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George Haecker’s Design for Living: “Trying to understand what a building wants to be.”


George Haecker

 

George Haecker’s Design for Living 

“Trying to understand what a building wants to be.”

photos by Bill Sitzmann and provided

story by Leo Adam Biga

Originally appeared in the May 2019 edition of Omaha Home Magazine (https://omahamagazine.com/articles/george-haeckers-design-for-living)

Don’t look for ostentatious displays in the work of award-winning Omaha architect George Haecker. He’s a form-follows-function man, whether designing residential, commercial, or civic projects. Above all, his organic approach tries “to avoid cliches,” he says.

“The architectural world is just inundated with cliches,” he says. “I think architecture is way too important as a physical presence in our world, city, and neighborhoods to be trendy. I think the manifestation of it needs to be mature and careful and, hopefully, timeless. It’s public sculpture, whether you like it or not.”

Haecker strives for subdued, not showy, answers to whatever a project’s needs are.

“The thing I bring is, ultimately, an originality to the solution but not an artificial imposition of a style or a big statement,” he says. “I don’t look for the finished product to show off in any way. It might subtly, but you kind of have to look at it twice to say, ‘Well, that’s something different.’ I don’t like to shout and yell and just grab your attention. I want it to be more comfortable and, of course, livable.”

Haecker communes with the unborn structure by “trying to understand what a building wants to be.”

“Every project has a context, a location, an owner, a program, and a need, and the architect’s thought is to try to meld, digest, and mix that all together,” he says. “All kinds of factors influence the result, including budget.”

Brandzel Cottage in Fremont, Nebraska

Brandzel Cottage in Fremont, Nebraska

The University of Nebraska-Lincoln graduate, whose brother Foster Woods Haecker and son Alex Haecker are also architects, broadened his own vision working for firms in Hawaii, Puerto Rico, St. Thomas Virgin Islands, and New York.

“I didn’t leave Nebraska to leave Nebraska,” he says. “I like it here very much for many reasons. But, in your youth, you have an itch to look at different things, and that variety of geography and mentors was extremely valuable.”

A job offer from Dana Larson Roubal & Associates (DLR) lured him back to Nebraska in 1968. By the early 1970s, he became a founder of the Omaha office of BVH Architecture. During his nearly half-century run as a principal and part-owner, leading architectural periodicals published his work, he earned numerous awards from the American Institute of Architects, and he received The Harry F. Cunningham Gold Medal from AIA Nebraska in 2006 (the highest honor that AIA Nebraska bestows upon an individual).

He took a hand in such signature public projects as the Gene Leahy Mall and the Bob Kerrey Pedestrian Bridge.

Historic renovation work is a big segment of BVH’s portfolio, and he was part of teams that repurposed Omaha’s Union Station and Union Pacific’s Harriman building.

An activist in the preservation community for many years, he successfully campaigned to save the Omaha Building downtown. He also wrote the preface for the 1977 book Omaha City Architecture.

His enduring residential works include private homes in and out of Nebraska. Perhaps his personal favorite is the Woods Cottage in Madeline Island, Wisconsin.

Woods Cottage in Madeline Island, Wisconsin

Interior of Woods Cottage in Madeline Island, Wisconsin

Woods Cottage in Madeline Island, Wisconsin

Front of Woods Cottage in Madeline Island, Wisconsin

“It’s a traditional lake-shore cottage with low-pitched shingle roofs, big overhangs, a big screened-in porch,” Haecker says. “All the siding and windows are real wood with real mullions. There’s no drywall in it. It’s all natural materials inside and out, so it has a real warmth to it. It fits into its environment.”

Another out-of-state favorite is the Keene residence in Crested Butte, Colorado.

“That was a very special challenge,” he says. “That historic town has strict design guidelines for roof pitches, proportions, and windows. My objective was to design a house that fit into that historic environment with the articulation of the floor plan, the pitches of the roofs and the selection of materials. The Keene house is, really, pretty contemporary when you stand back and look at it, but you don’t see it as an intrusion when you drive down the street or you’re inside it.”

Keene Residence, left

Keene Residence

Keene residence in Crested Butte, Colorado

Keene residence in Crested Butte, Colorado

Back home in the Omaha metro, the Matthews residence in Elkhorn’s Skyline Ranches presented the challenge of a new house in a new development.

“It’s a bigger house—pretty grand really in scale and square footage with a big dining room, great room, and game room,” he says. “The topography there was very much a part of it. It’s on a very steep site, so the house steps down the hill with the living levels. It’s somewhat dramatic but not glaring in its forms and colors and materials.” 

Then there’s the Liakos residence in southwest Omaha. He didn’t touch the street facade of this house inspired by Frank Lloyd Wright’s Prairie School. But in the back living quarters, he designed a new family kitchen, a new dining room, and a new master bedroom.

Liakos residence in southwest Omaha

Liakos residence in southwest Omaha

“The way the old morphs into the new is what’s kind of fun with that house,” he says. “It’s got big clerestory windows with a lot of light shining in. I like a lot of light, so I use clerestory windows to reach up into the sky and bring light inside.”

He also designed a screened-in porch and deck for the property.

Whatever the project, it’s the architect’s intuitive, interpretive expression of the client’s program.

“Sometimes all the pieces come together with the owner and the site and the budget, and it’s just a joyful passage, and sometimes it doesn’t work at all,” Haecker says. “They’re hiring you, in the end, to bring your perspective and talent and aesthetic into a compatible solution that they’re comfortable with. If you just blindly do what the client wants, you’re just going to end up with, probably, a mediocre solution.”

It’s a delicate dance. “Without being overt about it, the architect needs to gently influence the client to do this or that,” he says.

Matthews residence, Elkhorn Nebraska

Matthews residence, Elkhorn Nebraska

After working most of his career in his own firm, he’s now in independent practice.

Like a lot of architecture shops, he says, BVH “started out loosely organized with unspoken philosophies. Then, as we got bigger, more structure crept in and it morphed from a spiritual camaraderie to a business with a board, policy manuals, schedules, payrolls, insurance. That happens to every firm. I just didn’t fit anymore with the structure of the thing. It was just time to step away from that.”

Today, he enjoys his well-earned autonomy working from a home studio in the 1929 Memorial Park Tudor he shares with wife, Judy. It’s the only home the couple has ever owned. The studio, which he added on, is filled with overhead windows that stream in light. A large drafting table is its centerpiece.

“I still draw by hand,” Haecker says. “A few of us do, but it’s a dying breed.”

He also writes and paints in his sanctuary of a studio space that’s filled with books, maquettes, and artwork.

The three-story home has undergone several other tweaks by his design, including adding bay windows in the living room and a study and sunroom in the back.

Haecker is a collaborating architect with The Architectural Offices in Omaha. He works up conceptual designs for the practice. He also partners on projects with his son, Alex.

In a career spanning six decades, Haecker’s pretty much done it all in terms of architectural types.

“It’s happened that way, and happily so,” he says. “I do like the variety—everything from a bridge to a lake cottage—that I’ve done and been involved with.”   


Visit georgehaecker.com for more information.

This article was printed in the May 2019 edition of OmahaHome. To receive the magazine, click here to subscribe.

Spellman dacha, Niobrara, Nebraska

Spellman dacha, Niobrara, Nebraska

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A Fluid Life: Dana Oltman Goes With the Flow

August 3, 2018 1 comment

A Fluid Life

Dana Oltman Goes With the Flow

Originally published in November-December 2017 issue of Omaha Encounter magazine

Story by Leo Adam Biga

Photography by Bill Sitzmann

 

 

 

 

Fluid.

That’s how digital graphic designer and fine art painter Dana Oltman describes her aesthetic.

As art director for Identity Marketing Group (she was previously at Rebel Interactive) she fulfills client project wishes. She says her branding design work consistently features “minimal, simple, clean” looks that, well, flow.

“Fluid is what I love,” she says. “Fluid is where I’m at now.”

Her abstract expressionistic fine art, especially her poured art work, is all about the swirls and natural organic fades of liquid flows.

“Most of the paints I use are acrylics,” she says. “which have as their base water, and so they’re very fluid.”

She invariably listens to music when painting in order to activate or induce that state of flow.

“What I do is based on whatever mood I’m in,” she says. “While design is very rigid—I like to have a plan and justify everything I do—painting is exactly the opposite. I like to work with the medium, just pick a paint, pick some colors, and basically put it on a surface and see what it does. It’s very much working with my medium to get random results, trying to affect it minimally as I go, letting gravity and fluid dynamics do the rest. It’s all very in the moment.”

If she does manipulate the image, she says, it’s for texture, and in those cases she may apply etching materials, resin, linoleum carvers, and even a culinary blow torch.

The images she creates on masonry board or wood panels and, occasionally, on canvas are often expressions of things found in nature–everything from nebulas in outer space to severe storm skies.

Her favorite skies appear after a storm at sunset. “The clouds are stacking up to the east after they’ve already moved through and the sun is shining from the west and you have orange, yellow, purple, red—which is my favorite color palette,” she says.

Her natural hair color is red, and she often sports highlights in different shades from her favorite palette.

In August, she drove to Beatrice, Nebraska, to catch the total solar eclipse, and she knows it’s only a matter of time before it shows up in one of her paintings.

Music is another source of inspiration for Oltman, 26, who loves going to local live shows and festivals.

Occasionally, her work is featured at local concerts and entertainment events. She did a live painting of a musician at an Omaha Entertainment and Arts Awards showcase.

She’s also taken on art projects for local bands, including an album cover for The Big Deep.

Some of her paintings can be seen at Curb Appeal Salon & Spa in the Old Market. A broad sampling of her work is available on her website, danaoltman.com.

Additionally, she draws and makes photographs, which she shares on her Instagram page.

Other influences and inspirations range from high fashion to poetry. She did a multi-week study abroad in Japan learning that country’s visual culture. The Japan immersion naturally showed up in her work, and she intends returning one day.

She’s also a Francophile who’s visited Quebec, Canada, and France. She expects taking ever deeper dives into French culture and returning to France—the home base for her favorite art movement: Impressionism.

Oltman grew up in Bennington, Nebraska, and graduated with a fine arts degree from the University of Nebraska-Lincoln. She draws a clear distinction between graphic design and art activities. She loves both, but one’s her job and the other’s purely for pleasure. She likes the balance of producing on a schedule as part of an office team and creating art alone when she feels like it.

“Since I don’t have art hooked to a vocation, it’s in my court totally. I don’t have to rely on anyone,” she says. “If I don’t want to make stuff, I don’t make stuff. If I do, I do. It’s just totally free.”

On the design side, she’s finding her most satisfaction working on websites.

“It”s such an advancing field,” she says. “Websites are so versatile, and you can do so many things. And it’s just so nuanced. It’s a really pretty time for web design.”

Motion graphics and animation are two new areas she’s learning fast. Coding is another.

“I enjoy learning new things,” she says.
“I’m a learner.”

Oltman enjoys the meet-ups that the local American Institute of Graphic Arts chapter puts on, including BarCamp.

She also stays connected to the design community via social media.

As a self-identified millennial, she admits, “I definitely fit the label in respect to being super connected online, being liberal, wanting a meaningful career that isn’t too constricting and gives me creative output, focusing on experience over material things in life, etc.”

A couple years ago when legalizing same-sex marriage was struck down in Nebraska, Oltman made a graphic of the Husker “N” with the Human Rights Campaign logo imposed in it. “I’m for causes that focus on equal human rights,”
she says.

At UNL she was one of several art students who created a mural portrait of George Flippin, the first African-American athlete of note at the university. The mural adorns the campus multicultural center.

When not doing pro bono work for things she believes in, she donates to the American Civil Liberties Union and to disaster relief funds.

In whatever she does, she follows her passion. Her personal credo-tagline says it all:

“Doin’ me a life.”

This article appears in the November/December 2017 issue of Encounter.

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