Wierzbowski believes that architecture is an image based practice. His work is conscious of architecture’s history as a visual discipline, and channels the familiar to produce the new. His article “Imagist Design”** (Chicago Architectural Journal, 2000) examined image based cultural trends in design and architecture, exploring historical and contemporary examples. Wierzbowski proposed that architectural forms “are dreams of their origins, not just retreads, but transformed into new objects. This is a design that looks not only forward, it looks everywhere. It believes in the powerful ways in which design communicates.”
Wierzbowski believes that an architectural practice based on narrative and imagery must be deeply rooted in a mastery of visualization and drawing skills, both computer based and by hand. His commitment to hand drawing skills does not oppose computer aided drafting but rather is integral to it. He began his architectural career at Carnegie Mellon, programing some of the earliest CAD applications which in turn lead to a programmer position at Skidmore Owings and Merrill’s Chicago office, one of the birth places of computer aided design.
In a world of increasing diversity and data, Wierzbowski believes designers must respond with increasingly diverse and information rich strategies. His work seeks to craft rich details, unexpected forms, and colorful surfaces to communicate a meaningful story to a broad span of visitors. Wierzbowski elaborated on his approach in the essay “Transformation & Typology: The Meaning of ‘A Day in the Country’”* (UIC: Threshold, 1988) which theorized a narrative process of identification and transformation.