am not sure I work stylistically. Ideally, style grows organically out of the design process itself. History is an inspiration, as is memory, but these should not be replicated. Modern interpretation of these things is what I seek.

Maine in the United States. Our country does have a (short) history of vernacular designs inspired by the climate and building materials available to the builders. There is a lot to be learned from these projects. But our built history does not have the breadth of say European or Asian architectural history.

We prefer a team approach where everyone is engaged early on to help provide the best project solution possible.

I think there are two things to look at: are they a team player and what does their portfolio look like?

Usually, I think a lot about the problem, often while driving, before I ever draw anything. Once I feel the problem has been defined I try and come up with 10-20 quick conceptual solutions to the problem. The strongest 3-4 schemes are typically developed.

My Arne Jacobsen tea kettle, an Ingo Maurer Lucellino lamp, our antique Eames dining room chairs, a Stelton bottle opener, and an Artemide Tolomeo lamp.

Wake up and get ready for the day. Drive to work thinking about the projects I'll be working on for the day. Meet with team members of various projects to ensure we're all on the same page. I'm probably on the phone with contractors multiple times to check in on projects or answer questions. Lots of emails. Hopefully, some sketching or drawing. Head home and think about the next day's work. Go for a run or play some volleyball. Have dinner with my family. Read then go to sleep.

Creative pursuits are important, whether drawing, painting, pottery, or whatever. Anything that requires creative thinking helps keep those "muscles" in good shape. Always explore an iterative design process. Don't get too attached to one idea or concept. Push beyond. Every problem has at least two equal solutions.

Positives: working on interesting projects with interesting people. No two projects are ever alike. Negatives: ever-increasing prices over the last four years have made it a challenge to meet budgets.

Never let the design be too loud and take away from its purpose or environment.

Critical problem-solving is the most important skill for any designer.

Pen and trace and the Trace app by Morpholio are used for the majority of my design work.

I typically have 7-10 projects going at once so weekly scheduling meetings are critical to ensure tasks get done on time.

It varies greatly. A typical house has a design process of about a year and construction can then take 14-18 months. Some take less time; some take more.

My first project with the firm was a new house on a tight timetable. We started design at the beginning of August on a 4,000 SF home and foundation work began in November of the same year. This was an aggressive schedule requiring biweekly meetings and rapid design thinking. It helped me produce work quickly that was thought-driven and not get too attached to one solution.

Residential work is very personal. This is typically the biggest expenditure of a person's or family's life, and you get to know them intimately with every detail carefully considered. But I also enjoy working on community-based projects as well that can be rewarding on a larger scale.

I plan to continue doing what I am doing, seeking the next design challenge.

Initial conceptual designs are often developed independently and from there, a team is formed to carry the design forward.

I have a small project, only 144 square feet, that is a cube: 12'x12'x12'. It will be an office for an existing client. A timber frame structure entirely clad in aluminum panels, it is an enigmatic structure in the woods with no signs of doors or windows when closed.

In high school, I was a fine arts major. I went to Wentworth Insititute of Technology and earned an Associates Degree in Architectural Engineering cumm cum laude and a Bachelors Degree in Architecture magna cum laude.

I've always liked to draw and loved math and science. Architecture seemed like a great way to combine these things.

Mostly residential buildings along with small institutional and commercial structures. Along with that, there is often some furniture design as well.

How well it solves the problem at hand. And does it do so by bringing delight and joy or does it overwhelm with bravado? A great design is quiet, silent.

Creative problem-solving is the key. Working through an iterative process that is deductive to try and reach a solution.

Louis Kahn, Corbusier, Tadao Ando, Frank Lloyd Wright, Mies van der Rohe, Edward Hopper, Italo Calvino, etc.

There are too many to list. Anything by the Charles and Ray Eames, Arne Jacobsen's tea kettle (and the whole Cylinda series really), Tadao Ando's Church of the Light, Corbusier's Notre Dame du Haut, Louis Kahn's Salk Institute and Exeter Library, Wright's Unity Temple.

This is hard to say. I think the Old Yacht Club is one of them. It solved a complicated problem in a way that presents a dialogue between old and new and draws the environment into the daily experience of the house.

Constant education and a willingness to take risks, put yourself out there.

Creative problem-solving that brings delight or joy to its solution.

I've had much help along the way, from professors including Glenn Wiggins and Weldon Pries to former employers, in particular Peter Forbes and my current employers (now partners), Matt and Libby Elliott.