By Florida Weekly Staff | on December 04, 2019

Florida Weekly Audio Stories brought to you by Broadway Palm Dinner Theatre. Visit broadwaypalm.com to book show tickets today!

Family can mean many different things to different people, but ultimately, they are the ones who we love and cherish, especially this time of year. This is the season where we gather together in each others homes, huddled around the couches catching up with one another in the living room or bustling about in the kitchen, preparing for the family meal. When its your turn to host, you want to be sure its in a home you love, located in a community you enjoy. Horse Creek offers this and more, but there are only 15 custom estate-sized lots remaining.

Creating the perfect kitchen to prepare holiday dinner, and the ideal living room to gather your guests into, can all be done within a year or less. The process of designing your dream home starts with choosing from varying floor plans in a range of styles from a modern reinterpretation of traditional Old Florida to Southern Colonial and French Country. All of them can be customized to your preferences, or you can work with the exclusive builder, Daniel Wayne Homes, to design a wholly original custom home.

Plus, your home will be located on an acre-plus lot, leaving plenty of space outside to entertain. Build an additional garage or workshop, enjoy a beautiful fire pit, set up games to keep everyone entertained, or lawn chairs to sit and enjoy the natural splendor surrounding you. Want to roam? Enjoy the nature trails or explore the 12-acre riverside park with a community fire pit, kayak and canoe storage and launch, picnic tables, and more. Take the kids in the family to get some energy out at our newly added playground. Horse Creek is the true meaning of a community, combining all the elements of ideal living. It is one of the very few elite communities in Southwest Florida with truly estate-sized home sites. Coupled with the location, surrounded by nature preserves and banked on the Orange River, it offers the right blend of seclusion and convenience to shopping, dining, and major travel routes in the area. You are given the security of living in a gated community, while also getting the benefit of views like the centuries-old live oaks draped in Spanish moss that punctuate the landscape.

Whatever your home or lifestyle dreams are, and however you envision your perfect holiday, all of it can become a reality at Horse Creek. Time is of the essence, though, as you only have 15 one-acre lots left to choose from. Explore our interactive site map online today at HorseCreekCommunity.com, or call (239) 332-7335 to set up a time to visit our model.

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Gather your family in Horse Creek - Florida Weekly

Building healthy homes is "really about researching and selecting better products, ones that don't off-gas, that are formaldehyde-free and have low or no VOC content," says Kevin Mullen, president of Calgary-based Empire Homes. Supplied / Postmedia

The concept of living in a healthy and sustainable home is gaining ground, and the demand is upping the ante when it comes to design.

As a society we have become very focused on wellness and fitness, eating organically, wanting to know where our food comes from, but we have never asked any of those questions about our homes and I think that is to our detriment, says Kevin Mullen, president of Calgary-based Empire Homes.

Empire Homes is taking note, and making health a priority, putting the emphasis on homes that are healthy for both the environment and for the people living in them.

It is currently creating a collection of 19 luxurious, healthy homes in the inner-city master-planned community of Currie, developed by Canada Lands Co. All homes will be built to Built Green specifications and also Empires Reside specifications, a comprehensive grouping of initiatives designed to ensure healthy air quality.

The two-storey homes will ring Valour Park and feature contemporary lines with plenty of brick, stone, stucco and concrete, not to mention gorgeous kitchens, compliments of Empire Kitchen & Bath.

Healthy and beautiful go hand in hand, says Mullen, also noting that building a home with healthy materials costs the same.

Its really about researching and selecting better products, ones that dont off-gas, that are formaldehyde-free and have low or no VOC content, he says.

VOC is the acronym used for volatile organic compounds, compounds that can wreak havoc on our health, as we breathe in their fumes. Resins, glues, flooring, carpet, paint, particle board, dry wall, insulation it all off-gases.

We take for granted that the manufacturer and the builder are thinking about this. But often it is not true. What is the first thing that most builders do? Move the homeowner into their new home as quickly as possible, often the day after its been painted and glues and silicones and finishes have been applied. And people wonder why they are getting headaches or their kids cant breathe, he says.

Les Wold, sales and marketing manager at Effect Homes in Edmonton, agrees.

It is so important to be attentive to products, to have hard surfaces and natural floorings, he says.

Wold says that with the uptick in allergies, consumers are coming to them much more informed.

They are wanting a much more holistic approach to home building. They want a well-built, energy efficient home that will stand the test of time and provide a comfortable and healthy place for their families to live, he says.

Effect Homes has won numerous awards for its sustainable home designs, including the Canadian Home Builders Associations (CHBA) Green Home of the year the builder won at both the provincial and national level for a net-zero home in Edmontons Belgravia area. The use of passive design techniques, including window placement and materials chosen for their long-term durability and lack of off-gassing. The home features, for example, polished concrete floors throughout that kept costs comparable.

Effect Homes, a custom home builder and renovatorlike Empire Homes, is passionate about what it does and is walking the talk. It has recently renovated a duplex in need of some TLC in Edmontons up and coming Bonnie Doon community, moving the companys offices into the space.

Our offices really show case what can be done and it gets us so excited, says Wold. Healthy materials and hard surfaces combine with beautiful design and energy efficiency. The offices are off the grid, with solar generating enough power to run the lighting, and computer systems the power is stored on site in batteries.

Homes definitely can be beautiful, energy efficient and healthy, says Wold, highlighting another example, a home in Edmontons Windsor Park area. The home, which looks as if it belongs on the pages of Architectural Digest, is 68 per cent more energy efficient than a standard home, with 27 solar panels on its rooftop generating an 8.25 kilowatt solar electric system.

But it is all about supply and demand, notes Empires Mullen, relating it to consumer demand for organic foods.

As people begin to really demand this, more and more healthy products will be available in the market. When we first starting focusing on healthy homes in 2016, we couldnt source formaldehyde-free products in the local market anywhere, he says. Now they are trickling in. Empire will not build with a product unless it is stamped formaldehyde-free by a third-party inspector.

Wold notes that it is a natural progression for people to want sustainable, energy efficient and healthy homes, both for the environment and for the owner. This really is the way of the future, says Wold.

Read the rest here:
Healthy and beautiful go hand in hand in new home design - Calgary Herald

DUBLIN--(BUSINESS WIRE)--The "Rainscreen Cladding Market by Material (Composite Materials, Metal, Fiber Cement, HPL), Construction (New Construction and Renovation), End-Use Sector (Non-residential and Residential), and Region - Global Forecast to 2024" report has been added to ResearchAndMarkets.com's offering.

The market for rainscreen cladding systems is projected to be valued at USD 14.3 billion by 2024. The market in the North American region is projected to grow at the second-highest CAGR of 7.5% during the forecast period. However, Asia-Pacific is projected to grow at the highest CAGR of 8.4%.

The rainscreen cladding market comprises major manufacturers such as Kingspan Insulation (UK), SIKA (Switzerland), Rockwool International A/S (Denmark), Everest Industries Limited (Denmark), SFS Group AG (US), Sotech Architectural Faade (UK), Promat UK Ltd (UK).

Increase in the construction (innovation, remodelling, and maintenance) activities are projected to drive the overall growth of the rainscreen cladding market across the globe from 2019 to 2024.

The global rainscreen cladding market has witnessed high growth primarily because of the increasing construction activities worldwide. Rising disposable income of consumers, specifically in developing nations, is another key factor contributing towards the increase in renovation and remodelling activities, which in turn will drive the growth of the rainscreen cladding market over the next few years.

In terms of both, value and volume, the new construction segment is projected to grow at the highest CAGR during the forecast period.

The new construction segment of the rainscreen cladding market is projected to grow at the highest CAGR during the forecast period, in terms of value as well as volume. It is a durable, flexible and waterproof cladding material in the market. It includes an extruded polymer-based core layer which provides a better rigid property to the floor. Its properties such as easy installation and smooth finished appearance after the installation further drives the market for the rainscreen cladding market.

In terms of both, value and volume, the composite material segment is projected to lead the rainscreen cladding market from 2019 to 2024.

Growth of composite material segment in the rainscreen cladding market is primarily attributed to the high strength, increased durability, and design flexibility. It accounted for a market share of 53.4% among all the materials used for rainscreen cladding due to its low cost and easy installation techniques. Composite materials are the most preferred rainscreen cladding material for residential as well as non-residential buildings, owing to their high durability, longer shelf-life of around 30-40 years, and no maintenance. Their easy maintenance & installation features save the additional labor cost involved in it.

In terms of both, value and volume, the non-residential segment is projected to lead the rainscreen cladding market from 2019 to 2024.

The growth of the non-residential segment in the rainscreen cladding market is primarily attributed to the favourable and lenient lending policies initiated by governments across all regions, which is driving the sales of residential construction projects. The non-residential construction spending is estimated to go up, particularly in the emerging Asia Pacific and Latin American regions; there is a trend of urbanization observed in these regions, resulting in a much higher growth rate for the residential construction market, than in developed markets. The increasing need for renovation, remodelling, as well as maintenance, further increase the need for rainscreen cladding in the non-residential segment.

In terms of both, value and volume, the Europe rainscreen cladding market is projected to contribute the maximum market share during the forecast period.

In terms of value, the Europe region is projected to lead the rainscreen cladding market from 2019 to 2024 due to the strong demand from countries such as UK, Germany, France, Russia, and Italy. This demand in these mentioned countries is due to the tremendous growth of the construction opportunities in these countries. The demand is also driven by the increasing number of new housing units and huge investments in the infrastructural sector.

Market Dynamics

Drivers

Restraints

Opportunities

Challenges

Key Companies Profiled

Other Companies Profiled

For more information about this report visit https://www.researchandmarkets.com/r/c69c9f

Read the original here:
World Rainscreen Cladding Markets to 2024 - Increase in Demand for Sustainable Cladding Materials - ResearchAndMarkets.com - Business Wire

from the transformation of a disused gas station in arkansas to a mirrored cabin that reflects the sublime alpine landscape, 2019 saw a number of large scale art installations completed around the globe. each of the projects whether they be temporary, permanently fixed, interactive, or informative in nature engaged audiences with a memorable experience, while challenging the definition of the term art installation. continuing our annual review of the years BIG stories, we take a look at the TOP 10 large-scale artworks that caught our eye in 2019.

image JR

in celebration of the 30th anniversary of the louvre museums famous glass pyramid, french artist JR created a 17,000 square meter optical illusion surrounding the structure. over the course of five days, JR and a team of 400 volunteers used 2,000 paper stickers to create the artwork that made the pyramid appear as though it was submerged in a quarry of white rock.

image by roberto conte

in september, edoardo tresoldi unveiled simbiosi, a site-specific artwork for arte sella an open air museum located in italys trentino valley. following the works of renowned artists and architects such as eduardo souto de moura, kengo kuma, michele de lucchi, and ettore sottsass, tresoldis work represents the last stage of the rebirth of the trentino park, which reopened this year following a destructive storm.

image gerhard maurer

earlier this year, to bring attention to the issues of climate change and deforestation, klaus littmann turned a football stadium in austria into a native central european forest. opening on september 2019, for forest the unending attraction of nature marks the countrys largest public art installation to date, with almost 300 trees, some weighing up to six tons each, carefully installed on the existing pitch.

image by marc wilmot

in april, alex chinneck, known for inverting electricity pylons and tying grandfather clocks in knots, unzipped the faade of a building in milan as part of the citys design week festivities. to create the dramatic effect, chinneck created a totally new elevation in the style of traditional milanese architecture, which appears to open up to reveal the building within. the interior spaces, on the other hand, are radically transformed through unexpected openings in the cement pavement and stone walls.

image by stefan altenburger, courtesy of doug aitken

at the start of 2019, doug aitken unveiled mirage gstaad, a semi-permanent building that reflects the sublime alpine landscape. standing in contrast to the surrounding chalets, the ranch-style structure suggests a latter-day architectural version of manifest destiny, the westward migration that began in europe and finally settled in california.the project was presented as part of ELEVATION 1049: frequencies.

image teamLab

teamLab displayed two new artworks at singapores recently completed airport destination designed by safdie architects. the installation comprises a luminous forest of trees, transforming the space into a glowing valley floor. each trees light is autonomous and pulsing, shifting colors as visitors pass by and radiating toward neighboring trees. in the same way that light is transmitted between trees, the tone continually permeates and spreads. this color-specific tone changes pitch according to the trees elevation along the shiseido forest valley trail. light resonating outward from deep within signifies a presence, serving to enhance ones awareness of the presence of others within the public realm.

in november, french artist camille walala turned a disused, vintage gas station into a thrilling piece of public art. I love this canvas it was exciting to do something really bold, that stands out on a bigger scale, walala says of her time in arkansas. we had a great team of people working with us for a few days, most of them were locals from fort smith who came to help and it has been an amazing execution of the project.

image courtesy of pekka niittyvirta and timo aho

in the outer hebrides, off the west coast of scotland, finnish artists pekka niittyvirta and timo aho created a light installation that brought attention to our rising sea levels. by use of sensors, the installation interacted with the rising tidal changes; activating on high tide and providing a visual reference of our future sea levels. in doing so, the installation explored the catastrophic impact of our relationship with nature and its long term effects.

image by mikel ponce

from june to november, seven monumental sculptures by jaume plensa went on view santiago calatravas city of arts and sciences in valencia, spain. each cast iron sculpture comprises a large-scale portrait head of a woman respectively entitled silvia, isabella, laura asia, maria, minna, carla, and laurelle. each is presented with eyes closed and gaze directed inward. together, the arrangement encouraged a tranquil moment that transformed the public space into a highly personal one.

image halcyon art international

coinciding with the 2019 venice art biennale, lorenzo quinn unveiled building bridges. known for his previous installation in 2017, which saw a pair of hands prop up the famous italian city, the new, site-specific sculpture comprises six pairs of hands joining across the entrance of the arsenale. with each pair representing one of six universally essential values friendship, wisdom, help, faith, hope, and love the concept behind the project aims to symbolize people overcoming their differences to build a better world together.

see designbooms TOP 10 stories archive:

nina azzarello I designboom

dec 04, 2019

Read more:
TOP 10 large-scale artworks and installations of 2019 - Designboom

HELSINKI, Dec. 5, 2019 /PRNewswire/ -- A former operation theatre building at the Charit, Berlin University of Medicine in Germany will be converted into a modern research building which will be used as an outpatient and translational research and innovation centre. For the project, Caverion will implement the technical installations related to Automation, Cooling, Security and Safety, Ventilation and Air Conditioning, Heating and Sanitation, and Electricity. The Charit is one of the largest university hospitals in Europe and it is wholly-owned by the Federal State of Berlin. The value of the project is not disclosed.

"There are high demands of technical design in clinical environments when it comes to the well-being of patients and the indoor climate of medical and biological laboratories. During the conversion of the former operation theatre building, the focus is on ventilation technology. High-performance ventilation systems will be installed for the new research laboratories and operation theatres, which will, on completion, circulate approximately 220,000 cubic metres of air per hour," says Frank Krause, Executive Vice President, Caverion Germany.

Caverion is also going to install smoke extraction systems for technical exhaust air and will be responsible for the technology that supplies the premises with technical gases such as oxygen, carbon dioxide and nitrogen. The building will also be equipped with new heating and cooling systems and a high-pressure water mist system for fire protection.

The University Hospital will use the building as a central research building for biomedical basic research and clinical research. Seven floors will house laboratories, operating theatres, teaching areas, a data centre and patient treatment areas on a gross floor area of about 30,800 square metres.

The Charit - Universittsmedizin Berlin represents Caverion's public sector customers. Read more about our services to the public sector.

Illustration: Heinle, Wischer und Partner. Freie Architekten

For more information, please contact:Holger Winkelstrter, Head of Marketing and Communication, Caverion Germany, +49-89-374288-117,holger.winkelstraeter@caverion.com

This information was brought to you by Cision http://news.cision.com

https://news.cision.com/caverion/r/caverion-wins-a-building-technology-project-for-the-berlin-university-of-medicine-in-germany,c2983371

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Caverion Wins a Building Technology Project for the Berlin University of Medicine in Germany - Yahoo Finance

The team at Alexander McQueen have a long history of working with the rose. A perennial reference and a literal material in Lees Sarabande show for SS07, Sarah Burtons AW19 collection was no exception. Speaking to i-Ds Osman Ahmed after the show, Sarah described the shows spectacular sculpted taffeta dresses -- crafted delicately from single sheaths of fabric -- as a reference to the War of the Roses and an explosion of beauty coming out of something dark. In the same collection, whorling magenta satin roses could be found on tailored suits, leather jackets were spliced with images of rose queens and a white denim dress featured an exploded frayed rose draped over the collarbone, recalling the White Rose of York.

Sarahs swirling red rose dress from the finale now forms the centrepiece of a new installation in the brands Old Bond Street store, alongside the aforementioned fresh flower dress from the end of his iconic Sarabande show.

Alexander McQueen SS07. Image via Getty.

Conceived by Sarah in collaboration with the architect Smiljan Radic, the store is designed to reflect the spirit and core values of the brand. As a result, the entire top floor is dedicated to inspiring creative thinking for young people alongside pieces from Lees Sarabande collection. The new room has samples of work-in-progress, and research into the designs can be found around a studio cutting table. At this table a range of different practical masterclasses and discussions will take place. And, perhaps most excitingly, a series of classes given to students by Sarah Burton and Head of Atelier Judy Halil on patternmaking and couture techniques will run throughout the next year.

Its the second installation in its recently-opened three-story Bond Street boutique. The first, Unlocking Stories, looked into the creative direction of five key pieces in its SS19 collection.

With its expansive new store, and its menswear show in London back in June -- a highlight of the SS20 schedule -- Alexander McQueen feels particularly present in the city right now, even with its womenswear shows remaining in Paris. And with a return to a more elegant silhouette on the runway -- pushing back on the streetwear boom of the past few seasons -- Lees influence is more relevant than ever.

Alexander McQueen AQ19. Photography Mitchell Sams.

Roses at Alexander McQueen, 27 Old Bond St, Mayfair, London W1S 4QE opens to the public on 30 November.

More here:
Alexander McQueen celebrate their fascination with the rose - i-D

Like many, I have been absorbing the slow death by strangling of Barneys New York online, in articles about failed Hail Mary investments and LOL-worthy Instagram photos of 5-percent-off price tags and clearance posters in the windows that look as if they were last used at a Hobby Lobby.

It has been dispiriting, and also farcical the butterfingers dismantling of a great New York institution.

Anytime I noticed that a friend had gone for a visit, I sent a message asking for a graveside report; most came back bleak. Recently I went to see for myself in Beverly Hills, forgive me and found the air inside stagnant.

The clerks were bored, verging on resentful or resigned. There was an in-house collection of T-shirts with graphics drawn from Kurt Cobains journals. A leather Gucci jacket bearing the logo of the Chateau Marmont was about $6,000, down from $6,700. I dry-heaved just a touch.

The gracelessness of the thing was what got me. But in truth, that gracelessness had been a long time coming. Barneys had been in decline for at least a decade: chaotic merchandising, diluted brand, sophisticated competition.

But Barneys truly became replaceable because it no longer had a monopoly on point of view. Artful luxury became broader as a category, and more diffuse. Barneys, which at its peak operated like an idiosyncratic boutique on a grand scale, found it difficult to remain the ne plus ultra of sly style.

And now its gone, or receding. Lets all meet up at the Barneys pop-up inside Saks Fifth Avenue five years hence, likely to be a tiny but glitzy corner featuring cheap logo tees and mugs and a vintage installation of old Barneys house-line clothing curated by Procell.

IN THE MEANTIME, WHERE TO GO? Over the last few weeks, I visited the heirs apparent, the stores that have taken on the mantle of early Barneys, each homing in on a particular segment of the high-end marketplace, or a particular angle of view: Dover Street Market New York, Totokaelo, Forty Five Ten, the Webster and Kith.

(I skipped long-running competitors like Bergdorf Goodman, Bloomingdales and Opening Ceremony; new wide-umbrella competitors like Nordstrom and Neiman Marcus; and avant-garde specialists like Atelier New York and IF.)

What I was craving was a combination of fantasy and authority, a place that could nudge me toward a new self, or a refreshed one. Im older than I was when Barneys first hypnotized me, but no less susceptible to magic.

And wizardry is what I feel at Dover Street Market, each and every time I go, which is why I dont go more often. To do so would be hopelessly destabilizing to my bank account and my personal silhouette.

The selection is limited and ambitious, and spaced out enough to encourage serious consideration of Marine Serre face masks, or Margiela Tabi shoes, or a patchwork argyle Molly Goddard sweater.

Every five feet in the store is a new climate zone, thematically distinct but close enough together to ensure you never deny yourself a chance to dream big, or strange. Dover Street is as close as New York has to a Chalmuns Cantina for fashion misfits. Every employee is wearing at least one item of clothing that looks objectively wrong, until you realize its you thats wrong.

The EKG is slightly less frantic at Totokaelo, but just slightly. Where Dover Street is an avant-garde theme park, Totokaelo exudes a natural calm, as if all the various strands of elegant design were always reconcilable. Stay here long enough and youll begin to see what Bode has to say to Issey Miyake, or the ways in which Craig Green and Sacai are in quiet, unlikely conversation.

The default aesthetic is vertical and slim, and the tones are mostly neutral. Overall, the suggestion is that you can be bleeding edge and also modest, an innovator who can easily blend in.

That said, on one of the days I visited recently, Totokaelo also had by far my favorite clientele, and easily the most vibrant: someone who looked like a rogue K-pop star on the lam, a young stylist for rappers, three men (shopping separately) wearing heels.

Even though it has been in New York for four years (and in three locations), Totokaelo still feels as if its only for people who have the password.

AS OPPOSED TO FORTY FIVE TEN, which is often so empty as to suggest Prada Marfa. Occupying much of the fifth floor of Hudson Yards, the 16,000-square-foot store is broken into four parts. And yet still, everything feels crammed together. No store in New York does so little with so much.

The spaces are beautiful, the clothes largely chic. And yet each section is a battle of its own. The intense mirroring of the vintage section distracts from the crucial details of the often astonishing clothes, including a pastel layered chiffon Giorgio SantAngelo dress.

In the emerging designer and ceramic tchotchke section, the clothes are huddled together so tightly that its hard to disentangle the Sandy Liang tech-tulle from the Saks Potts patchwork mink.

Most ostentatious is the womens designer section, which is thick with fanciful and often astonishingly expensive clothes, from Marni to Monse. It is far more thoughtful than the mens section, which tends to the anonymously wealthy and only moderately imaginative, apart from a few electric pieces from Jil Sander and By Walid.

When it arrived in March, Forty Five Ten promised to remake the citys retail landscape; its Dallas locations are imaginative without feeling unapproachable. But this location is hopelessly saddled with the baggage of Hudson Yards, among the least romantic places to shop in all of New York.

Spend too much time in the store and youre struck by just how ill a fit it is for this development, which tends toward luxury as commodity, not canvas. When you fall for one of the pieces, you look around and feel vulnerable, alone, exposed.

Which is maybe what would happen at the Webster, were it not so narrow. The New York location, which has less flamboyant offerings than the one in Miami, occupies a slender building in SoHo; its hard to admire the clothes without being mindful of a wall at your back or side.

It is glitzy and slightly awkward. In its European-ness, it reminds me slightly of 10 Corso Como, which is still open, I suppose? Tough to say I havent heard that name in years.

The selections are organized by color and texture, not designer, which is smart and occasionally vulgar pink Jacquemus denim on the same rack as Versace baroque-print track pants though the options within any one designer are fairly limited. But for all its shortcomings, it is still the highest-end multibrand store in SoHo. On the day I visited, Christian Siriano was perusing the mens floor with some friends.

From the moment you step in the store, the Webster abuses you with scent. Its louder than the walls, louder than the furnishings, louder even than the clothes. The dizzying effect feels almost purposeful, a tool to detach you from your good sense.

WHAT THE WEBSTER DOES WITH SMELL, Kith does with sound. On a frigid recent Saturday, after I had to wait in line outside for the customary few minutes, I entered the store and was greeted by Playboi Carti and Baby Bash, thumping at unreasonable levels.

The cold, hard-to-swallow truth is that it is perhaps Kith, more than any of these other stores, that encapsulates the luxury evolution that left Barneys floundering. Dover Street, Totokaelo, Forty Five Ten, the Webster they draw fundamentally from the same playbook, the same stratosphere of brands, the same ideology. They want to be sacred.

Kith crashes a Porsche Cayenne into that daydream, gleefully. It is a luxe street wear hub, a nightclub in daylight hours. The clothes are geared toward rappers and the rapper-adjacent. The engines that are powering the shift in high-end mens wear aesthetics are all emanating from here.

Sure, there may be no Louis Vuitton or Balenciaga, but the ideas that are animating the makeovers of those brands are happening on a more germinal level.

And besides, it trademarks its own sort of clout: Kith collaborates widely, the new hallmark of prestige. When I went, there was a mini exhibition of its recent Disney collaboration, both audacious and inexplicable, and also a Kith/Vogue varsity jacket, which may well lead Anna Wintour to fire whoever convinced her of its merit. (The sweatpants are good, though.)

As a shopping experience, its never not grim. The store is claustrophobia inducing, and as rowdy as the floor of the New York Stock Exchange. There are intriguing pieces from Mastermind and Ader Error, but its a challenge to embrace them more than cursorily. The womens floor essentially sells only aprs-spin items that would pair well with black leggings and Air Force 1s.

One inconvenient fact about Barneys is that it attempted, in its last years, to court this market ever so slightly. There was a grudging understanding that luxury was increasingly trickling up, not down. But the market pivoted faster than Barneys could. What was once a pastoral affair is now a scrum.

Read more here:
Barneys Is Gone. Where Should You Shop Next? - The New York Times

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Cable Installation Tools & Accessories Market Dynamics, Forecast, Analysis and Supply Demand 2018 - 2028 - Markets Gazette 24

Meredith James: Elevator Doors, 2019, chair, wood, plastic, acrylic paint, milk paint, and motor, 19 by 24 by 34 1/2 inches; at Jack Hanley.

There is an element of surreal playfulness to Meredith Jamess work. At first glance, Shadows on the Wall, her exhibition at Jack Hanley, looked like a sparse arrangement of nondescript midcentury furnishings: an armchair, desk, office chair, medicine cabinet, hanging light, and rotary phone. Upon inspection, these items revealed a surprise. Embedded in each was a trompe loeil sculptural relief depicting a miniature interioranother world contained within the ordinary furnishing.

Jamess previous works have often taken the form of immersive sculptures and installations that address perceptual phenomena. First exhibited at Socrates Sculpture Park in 2014, her installation Far from this setting in which I now find myselfwas an open-air version of an Ames room: a structure that appears to be a cuboid room when viewed through a peephole in its wall, but that actually has differing angles, a tilted floor, and perspectival distortions that together produce the optical illusion that people inside the space are of dramatically different sizes depending on where they stand. Jamess installation featured a background painted to resemble a park promenade, exploiting the relationship between the depicted landscape and the surrounding environment to heighten its destabilizing effects.

The most successful sculptures in Shadows on the Wall engaged the viewer in similar perceptual games on a smaller scale. In Gallery Reflection (all works 2019), the mirror of a plain wooden medicine cabinet was replaced with a scale model of the gallery wall opposite the sculpture. The work prompted the viewer to glance repeatedly between the actual wall and the sculpture to cross-reference the details: the radiators, bricks, molding, and fire escape were all meticulously reproduced, and an LED light gave the scene the ambience of daylight. While the embedded diorama was a convincing stand-in for a mirror reflecting the sculptures surroundings, the viewers own reflection was missing, disrupting the perceptual continuity of the encounter.

The sound of running water emanated from Bathroom Sink, a wall-mounted rotary phone with its receiver lying on the floor beneath it. A quarter-size peephole below the dial revealed a minuscule white sink with a tiny working faucet. With the disorienting sound component and the seemingly impossible presence of functional plumbing, the sculpture possessed a sense of delightful absurdity, which was amplified by the extreme contrast in scale between the phone and the sink.

In most of the other works on view, however, the relationships between the furnishings and the sculptural additions were less compelling. In Library, a diorama of a library with rows of identical books was inserted into a cozy armchair where the seat met the back. The illusion felt one-note, the artist relying entirely on the oddity of the inversiona library inside a chair instead of the other way aroundto animate the work. More arbitraryand gimmickywas Elevator Doors, a mustard-colored desk chair in which a small mechanized elevator door was embedded. The doors opened at regular intervals, revealing an elevator shaft. Ambiguity can be enriching, but in these works it suggested irresolution. Still, the sheer level of craftsmanship in each of Jamess sculptures is commendable, and the miniatures commanded ones attention even when the conceptual premise fell short.

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In Meredith Jamess Sculptures, Furniture Becomes a Portal to Another World - ARTnews

NOVEMBER WAS THE MONTHof overscheduled evenings, stacked with events sprawling across three weeks and forty venues for the eighth iteration of Performa. The brainchild of RoseLee Goldberg, the biennial has since 2005 promoted the field of performance art as a coherent subdiscipline of the visual arts, drawing on histories of the avant-garde to firmly tie the fields lineage to art history. In fact, it is Performas habit to produce new commissions undertaken by visual artists with little experience in live media (at the expense, often, of supporting practitioners already active in this domain), though many performances this past month rose to the occasion.

This year, Performas anchor (following on the heels of past themes like Dada, Surrealism, Fluxus, and Futurism) was the Bauhaus, the Weimar-era German school defined by its programmatic interdisciplinarity and utopian aim to integrate art and technology. While the biennials art-historical referent often bore tenuous connections to its actual program, Kia LaBeijas reimagining of Oskar Schlemmers1922 Das Triadische Ballet(Triadic Ballet) proved an exception. The performer and photographer, who hails from the New York ballroom scene, reconfigured the ballets third, so-called black act, which mobilized artificial darkness as a backdrop against which dancers negotiated their bodies relation to mechanization, space, and each other.

A series of movements unfolded, first presenting LaBeija wearing iridescent crystal-studded garments underneath a pink floor-length veil, spiraling slowly and with poise through a maze drawn in white masking tape on the floor. In the duet that followed, the dancers mirrored, matched, and exceeded each other in a dynamic contest. Around them, light reflected wildly across the theater from the myriad spherical mirrors adorning their arms and head capsrealizing Schlemmers ambition to reconcile the body and its spatial surround. (Untitled) The Black Act thrilled as it reinvested the Bauhaus legacy of collectivity with the attention to her immediate community LaBeija brought to the piece: She worked with family, friends, and her partner Tana Larot, cultivating their talents and expertise to devise a largely intuitive and unscored performance. In a particularly remarkable scene, LaBeija took leave of the strictures of the sets abstract and geometric syntax, removed the grid taped to the floor, and broke into a virtuosic improvised choreographic sequence fueled by her jazz drummer father Warren Benbows spirited solo. (Her brother, Kenn Michael, also accompanied the performance with a software instrument of his own design, which he claims produces healing and meditative frequencies.) It was clear from the warm reception on opening night that the feeling of community and care was shared by the audience, who congregated in the center of the room as the artist bid everyone to dance.

The mobilization of the audience was even more central to Paris-based Paul Mahekes Sens, a work that also privileged darkness as a key element. Before the lights went off, we were warned, This is an interactive performance. Be mobile! Maheke entered, crawling along the floor of the darkened belly of the black box as we darted around him. In fact, we spent much time negotiating where to stand and where to look. Early on, Maheke self-eclipsed his head with a mirror, which emitted blinding beams back into the room as Ariel Efraim Ashbel (the lighting designer) targeted it with a spotlight. Temporarily marking Mahekes shifting coordinates within the theater, the light dramatized the particular conditions of spectatorship that would haunt the entire production: At its most salient moments,Sensenacted a dialectic of visibility and invisibility, illumination and obscurity, to conjure a fugitive presence and spectral embodiment.

But Maheke also played with the audience, drawing us close into a circle around him, then pushing us back in a choreography animated as much by his movements as it was by the pulsations and vibrations of Melika Ngombe Kolongos live set. Kolongo, who DJs under the name Nkisi, shifted to new beats after Maheke disappeared from immediate view, leaving us to make sense of the situation for ourselves. Momentary confusion gave way to tentative head-bobbing, foot-tapping, and eventually more dynamic thrusting as the theater transitioned into a temporary club. If this spontaneous scene of the audience dancing echoed Untitled (The Black Act)s closing celebration, in Sens this social formation felt more contingent, uncertain of how or whether to cross the divide between performance art spectatorship and club behavior.

Earlier that evening, I saw artist Nairy Baghramian and choreographer Maria Hassabis collaboration Entre Deux Actes (Mnage Quatre), a coproduction of the Kitchen and Performa that took place in a Fifth Avenue townhouse a few blocks north of the Metropolitan Museum of Art. The work staged a dialogue within a domestic space between Baghramian and Hassabi and two intergenerational interlocutors: the Swiss designer Janette Laverrireknown for her useless though highly specialized furniture and occasionally whimsical objetsand the Italian architect Carlo Mollino. Previously exhibited at the Kunsthalle Baden-Baden and Muse dart contemporain of Montreal, Baghramians collaboration with Laverrire updated a 1947 boudoir installation by the late designer, with the addition of Mollinos erotic Polaroids of women posing nude drawn from Baghramians personal collection. This threesome, titled Entre deux actes II (Loge des Comdiennes), 2009, was installed on the second floor, where Baghramians signature cast-rubber sculptures formed site-specific armatures that hugged the contours of the doorframes. Such minimal interventions were echoed by Hassabis dancers, who occupied liminal spaces like the grand staircase (Mickey Mahar lay precariously across it) or stood disconcertingly in the second-floor vestibule as audiences transitioned from the fluorescently lit white cube setting of the choreographersFIGURESpiece to the more theatrical (if stark) set of TOGETHER. This attention to passage is no surprise in Hassabis work, which decelerates movement so drastically that the minutest inflections of the body are rendered in an extended continuum, performers often appearing still, like statuary.

FIGURES placed five performers in disjointed synchrony (prerecorded sequences of numbers were intermittently announced, indicating the works underlying timing). The dancers executed solos, moving (slowly, of course) along a generally perpendicular axis, in supine or erect positions. As they approached one another, however, their bodily proximity yielded improbable encounters. It would be absurd to call these moments dramatic, though it would also be disingenuous not to admit that the performers cold and eerily blank stares, their unacknowledged physical closeness, produced an embarrassment ofunnamable affect. This discomfiting excess was finally sublimated in TOGETHER, the duet performed by Hassabi and Oisn Monaghan. Positioned on a rudimentary plywood platform, the pair inched toward each other in gestures of care, intimacy, and erotic attraction as their bodies entangled and moved from standing, to sitting, to suggestively crouching positions, then back again.

The interplay between objects and bodiesbe it in the latter's reification as sculptural form or in the anthropomorphizing of sculptural propswas a connecting thread through a number of works in the biennial, including va Mags Dead Matter Moves at the Judson Memorial Church and the long-overdue restaging of Yvonne Rainers Parts of Some Sextets, which had not been performed since 1965. (But who hasnt seen that photo of Rauschenberg flinging himself onto a stack of mattresses?) Dancer Emily Coates worked with Rainer to reconstruct the piece, which featured both Rainer habitus (such as Patrick Gallagher, David Thomson, and Mary Kate Sheehan) and new faces (artists Liz Magic Laser and Nick Mauss). Nuancing many now-orthodox analyses of Rainers task-based approach to dance, Parts of Some Sextets reminds us of the allusive way in which her work might engage with the theme of labor. Her use of objects illuminates such possibilities. Rainer praised mattresses both for their sheer materiality and abilityto generate ludicrous and satisfying scenes of nonstylized effort as they are lugged around a room, as well as for their associative capacities. (Mattresses, she wrote, evoke sleep, dreams, sickness, unconscious, sex but can be exploited strictly as neutral objects.)

What was clear however, and has been for some time, is that while objects arent really neutralRainer joked in the post-performance talk that the ghost of minimal art was close at handneither is the hollowed-out body of the unexpressive and desubjectivized performer. If Hassabis dancers stared out into empty space, irrespective of the audience surrounding them, so too did the dead teens lining the darkened hallways of Bunny Rogerss cynical Sanctuary, which portrayed the aftermath of an imagined school shooting (the performance took place at Essex Street Academy). More gimmicky than harrowing, Sanctuary turned a phenomenon of mass paranoia into a spectacularized and tasteless object of consumption, one that was barely consumed, in fact; audience members entertained the most mundane conversations among the corpses (who failed to remain convincingly immobile), and distractedly walked in and out of the live talent show rehearsal that took place concurrently in the theater and featured Rogers and friends performing in distinctly amateur mode. (An exception might be Allese Thomsons lengthy though compelling piano solo).

Sanctuarys flipside might have been Palestinian-Swedish artist Tarik Kiswansons As Deep As I Could Remember, As Far As I Could See, a deeply moving performance staged in the Alexander Hamilton U.S. Custom House at Bowling Green. This workcocommissioned by Lafayette Anticipations in Paris, and premiering here two years after Kiswanson was denied entry to the US for the last Performa Biennialsaw a cohort of preteens from immigrant families in New York reciting lines of lyrical and aphoristic poetry on loop as they walked dolefully around the oval Customs office. Their locutions were as numerous as they were impactful, evoking migration, diaspora, historical consciousness, borderlessness, and predictions for the future. The performers embodied the paradoxical position of speaking volumes beyond their years, appearing like sages or prophets. And though they did this with the same vacant stare pervading several of the works mentioned above, the spell of disaffected liveness was broken when they cheerfully swarmed the space once the performance was over.

Rachel Valinsky

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Rachel Valinsky on the Performa 19 Biennial - Artforum