Interior Design<\/em>\u2019s Giants list for 41 years straight. Even during a pandemic, the firm continues to grow exponentially, having onboarded 1,400 team members since April 2020, as well as debuting a Climate Action & Sustainability practice area and a newly minted health sector, building on such recent triumphs as its contributions to the Shirley Ryan AbilityLab.<\/p>\n\n\n\nArt, though an instinctual entrepreneur, would have been hard-pressed to envision such a future when he first entered the field, as an undergrad at Cornell University\u2019s College of Architecture, Art, and Planning. His time there was formative in many ways. It was at Cornell that he met both his future wife, Drucilla \u201cDrue\u201d Cortell (a Middlebury College student at the time), and Bay Area architect Henry Hill, a visiting critic and early mentor who encouraged the Brooklyn native to consider moving West. Which Art did in 1962, eventually landing in the San Francisco office of Wurster, Bernardi & Emmons, working on projects like the newly inaugurated Bay Area Rapid Transit.<\/p>\n\n\n\n <\/noscript>Contact sheets of publicity portraits from a 1976 photo shoot. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nIt wasn\u2019t long after, in 1965, that Art hung out his shingle, launching M. Arthur Gensler Jr. & Associates Architects with Drue and partner James Follett in a one-room storefront at 555 Clay Street. Art and Drue, who worked as office manager, had but $200 in the bank and three (of an eventual four) kids at the time. Some of his earliest projects were tenant-improvement work, a typology his technical skill set and out-of-the-box thinking were well suited to; those commissions presented an opportunity to examine and rethink how businesses operate within a space, and how to support that through the design; he made notable contributions in this vein to the Alcoa Building and Bank of America headquarters.<\/p>\n\n\n\n
Blurring distinctions between architecture and interiors became Art\u2019s operating principle\u2014a novel concept at the time that has since become a keystone of the profession. \u201cBy designing from the inside out, Art changed the industry,\u201d says Jerry Lea, executive vice president of Houston-based developer Hines, a longtime Gensler client. Lea recalls the real-estate company\u2019s initial conversations with Art in the mid-\u201980s, \u201ca time when the core and shell was designed to enhance the outside appearance of the building with little or no regard to the interior experience.\u201d The architect encouraged late founder Gerald Hines, \u201cto think differently and create buildings that provided flexible and efficient tenant layouts with great views and higher quality interior finishes,\u201d Lea continues. \u201cGerry took Art\u2019s advice and increased ceiling heights, upgraded restroom and elevator lobby finishes, and provided floor-to-ceiling windows, better indoor air quality, and energy efficiency, to set a higher standard for tenants to follow\u201d\u2014a sort of trickle-down high-design strategy.<\/p>\n\n\n\n
Workplace design was an early focus and remains a competitive advantage; Adobe, Airbnb, Boston Consulting Group, Campari Group, Dropbox, Facebook, Hyundai Capital, Nvidia, LinkedIn, L\u2019Or\u00e9al, and The New York Times<\/em> count among the powerhouse brands for which Gensler has executed offices. Believing in the power of design to transform organizations, Art considered the typology a locus of life enhancement and a springboard for research; in 2005 and 2006, the firm officially launched its U.K. and U.S. Workplace Surveys.<\/p>\n\n\n\n <\/noscript>M. Arthur ‘Art’ Gensler Jr. (1935-2021), photographed in 1976, founded his eponymous architecture\/design firm\u2014now the world’s largest\u201456 years ago. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nWhile workplace was the firm\u2019s foundation, Gensler was multidisciplinary from the get-go, and Art was intentional about expanding the firm\u2019s purview as opportunities presented themselves. His relationship with The Gap began when founder Don Fisher kicked sand on him at a La Jolla beach. A 1974 commission to coordinate stores, graphics, and construction for the clothing label ultimately swelled to more than 600 installations. \u201cLuck is not a strategy,\u201d Art said, \u201cbut when it comes your way, act on it.\u201d<\/p>\n\n\n\n
Fisher was not the only notable client Art met purely through kismet. A chance encounter with Steve Jobs at a design conference in the 1970\u2019s led to interiors for Apple\u2019s Cupertino headquarters and first 100 stores. Art met David Neeleman, JetBlue\u2019s founder, on one of the carrier\u2019s flights. The executive was personally walking the aisles offering drinks and chips to passengers. When Neeleman got to the 6-foot-4-inch-tall architect seated in economy, he adjusted the seat, and they began to chat. Soon came an RFP for JetBlue\u2019s terminal at JFK International Airport, where Gensler has since completed a number of other projects. Art\u2019s ability to convert fortuitous meetings into major\u2014and influential\u2014commissions bespeaks the authority with which he pleaded the business case for good design. Art communicated effectively with titans of industry because he was one himself.<\/p>\n\n\n\n
\u201cWe, not me\u201d: Leading via collaboration<\/h3>\n\n\n\n Part of being a good businessman, he believed, entailed planning for corporate perpetuity. \u201cFailure to embrace succession planning as early as possible is a roadblock to the test of time,\u201d Art stated. As a natural culmination of his firm-as-family mentality, he transitioned Gensler to an employee-owned entity in 1988 and both a board of directors and an executive committee were instated in 2000, formalizing a collaborative leadership structure that now extends to studios, offices, regions, practice areas, and design disciplines. \u201cArt was a visionary in organizational leadership,\u201d says Martin Koffel, former CEO of engineering firm URS Corporation (acquired by AECOM in 2014), a frequent project partner. \u201cHe was a generation ahead of his time in sharing credit with others and creating an inclusiveness in his organization that\u2019s rarely achieved today.\u201d Adds California College of the Arts president Stephen Beal: \u201cArt was so attuned to other people\u2019s ideas\u2014he was a brilliant collaborator. In design, the importance of multiple perspectives often gets overlooked. He didn\u2019t let a singular design ego override the collaborative experience.\u201d<\/p>\n\n\n\n
\n
\n
<\/noscript>Gensler\u2019s Houston office in the 1970s. Photography courtesy of Gensler.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
<\/noscript>IBM Corporation, Houston, 1977. Photography courtesy of Gensler.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n\n
\n
<\/noscript>Moscone Convention Center, San Francisco, 1987. Photography by Nick Merrick.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
<\/noscript>Interior Design, January 1990 Giants of Design cover, which Gensler has topped for 41 years straight. Photography courtesy of Gensler.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nArt stepped down from his management role in 2005, ceding the floor to current co-CEOs Andy Cohen and Diane Hoskins\u2014both longtime Gensler employees. He had a belief in the continuity of personnel befitting any efficient business model. \u201cAs you gain in size, you need to develop your firm\u2019s leadership abilities,\u201d he wrote in Art\u2019s Principles (Wilson Lafferty, 2015), a plain-speak textbook as well as a blueprint for a thoughtful life, well lived. \u201cIt takes time to find talent, to groom, and to generate value.\u201d He invested in his people and took mentorship very seriously. \u201cArt would do anything to support us,\u201d Hoskins says. Design principal Ronette King agrees: \u201cHe looked at each of us and saw our potential; that was all it took.\u201d Art\u2019s management style, says regional managing principal Robin Klehr Avia, \u201cwas based on a deep trust of our people. He would give you the car keys, trusting you to understand the expectations and chart the best course.\u201d Art didn\u2019t need to ride shotgun.<\/p>\n\n\n\n <\/noscript>Capital Bank, Miami, 1985. Photography by Nick Merrick.<\/figcaption><\/figure>\n\n\n\nThat ethos defines Gensler today, which, since 2005, has more than tripled in size and gone global, with offices in 15 countries. \u201cWe grow the firm by growing our people,\u201d says Cohen. \u201cThat is foundational to our \u2018one-firm firm\u2019 culture, where we empower the industry\u2019s top talent to pursue their passions and make a difference. We give our people opportunity to lead not only projects but also studios, offices, client relationships, practice areas, design disciplines, new ventures, research, etc.\u201d<\/p>\n\n\n\n
\n
\n
<\/noscript>The young Art and Drucilla \u2018Drue\u2019 Gensler in an undated photograph. Photography courtesy of Gensler. <\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
<\/noscript>Art\u2019s Principles, the architect\u2019s 2015 book of professional and personal advice. Photography courtesy of Gensler.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nA testament to this \u201cconstellation of stars\u201d mentality is the number of Gensler-ites who have been initiated into the Interior Design <\/em>Hall of Fame over the decades. There\u2019s Art himself, of course, plus six other firm members: Margo Grant Walsh, Antony Harbour, Don Brinkmann, and Collin Burry in addition to King and Klehr Avia. (Orlando Diaz-Azcuy was tapped in 1988, the year he founded ODADA after 11 years with Gensler.) And in 2009 Gensler itself was inducted\u2014the first and only firm to receive the vaunted designation.<\/p>\n\n\n\n <\/noscript>The San Francisco office staff in 1976. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nGensler Through the Years<\/h3>\n\n\n\n 1965<\/strong> Firm founded in San Francisco by Art Gensler1967<\/strong> First major contract: Bank of America1970<\/strong> Two offices; 45 employees1974<\/strong> First of 600+ projects for The Gap1981<\/strong> Ranked #1 on Interior Design Giants list1985<\/strong> Art Gensler inducted into the Interior Design Hall of Fame1988<\/strong> First overseas office, London, opens1990<\/strong> Gensler\u2019s 25th anniversary1993<\/strong> Atlanta, Detroit, New Jersey, Tokyo, and Hong Kong offices open1995<\/strong> First major hospitality renovation: Beverly Hills Hotel1998<\/strong> Gensler Design Excellence Awards program established2005<\/strong> Andy Cohen and Diane Hoskins named Gensler co-CEOs Art Gensler won the U.S. Green Building Council Leadership Award2006<\/strong> U.S. Workplace Survey launched2007<\/strong> gServe community impact program established2009<\/strong> First firm inducted into the Interior Design Hall of Fame2014<\/strong> Gensler Research + Innovation Awards established2015<\/strong> Gensler\u2019s 50th anniversary Firm signs Paris Pledge for Action at COP21 conference2016<\/strong> Shanghai Tower opens, becoming China\u2019s tallest building at the time2016<\/strong> Gensler hosts first Design Forecast LIVE event in New York2017<\/strong> 10-year anniversary of Gensler Research Program (now the Gensler Research Institute)2019<\/strong> Gensler Cities Climate Challenge announced2020<\/strong> Gensler City Pulse Survey launched Gensler\u2019s five-part Strategies to Fight Racism launched2021<\/strong> Art Gensler passes awayTODAY<\/strong> 50 offices; 28 practice areas; 10 regions; 5,800+ team members<\/p>\n\n\n\n <\/noscript>1965: M. Arthur Gensler JR & Associates Architects office, San Francisco. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\n \u201cArt, with whom I worked when I was at Hyatt, was always interested in anything new, unafraid to question conventional wisdom and encourage his colleagues to explore new ideas and options.\u201d \u2014 John Nicolls, John Nicolls Group<\/h3>\n\n\n\n <\/noscript>1997: Interior Design cover, November. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li> <\/noscript>1997: GAP inc. headquarters, San Bruno, California. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n \u201cArt methodically grew his architectural practice to one of the largest and most successful in the world. He was careful to foster a collaborative corporate environment that is regularly listed as one of the best places to work.\u201d \u2014 Michael Stanton, 75th AIA president<\/h3>\n\n\n\n <\/noscript>Art Gensler\u2019s rolodex. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li> <\/noscript>Art Gensler. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n \u201cI\u2019ve always been impressed with how Art and Gensler managed to create incredible impact and scale while at the same time remaining human-centered.\u201d \u2014 David M. Kelley, IDEO<\/h3>\n\n\n\n <\/noscript>1979: first annual report. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n \u201cIn the days before we were accessible 24\/7, Art would take the month of August off and be completely incommunicado. He\u2019d say, \u2018If something comes up, you\u2019ll know what to do.\u2019 That level of professional trust was extraordinary.\u201d \u2014 Belinda Presser, Gensler<\/h3>\n\n\n\n <\/noscript>1995: Beverly Hills Hotel, Los Angeles. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\n \u201cArt valued intelligent risk-taking. He set an example of social conscience through the firm\u2019s work as well as by sharing the success of the company\u2014creatively and financially\u2014with his entire staff.\u201d \u2014 Orlando Diaz-Azcuy, ODADA<\/h3>\n\n\n\n <\/noscript>2006: U.S. Workplace Survey. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li> <\/noscript>2017: Gensler Research 10-year anniversary. Photography courtesy of Gensler.<\/figcaption><\/figure><\/li> <\/noscript>Co-CEOs Diane Hoskins and Andy Cohen. Photography by Jim Krantz. <\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<\/div>\n\n\n\n
\u201cArt was one of the most approachable people I\u2019ve ever met. Even the location of his own office spoke to that. He could\u2019ve had a corner one facing the ocean, but instead he had an interior office, close to the middle, so he was accessible to everyone.\u201d \u2014 Gary Saulson, PNC Financial Services Group<\/h3>\n\n\n\n <\/noscript>2007: New York Times headquarters. Photography by Nic Lehoux.\n<\/figcaption><\/figure>\n\n\n\n \u201cArt was a gift from God for those of us who value architectural excellence without compromise.\u201d \u2014Doug Manchester, Manchester Financial Group<\/h3>\n\n\n\n <\/noscript>2016: Shanghai Tower. Photography by Blackstation. <\/figcaption><\/figure>\n\n\n\n \u201cArt was a big-hearted leader and a giant in architecture and business\u2014a true visionary. With his confidence in the power of design, he both elevated architecture and created a new model of client engagement and collaboration that has become the gold standard.\u201d \u2014 Vic Grizzle, Armstrong World Industries<\/h3>\n\n\n\n <\/noscript>2020: Strategies to Fight Racism. Photography courtesy of Gensler.\n<\/figcaption><\/figure>\n\n\n\nSFO’s Long Flight<\/h3>\n\n\n\n Gensler has done extensive work at San Francisco International Airport starting in the late 1970s, with the expansion and renovation of Central Terminal (now known as Terminal 2). Unveiled to the public in 1983, it was ground-breaking for its focus on the passenger experience. More recently, the firm was enlisted to reconvert T2 into a functional domestic terminal, completed in 2011. With curated restaurants, shopping, food services, plenty of Arne Jacobsen Egg chairs, and power plugs, the airy and well-lit LEED-Gold facility is like a little slice of San Francisco. Perhaps most enjoyable of all is the art component. SFO operates its own museum with exhibits rotating through terminals. We\u2019ve seen displays of vessels and typewriters, Ettore Sottsass\u2019s Valentine for Olivetti included, and an installation of Yayoi Kusama\u2019s High Heels for Going to Heaven, part of the airport\u2019s public works collection.<\/p>\n\n\n\n <\/noscript>San Francisco International Airport Central Terminal, 1983. Photography by Timothy Hursley.<\/figcaption><\/figure>\n\n\n\nRay Quesada, vice president of operations at Merchant Aviation and former SFO project manager, recalls Art\u2019s visits during the multiyear T2 design process. \u201cHe used to come by whenever I was in the office to look at what was being done; he always referred to the airport as his baby.\u201d Gensler design director and principal Collin Burry also has fond remembrances of Art\u2019s involvement in T2. \u201cOnce Art did a walk-by during a design charette, glanced at a plan, and within seconds noted that some of our restrooms were not accessible; he was right. He always wanted us to focus on perfecting all that would affect the user experience at all scales.\u201d<\/p>\n\n\n\n <\/noscript>Central Terminal, 1983. Photography by Timothy Hursley.<\/figcaption><\/figure>\n\n\n\nSubsequent work at SFO entailed the 10-gate Boarding Area E in Terminal 3; REACH, a two-phase process to document and implement design qualities that enhance the passenger experience; multiple United Airlines facilities; and redevelopment of the T3 Checkpoint East area. The firm is now putting final touches on the redevelopment of Harvey Milk Terminal 1, a flexible next-gen design sure to set the passenger experience bar even higher. <\/p>\n\n\n\n <\/noscript>Harvey Milk Terminal 1, 2021. Photography by Jason O\u2019Rear. <\/figcaption><\/figure>\n\n\n\n\n
\n
<\/noscript>Terminal 2, 2011. Photography by Bruce Damonte. <\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
<\/noscript>Terminal 3 Checkpoint East, 2015. Photography by Joe Fletcher.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n\n
\n
<\/noscript>T3 Boarding Area E, 2014. Photography by Joe Fletcher.<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n
<\/noscript>Terminal 3 Checkpoint East, 2015. Photography by Joe Fletcher.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nAn Emphasis on Lifelong Learning<\/h3>\n\n\n\n <\/noscript>Art Gensler. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nAnother way in which Gensler invests in its people is through education. The firm and its founder have always couched design as a lifelong learning experience. Gensler University functions as an in-house means to develop next-gen leaders through programs and enhanced global knowledge sharing. And in 2007 the firm formalized its support of employee explorations outside day-to-day client work by launching the Gensler Research Program (now called the Gensler Research Institute) with the goal of developing a deeper understanding of the connection between design, business, and the human experience. Falling under the program\u2019s aegis are workplace surveys, the Workplace Performance Index, a formalized RFP and review process, three volumes of research catalogues detailing case studies, and ultimately research into all practice areas. The year 2011 was a milestone, when the program established an annual research grant process accessible to any firm member; in the most recent cycle alone, 51 were awarded. Since 2020, the GRI has established two new centers to focus on critical societal concerns\u2014equity and resilience\u2014as they pertain to the built environment.<\/p>\n\n\n\n <\/noscript>Firm principals at a meeting in 2013. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nThe pandemic has prompted its own research effort. Gensler wanted to know about urbanites\u2019 responses to COVID-19. Were they staying, leaving, or considering the latter? What constituted governing factors? What defined peoples\u2019 relationships with their cities? The firm\u2019s City Pulse survey of 2,000 respondents in New York, San Francisco, London, and Singapore was conducted twice in 2020. In 2021, an updated version expanded to 10 cities.<\/p>\n\n\n\n
Beyond the firm\u2019s walls, Art also viewed industry organizations as an important source of knowledge. \u201cHe believed associations are where learning happens,\u201d says Cheryl S. Durst, IIDA\u2019s executive VP and CEO. She had that sentiment in mind a few years ago, when the IIDA teamed with Gensler, under the guidance of managing director Todd Heiser, to conceptualize its new Chicago headquarters. There, she explains, \u201cwe flipped the switch,\u201d prioritizing learning space over workspaces\u2014a move that allowed the IIDA to scale up its already robust programming. \u201cArt always said to stay interested in what you love and curious about everything else; never stop learning,\u201d Durst recalls.<\/p>\n\n\n\n <\/noscript>2015 Principals Meeting Gensler 50th Anniversary. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nArt\u2019s commitment to education ran deep, its roots holistic. Acknowledging his alma mater as a launchpad to success, Art and his family gifted $10 million to Cornell APP to sustain its New York program. \u201cGrounded yet optimistic, decisive, and prescient, Art saw things not just as they were but also as they could be,\u201d dean J. Meejin Yoon says in praise. \u201cHis unwavering belief in design is a constant reminder the built environment can bring immense value to communities, cities, and society.\u201d As a board chair and trustee of California College of the Arts, he left a deep impression on the school\u2019s president, Stephen Beal. \u201cArt always took a student-centric view of what education should do\u2014not just in terms of curriculum and intellectual development, but also of students\u2019 lives and well-being.\u201d<\/p>\n\n\n\n <\/noscript>The magazine\u2019s November 2015 cover, celebrating the firm\u2019s 50th anniversary with a nautilus-inspired stair in the Frankfurt, Germany office of Hyundai Capital. Photography by HG ESCH Photography.<\/figcaption><\/figure><\/li> <\/noscript>On the April 2014 cover, a table at DIFFA\u2019s annual Dining by Design event in New York, designed by Gensler\u2019s Ed Wood and team and Herman Miller. Photography by Eric Laignel.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<\/div>\n\n\n\n
<\/noscript>Cadillac House, a branded experience environment in Hudson Square, New York, made September 2016\u2019s cover. Photography by Eric Laignel. <\/figcaption><\/figure><\/li> <\/noscript>Gracing the September 2014 issue, Markus Linnenbrink\u2019s acrylic,pigment, and gesso on panel in an elevator lobby at the New York office of Morrison & Foerster. Photography by Garrett Rowland.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n<\/div>\n\n\n\n
With scholarship programs embedded in Gensler\u2019s DNA, the firm gave academic grants totaling more than $200,000 last year. Among them are Rising Black Designers, the Brinkmann Scholarship, and the Diversity in Design Bursary in the U.K. And Gensler\u2019s focus on education now extends to the pipeline: the next generation of designers. \u201cAround the world, our teams donate thousands of hours annually to supporting local schools\u2014from elementary through high school\u2014to bring awareness of our industry as a career that combines all kinds of backgrounds,\u201d Hoskins says. Recent initiatives have been laser-focused on increasing diversity in the field.<\/p>\n\n\n\n
\n
\n
<\/noscript>Hyundai Capital office, Frankfurt, Germany, 2015. Photography by HG ESCH Photography.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n <\/noscript>Coca-Cola headquarters, Atlanta, 2016. Photography by Garrett Rowland.<\/figcaption><\/figure><\/li> <\/noscript>Campari Group, North American headquarters, New York, 2019. Photography by James John Jetel.<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n <\/noscript>Nvidia Campus, Santa Clara, California, 2018. Photography by Connie Zhou.<\/figcaption><\/figure>\n\n\n\n \u201cEvery voice counts\u201d: Social and global responsibility<\/h3>\n\n\n\nGiving back and paying it forward: Philanthropy has been a way for Gensler\u2014both the man and the firm\u2014to do both. In addition to higher education, the Gensler Family Foundation supports the arts and geriatric research. Art sat on the boards of SFMOMA and the National Building Museum in Washington, D.C., among other institutions. And he was tireless in giving back to his beloved San Francisco, serving on the city\u2019s Committee on Jobs, Chamber of Commerce, and Center for Economic Development.<\/p>\n\n\n\n <\/noscript>Gensler\u2019s Board of Directors, 2021, from left: John Adams, Judy Pesek, Robin Klehr Avia, Andre Brumfield, Karen Thomas, Julia Simet, Daniel W. Winey, Andy Cohen, Diane Hoskins (co-chair), Cindy Simpson, Jordan Goldstein, Joseph Brancato (co-chair), Whitley Wood, Raymond Shick. Photography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nGensler has long held sustainability, the Well Building initiative, and, increasingly, health considerations paramount in every project type. As far back as 2005 the firm received the U.S. Green Building Council Leadership Award; in 2012 Art was bestowed its President\u2019s Award. Three years later Gensler signed the Paris Pledge for Action at COP21. As Gensler has grown, it has doubled down on social responsibility. \u201cAs the largest design firm in the world, our diversity, breath, and scale allow us to take on the toughest global challenges, leading the way for our industry in climate change, social equity, urbanization, mobility, and the future of our cities around the world,\u201d Cohen says. The urgency of climate change has prompted intensified focus. \u201cThe building industry and its investors have recognized the consequences and risks of climate change and they are looking to Gensler for strategies and action,\u201d Hoskins observes. The firm does not take its role-model status lightly, having committed to making its entire portfolio net-zero carbon by 2030.<\/p>\n\n\n\n <\/noscript>Art Gensler at the opening event for the Shanghai Tower in 2016.\nPhotography courtesy of Gensler.<\/figcaption><\/figure>\n\n\n\nDuring the tumultuous year of 2020, Gensler acknowledged and acted upon one of society\u2019s most pervasive concerns. It established a global race and diversity committee, inaugurated a student design charrette with seven HBCUs, introduced Black Lives and Design research grants, and launched the five-part Strategies to Fight Racism. The latter initiative, Hoskins says, \u201censures that we are really a place where a diverse community of designers, architects, and people can thrive.\u201d The big design problems of tomorrow require collaboration between multidisciplinary thinkers, and Gensler is perfectly poised. \u201cGlobal challenges coupled with supply-chain issues, labor shortages, and inflation will mean that design must be smarter and more purposeful than ever before,\u201d Hoskins affirms.<\/p>\n\n\n\n
Although Art retired from the Gensler board in 2010, he remained an active presence until the very end\u2014mentoring, sitting in on weekly Monday morning global calls\u2014but perhaps even more so for his foundational philosophy that undergirds every aspect of the firm. \u201cAs I reflect on Art\u2019s legacy and Gensler\u2019s future,\u201d Cohen says, \u201chis last words to me ring true: \u2018You need to make sure everyone\u2019s having fun. The world is heavy, and we must take care of our people and our clients.\u2019 His humility and authenticity to care about and for others redefined our industry, our firm, and how people think about architects and design. It was never about him; it was, and will always be, about our people and the power of design and of Gensler to create a better world.\u201d Designing a better world is the firm\u2019s raison d\u2019\u00eatre, a responsibility every last team member takes to heart.<\/p>\n<\/div>\n<\/div>\n\n\n\n