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    To Be a Good Architect You Have to Be Fearless: In Conversation with John Ronan – ArchDaily - March 7, 2020 by Mr HomeBuilder

    To Be a Good Architect You Have to Be Fearless: In Conversation with John Ronan

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    John Ronan (b. 1963, Grand Rapids, Michigan) is known for his sensual atmospheric buildings that tend to unfold layer by layer their spatial complexity, as one moves through them. His focus is on the use of materiality in ways that reinvent architecture. Ronan holds a Master of Architecture degree with distinction from the Harvard University Graduate School of Design (1991) and a Bachelor of Science from the University of Michigan (1985). He has been teaching architecture at the Illinois Institute of Technology since 1992. John Ronan Architects was established in Chicago in 1999, the year Ronan won the Townhouse Revisited Competition sponsored by the Graham Foundation. In 2006, the firm was featured in the Architectural League of New Yorks Emerging Voices and the Young Chicago exhibition at the Art Institute of Chicago. In 2007, the architect was selected to build the prestigious Poetry Foundation in Chicago, out of a pool of 50 international contenders. His monograph Explorations: The Architecture of John Ronan was published by Princeton Architectural Press in 2010. In 2016, the firm was named one of seven international finalists for the Obama Presidential Library. The following interview is a condensed version of our conversation at the architects studio in Chicago.

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    Vladimir Belogolovsky: Your architecture seems to be quite reserved. Would you agree and would you say this reflects who you are as a person?

    John Ronan: Yes. I would agree with that, to some degree. It comes from inside, but it is also imposed from the outside. Yes, I am more introspective, contemplative type, and personally, I am shy and that is reflected in my architecture. The imposed outside part is the influence of the place where I practice in Chicago. Every place has its own DNA. At the root of Chicago genetic code is a kind of hardcore brutal pragmatism. There is no accident that, for example, Mies van der Rohe succeeded in establishing his career here. There was a perfect match in the DNA of the person and that of the place. And if you look at the list of people who succeeded here, they were those who understood this genetic code well, the severity of Chicagos pragmatism, but also, those who could transcend it at the same time and turn it into poetry. Again, Mies would be a perfect example of that. His work here seems almost straight forward, yet very essential and very poetic. Back in my school years, my work was more exuberant and form-driven. I sometimes wonder why? That is because I am influenced by place but also by time. The clients here are very different from, lets say, New York or Los Angeles. Look at the industries based here insurance, financial services, which are very low risk, very conservative. Design, fashion, and media companies are not based here. This attitude is reflected in our skyline. This place is very pragmatic at its core, and my work is informed by that.

    VB: Yet, this is not your hometown. You came here by choice, right?

    JR: I came here because I felt a connection with Chicago that I did not feel with either Los Angeles or New York. I came here because I like Chicagos culture and I felt that I would fit in here. I sensed that this is the place where I could succeed.

    VB: After earning your bachelors degree at the University of Michigan and before going to Harvard for your masters you worked for Stanley Tigerman for a couple of years. Did he represent this Chicago DNA or its character?

    JR: First, he did not represent anything. There was nothing typical about Stanley. He became known for protesting against Miesian orthodoxy that was dominating the architectural discourse at that time by forming so-called Chicago Seven, a group of first-generation Post-Modern architects here. They offered a critique of what by then has become an unquestioned mode of practicing architecture. I decided to work for him because he was the most well-known architect in Chicago. I applied to a number of architects and he was the first to respond and hired me on the spot. I was just 21. But after two years of working for Stanley, I knew I didnt want to do Post-Modernism, which was quite prevalent at the time almost everybody in Chicago was doing Post-Modernism, one way or another. There was not really much of a choice then; if you came to Chicago at that point you would be some strain of Post-Modernism, basically. That was the time when Chicago Public Library designed by Tom Beeby was being built. I did not like nostalgia and was drawn to the rational. At the time, Harvard was one of the few schools that was still focused on Modernism, so thats where I went.

    VB: What did you learn from Tigerman?

    JR: I learned how to be an architect from Stanley because that was my first job. What I learned most from him was that it is the architects job to make a project. What I mean by that is that is part of your job as an architect to see the possibilities which reside in the brief, even if your client initially doesnt. For example, the brief for the Gary Comer Youth Center in Chicagos South Side, a rough neighborhood, was about the most pragmatic training facility; the Owner wanted brick and the building users asked for no windows, because there were too many drive-by shootings in the neighborhood. If I merely listened to my client, it would be just another mediocre building. But I proposed one idea, then another idea. I said, What if we did this or that? And Gary is a kind of person who would listen to you and then say, Thats great, but what if we do this? and he would challenge me to do something even more inventive than what I initially proposed. Thats the story of that building; it became something that went completely beyond the initial brief.

    I also learned from Stanley how to thrive on conflict. What I mean is that he was fearless. He didnt back down. Perhaps thats the main thing I learned from him to be a good architect you have to be fearless. You have to be tough and persevere, because there are so many things working against you. To achieve a good building, you have to push people to do things that they may not want to do or are not accustomed to doing at the level you demand. To get a good result you have to be tough. It is about forming an argument and standing by your principles. Thats a problem with architecture today there is often no argument and the result is arbitrary, and mostly about willful form making. There are so many stakeholders in even a small building, and the role of the architect is not simply to say yes to everybody. Architecture is about persuasion; as an architect, you have to persuade people and bring them along with you, so they feel invested in the project ideas and feel a sense of ownership.

    VB: How would you describe what you do as an architect to a lay person? What are the main intentions of your architecture?

    JR: My architecture is primarily about space and materiality, and less about form; I try to create buildings which are formally simple but spatially complex. I am interested in the experience of a building rather than the image of a building. I feel there is too much of architecture now about one heroic image and how it can be propagated in the media to sell something; its transactional. I see my work as more of a spatial narrative; I like to explore how buildings unfold and how one moves through them. Thats what architecture is all about, for me. Im not denying that there is a formal red line which runs through my work, but I dont have an a priori formal agenda Im trying to fill. I want my buildings to look different, one from the next, rather than developing a signature style.

    I also search for authenticity and attempt to make every project site-specific and culture-specific. I feel that so much of contemporary architecture could be picked up and plopped down somewhere else and you would never know the difference. There is too much contemporary architecture thats placeless or arbitrary. I abhor arbitrariness. Im rational and have to have a reason why I do things.

    VB: You designed your Poetry Foundation as a building that you said, unfolds like a poem line by line. Could you talk about this idea of spatial unfolding?

    JR: That building is composed of layers of different materials a layer of birch wood wraps the interior and extends from the library on end to the performance space on the other. Outboard of that, there is a layer of glass that shifts in and out to compress and expand the exterior and interior spaces. The outermost layer of zinc wraps the whole thing and becomes perforated to reveal the garden which mediates between the street and building interior. The different layers which comprise the building compress and expand, which you feel as you move through the building. It is a manipulation of these layers that creates spatial sequences. Thats what I mean by spatial narrative. The idea is that you, as a visitor, cant consume the building in a single glance, you dont comprehend it immediately, you have to experience it to understand it. The second objective is that every time you come back you see something else, something new, like a good book you go back to, over and over again. The kind of architecture I like is one of formal simplicity but spatial complexity, which I think the Poetry Foundation achieves, or, as a cab driver once explained to me, its simple, but its complex. The buildings I like are ones where I dont know whats around the corner, where the story is not given away all at once. I tell my clients, I aim to design a building not to be noticed, but to be remembered.

    VB: Who or what would you credit as far as making an influence on your thinking?

    JR: Im inspired by literature. I think of every building as a book. I studied English literature in college. Thats why every time I start a new building, I think about it as if I were writing a book. Some of the characters might carry over, but the plot is never the same. As far as influential buildings that made an impression on me, I would name the Alhambra in Granada, John Soanes house [now museum] in London, Louis Kahns Salk Institute in La Jolla, Sigurd Lewerentzs churches in Sweden, and Gunnar Asplund & Lewerentzs Woodland Cemetery in Stockholm. All of these are spatial narratives.

    VB: You often work with humble materials to achieve very special quality. Could you talk about that? For example, you said that the way you use concrete you aim at achieving the kind of concrete that no one has ever seen before.

    JR: What I attempt to do is to make the ordinary special. We carefully choose the ingredients. We experiment with the way the materials are produced and finished. I would compare what I do to the job of a chef; chefs all use the same ingredients but the way they are combined and transformed makes all the difference. So, it is about starting with something ordinary to achieve something thats very special. It is about transformation, not about picking expensive ready-mades, as if design is nothing more than a process of selection. I would further compare the process of architectural design to how poets use ordinary words to produce poetry. It is how ordinary words are selected and sequenced that makes it memorable, makes it poetry. Likewise, there is no poetry in an architect merely selecting expensive materials; anyone can do it. There is no transformation there. What Herzog de Meuron did, in their early work, was take ordinary materials such as asphalt shingles, cement board, and plywood, and assemble it in the most novel ways to make something new.

    VB: Could you talk more about materiality in your architecture? Is it materiality that gives you the notion of subjectivity? Thats your contribution, right?

    JR: Yes, thats the consistent and recurring theme in my workto find inventive ways in how materials can be used to engender space. I dont believe architects invent new materialsand I would be suspicious of any architect making this claimbut architects can invent new spatial relationships using materials. Ultimately, its about space, rather than materiality for its own sake. My objective is to build a kind of space that makes people say, My God, I have never been in a space like this before, so I would say it is a spatial invention that Im after, rather than material invention. I feel quite confident in my ability to use materials, but still have some work to do on the spatial aspects. If I can achieve that, then I will feel like I have done something.

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    To Be a Good Architect You Have to Be Fearless: In Conversation with John Ronan - ArchDaily

    Saunders Boston Architects shape the future of architecture with sustainable innovation – World Architecture News - March 7, 2020 by Mr HomeBuilder

    Spread over two floors at the Allia Future Business Centre, a previous Saunders Boston Architects project, more than 130 leaders in sustainable innovation attended Saunders Boston Architects event, SBA100: Looking Forward, to gain insights into how innovations in technology may shape the architecture industry and support sustainable living in the future. The evening consisted of a range of thought-provoking presentations and an interactive workshop, which was conducted by the Saunders Boston Architects team and guest speakers from the University of Cambridge, Allia Ltd, Polysolar Limited and Sika AG.

    Led by Margherita Cesca, Senior Architect at Saunders Boston Architects, one of the first presentations focused on education, schools of the future and green technology. Representatives from the University of Cambridge presented research on plant generated electricity and autonomous vehicles, discussing the roles they could play in future education building design. Hamish Watson, CEO of Polysolar Limited, a leader in solar innovation, also joined the presentation; exploring how buildings can become sources of power when architects collaborate with solar energy specialists.

    Saunders Boston Architects Director, Darren Heffer, and Allia Future Business Centre CEO, Martin Clark, joined forces to present innovative ideas on adaptable living and care housing; specifically discussing the role that technology will play in shaping human habitats in the future, and how architects can innovate to design smart buildings that better serve the needs of residents.

    Focusing specifically on sustainability and self-sufficiency in the future, Saunders Boston Architects Director, Nick Green, presented on the future of the Fen, a vision for self-sustaining settlements in unique environmental contexts. Under the same theme, Nick Jackson, Architectural Assistant at Saunders Boston Architects, led a presentation on material and energy flow in the 21st century, which explored the growing need for a circular economy for sustainable development.

    The final presentation at the event was conducted by Henri Villanueva, Project Architect at Saunders Boston Architects, and Maxime Liard, of Sika AG, who discussed additive manufacturing technologies, such as 3D printing, and the role that they will play in the future of construction. Running in parallel with all of the presentations was a futuristic and interactive workshop that utilised VR technology to envision living underground as a possible solution to climate change and overpopulation.

    The SBA100: Looking Forward event marked the end of a series of fantastic celebrations for the company. We have enjoyed looking back at our history and legacy both in Cambridge and further afield, and future gazing to how we will innovate as a practice over the next 100 years; using architecture and design to lead innovation in sustainable solutions.

    The event was a culmination of centenary celebrations for the practice, which has marked 100 years since inception and 50 years in Cambridge. The festivities included a series of architectural walks through its past projects, a 110km bike ride from its original office in London to its current headquarters in Cambridge, and a centenary event that launched the practices new branding at the Fisher Building in St Johns College, Cambridge - a project delivered by Saunders Boston Architects in 1989.

    Link:
    Saunders Boston Architects shape the future of architecture with sustainable innovation - World Architecture News

    Henry Cobb, the architect behind some of America’s most iconic skyscrapers, has passed away – Archinect - March 7, 2020 by Mr HomeBuilder

    Henry N. Cobb, the bold Modernist architect responsible for the designs of a wide range of iconic buildings through his work with Pei, Cobb, Freed & Partners, has passed away at age 93.

    Michael Kimmelman, architecture critic forThe New York Times, broke the news Tuesday evening via Twitter. Word of Cobbs passing was confirmed to Archinect by members of Pei, Cobb Freed & Partners.

    In 1955, Cobb was one of three co-founders, along with I.M. Pei and Eason H. Leonard, of the now-storied Pei, Cobb, Freed & Partners architecture practice, based in New York City. Originally, the firm was named solely after Pei (I.M. Pei & Associates), but was renamed in 1989 to include Cobb's name. Cobb was educated at the Harvard University Graduate School of Design, where he served as Department of Architecture chair between 1980 and 1985. In 1992, Cobb was the Architect in Residence at the American Academy in Rome.

    Over a long and illustrious career, Cobb, alongside Pei and an ever-growing roster of designers, helped give life to the skylines of several American (and international) cities during the latter half of the 20th century through his work as a lead designer for a range of projects that include the Place Ville Marie towers in Montreal (1962), the John Hancock Tower in Boston (1971), ARCO Tower in Dallas (1983), The Library Tower in Los Angeles (1989), Torre Espacio in Spain (2008), and most recently, 7 Bryant Park (2019).

    The projects, bold experiments that fused platonic shapes at a super-sized scale, earned the firm a special place in architectural history as purveyors of some of the most iconic (and tallest) towers of the 1970s, 1980s, and 1990s.

    Henry N. Cobb, Res Publica from Princeton School of Architecture on Vimeo.

    Cobb's work extended beyond high-rises, however, as he was also one of the lead designers behind the John Joseph Moakley Courthouse in Boston, the Anderson School of Management complex at the University of California, Los Angeles, the United States Courthouse in Hammond, Indiana, the Federal Reserve Bank of Kansas City complex, and the International African American Museum on Charleston,South Carolina, among several other notable cultural and civic commissions.

    Over the decades, Cobb won a slew of awards, including five American Institute of Architects National Honor Awards and an AIA Twenty-five Year Award for the design of the John HancockTower. Just last year, two Pei, Cobb, Freed &Partners-designed towersthe Library (Now US Bank) Tower in Los Angeles and Bank of China Tower in Hong Kong) were listed among the 50 Most Influential Tall Buildings of the Last 50 Years by the Council on Tall Buildings and Urban Habitat.

    Cobb was the last surviving namesake partner at Pei, Cobb, Freed &Partners; I.M. Pei passed away in 2019 at age 102, while James Ingo Freed passed away at age 75 in 2005.

    See the original post here:
    Henry Cobb, the architect behind some of America's most iconic skyscrapers, has passed away - Archinect

    ‘Yeah, we build things tough’: Children of Leaning Tower of Dallas architect, contractor say of dads’ work – The Dallas Morning News - March 7, 2020 by Mr HomeBuilder

    Updated at 6:45 p.m.: Revised to include information about the tower collapsing.

    Ann Spillman and her sister Jane Spillman Wansley walked out into the field by the Leaning Tower of Dallas and marveled at what they saw.

    The dusty, gray remains of the building stood tilted against the skyline with its crumbled exterior after it was partially imploded Feb. 16. In the days since the failed implosion, the towers slow demolition has become the subject of memes and cheeky marketing strategies, solidifying its status as an accidental Dallas icon.

    But the former Affiliated Computer Services building isnt just a meme or a questionable landmark to Spillman and Wansley. The concrete core they watched being slowly torn apart in front of them was partially designed by their father, Pat Y. Spillman of Fisher and Spillman Architects.

    He was a very determined person, Wansley said. In his office, he had a quote that said: Fall down seven times, get up eight ... I always liked that one.

    Pat Y. Spillman died in 2016. The celebrated architects firm designed the Dallas Central Library and several buildings on the UT Southwestern Medical School campus.

    The Leaning Tower, which was first owned by the Southland Corporation, was built in 1972. According to Dallas Morning News archives, the structure was built from the inside-out. The core was put together using a slip method, in which concrete was poured floor by floor until the structure stood 11 stories tall. The tower rose 6 inches an hour as builders worked around the clock, The News reported.

    Once the buildings interior was at its full height, workers installed steel bars and the exterior was built around it. The Feb. 16 implosion demolished those steel bars, leaving just the concrete core. A wrecking ball had to be brought in to whack away at the concrete.

    In the video you see online, its a little bitty wrecking ball and a great big building, Spillman said. The wrecking ball looked like a little pearl necklace.

    On Monday afternoon, that pearl-like wrecking ball hit the tower for the last time, causing it to finally fall to the ground.

    Its 15 minutes (or days) of fame are over, Spillman said via text message.

    Their brother, Pat Spillman Jr. of Washington, D.C., learned about the Leaning Tower as most people did: through the internet. But he didnt know that his father had designed the building until he was contacted by The News.

    I didn't focus on it and see that not only was this my dad's design, but I actually worked there, he said. And I immediately called my sister.

    Pat Spillman made $5 an hour working on a landscaping project during the summer of 1978, years after the building was fully constructed. He said his father helped him apply for the construction job to build character, perhaps to eventually be tough, like the part of the building that stood until Monday.

    They designed buildings to last, Pat Spillman Jr. said. The fact that this building refuses to go down without a fight kind of shows that.

    Dallas resident George Gimarc shared in a Facebook post that his father and three brothers worked on the site from 1972 to 1973. One picture he shared shows workers hoisting large slabs of concrete onto the building. Another image shows what the building looked like when it was finished.

    Yeah, we build things tough, he said in the post of his familys handiwork.

    His father, Johnny Gimarc, who died in 2007, worked for Robert E. McKee General Contractors and was the construction superintendent on the project. He also helped build Dallas City Hall and the Statler Hotel.

    My dad would think this was hilarious, George Gimarc said. He would find enormous amusement in this.

    His brother, Alex Gimarc, who lives in Anchorage, Alaska, said he couldnt recall much of the sweltering summer he spent on the site between his junior and senior years at Texas A&M University, but there was one detail he was certain of.

    There was a lot of concrete used on the building, he said. ... just a whole bunch of concrete on the darn thing.

    Continue reading here:
    'Yeah, we build things tough': Children of Leaning Tower of Dallas architect, contractor say of dads' work - The Dallas Morning News

    Condominium Building Nears Completion At 730 Hicks Street in Red Hook, Brooklyn – New York YIMBY - March 7, 2020 by Mr HomeBuilder

    By: Sebastian Morris 7:30 am on March 6, 2020

    Construction is nearing completion at 730 Hicks Street, a three-story condominium development in Red Hook, Brooklyn. From developer Shiraz Sanjana, the building comprises 16,000 square feet and will contain 15 residences.

    Designed by Marin Architects, the condominiums will average approximately 1,600 square feet apiece and are expected to debut before the close of 2020. When complete, the development will also include ten parking spaces, cellar-level storage, and gardens surrounding the property. The exterior is meant to evoke the industrial history of the Red Hook neighborhood and is comprised of dark brick and large windows similar to those installed at warehouse buildings.

    Current view of 730 Hicks Street Marin Architects

    Current view of faade at 730 Hicks Street Marin Architects

    Rendering of 730 Hicks Street Marin Architects

    Subscribeto YIMBYs daily e-mailFollowthe YIMBYgram for real-time photo updatesLikeYIMBY on FacebookFollowYIMBYs Twitter for the latest in YIMBYnews

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    Condominium Building Nears Completion At 730 Hicks Street in Red Hook, Brooklyn - New York YIMBY

    How architect Yona Friedman used math to design utopian cities of the future – The Conversation CA - March 7, 2020 by Mr HomeBuilder

    Architecture has lost a great visionary. Budapest-born French architect Yona Friedman died at age 96 on Feb. 20.

    Friedman left us with a lot to remember. Some obituaries commemorated his pioneering work some of it with UNESCO on self-sufficiency, empowerment and do-it-yourself architecture. Others have restated the influence his emblematic Spatial City (Ville Spatiale) a three-dimensional grid floating above urban and natural territories and populated by mobile dwellings had on an entire generation of architectural experimentation.

    Others yet have recognized his bold theories about social transformation and the necessity of fluid mobility in buildings and cities or recalled his experiments using computers to help inhabitants plan the Spatial City when architects were only just beginning to explore using computers.

    Perhaps Friedmans most remarkable feat was the presentation of bold visions about the future of cities, human societies and how to allocate environmental resources, with a level of detail that made them appear like imminently realizable scenarios. His realizable utopias as he called them moved between a sober plan and a daring dream.

    As a scholar of architectural computing, I have been studying Friedmans work for several years with interest and intrigue. My aim has been to uncover historical and critical insights that his work can offer to contemporary visions of digital architecture and computational design.

    Friedmans ideas about ethical interventions of technology on peoples design choices can enrich contemporary discussions about open source architecture and how non-architects can be empowered to design.

    At the same time, Friedmans discussion of technology as an infrastructure that sets limits on permissible choices was a prophetic metaphor for design processes that are now tied with computers and computational methods.

    For example, Friedman imagined the Spatial City as a three-dimensional grid where each cell was a building block and inhabitants could recombine these building blocks to produce different spatial configurations.

    Defining design as a process of combining and configuring discrete entities is common in contemporary discussions of digital architecture. However, there is also growing critique to this Lego-like approach to design, which may clash with both practical realities of building and limit how we understand creativity.

    In my research, I have also examined how Friedman used visual representation as a way to move between mathematical and architectural ideas.

    Around 1964, at the peak of his fame with the Spatial City, Friedman decided he would not draw another line. Instead, he would try to justify that his architectural ideas were a product of careful reasoning.

    He pursued visiting scholar appointments in North American universities. There, he came in contact with an emerging genre of research that positioned mathematics and logic as the foundation of architecture and planning. Friedman published several articles that mathematically described the mechanisms by which the Spatial City would function.

    Friedman began to represent architecture through mathematical diagrams of discrete elements, such as rooms, and their relationships. These graphs, as the diagrams were called, also showed how people moved through a space for example, as seen in Friedmans 1978 plans for designing David dAngers Lyce in Angers, France.

    Graph representations of floor plans and of human activities were not new. They had appeared in building science in the early 1960s. But Friedman was key in expanding their uses beyond the practical problem of designing efficient buildings. Instead, he used them as the basis of a new theory of scientific architecture.

    Among other things, the book proposed a speculative computer system, the FLATWRITER, that would automate the production of floor plans based on a future users habitual activities. Journalist and critic Michel Ragon, co-founder with Friedman of an influential art and architecture group, urged French planners to take Friedmans ideas seriously.

    Friedmans mathematical theories, he argued, would inform work on the so-called evolutionary dwelling (habitat evolutif). This was a form of flexible social housing that architects and planners were experimenting with for the design of new towns in the late 1960s.

    In the United States, Friedmans work aligned with emerging developments in computer-aided design. Around 1973, MITs Architecture Machine Group invited Friedman as a visiting researcher in a project called Architecture By Yourself. The project included the development of a computer system called YONA (Your Own Native Architect) that would enable non-architects to design their own houses.

    In 2012, I interviewed Friedman in his Paris apartment and asked him why he had adopted graphs. He recalled that he first encountered graphs through the eminent mathematician Frank Harary, who was also known as Mr. Graph Theory.

    Harary promoted the visual and esthetic aspects of graph representations. Graphs could be drawn with pencil and paper and were intuitive to interpret. Friedman reported being attracted by that quality.

    What Friedman did not talk about, however, was that the drawings of graphs points and lines spoke the same skeletal language as drawings of the spatial citys nodes and rods. Friedmans mathematical explorations then, show a unique capacity to use visual similarity and a consistent language of representation as a way to build bridges between concrete architectures and their mathematical abstractions.

    As architects continue to grapple with such abstractions in the context of computational design, Friedmans work has a staying power. Friedman moved between mathematical abstractions, algorithmic ideas and architectural proposals poetically and evocatively. The outcome was one of perhaps the most prescient cultural commentaries on what skeletal structures real and conceptual, physical and mathematical could mean for architecture.

    More:
    How architect Yona Friedman used math to design utopian cities of the future - The Conversation CA

    Tour a restored Robert Rummer-built midcentury modern and 12 other remodeled homes (before, after photos) – OregonLive - March 7, 2020 by Mr HomeBuilder

    If you're curious to learn how an unfinished basement could become a rentable self-contained in-law suite or if you're throwing in the towel after years of fighting your dysfunctional kitchen, here's a suggestion: Check out the 13 just-improved dwellings in the Portland area's Tour of Remodeled Homes on Saturday, March 14, and Sunday, March 15.

    The top PRO remodelers with the Home Builders Association of Metropolitan Portland will be on hand to answer questions, from taking down a wall to open up a room to making the best of underused space. In a condo on the tour, a bedroom closet became a storage-centric butler's pantry off the kitchen.

    AFTER Oregon Homeworks

    Tickets ($30, remodeltourportland.com) allow you to see the homes at your own pace from 10 a.m to 5 p.m. on both Saturday and Sunday.

    All styles, from classic to contemporary, and budgets are on view.

    After seeing the latest trends and color palette to clever design techniques to make a home more livable, tour goers may be inspired to launch a big or small home improvement project.

    AFTER Oregon Homeworks

    This year, theres another reason to check out the Tour of Remodeled Homes: One of the stops is a glass-walled midcentury modern homes built by Robert Rummer.

    Eric Thompson of Oregon Homeworkshas completed a remodel, from the slab-on-grade concrete floor to the steeply pitched roof, in Beaverton's Oak Hills Historic District.

    The 1967 dwelling, with a see-through interior atrium that leads to a living room with a vaulted, wood-planked ceiling, has all the swank of the Mad Men era as well as modern upgrades.

    AFTER Oregon Homeworks

    Who would appreciate seeing this home on the tour? Anyone who loves modern and midcentury architecture, says Thompson, who has restored four Rummers, as the homes are called, including his own residence."And anyone contemplating a remodel of their own home."

    Thompson says the dwelling's inventive design endures after half a century because single-level living, open floor plans and simple cabinetry and fixtures continue to be duplicated in new homes.

    AFTER Oregon Homeworks

    The house is based on architect A. Quincy Jones' iconic Double Gable roof design built by prolific California tract developer Joseph Eichler.

    Floor-to-ceiling windows rising to soaring ceilings and sliding glass doors draw in natural light and ease the boundaries between inside and out.

    Two rear-facing windows were added in the dining room to frame the views of the backyard and beyond.

    Thompson said the original floor plan was kept mostly intact, but he did remove a wall that divided the kitchen and family room from the dining room to improve the flow of the house.

    AFTER Oregon Homeworks

    The hobby room off the garage was converted into a mudroom, second master closet and home office. The original layout of the hall bath and laundry closet was also altered to maximize functionality, he says.

    AFTER Oregon Homeworks

    To improve energy efficiency, Thompson installed new windows, insulation, heating and air conditioning systems and drywall as well as plumbing and wiring.

    Read more: Oregon's coolest midcentury modern houses: Builder Bob Rummer's enduring legacy (photos)

    BEFORE Oregon Homeworks

    BEFORE

    Tour of Remodeled Homes map

    Choose your own route: Here are the stops on the Tour of Remodeled Homesfrom 10 a.m to 5 p.m. on Saturday, March 14, and Sunday, March 15.

    AFTER C&K Custom Remodeling

    Whole house remodel: A couple bought a house in Beaverton's Bronson Creek Estates knowing they would need to remodel it completely for their growing family.

    The renovations by C&K Custom Remodeling Inc. spanned the entire house, from the new, welcoming entry to an office and five bathrooms.

    The two redesigned living rooms have natural stone and new gas fireplaces.

    Without altering the square footage, the kitchen is more efficient and feels more spacious with an improved layout.

    A self-contain apartment with a living area, bedroom suite and laundry was created out of underused existing space.

    The dated heavy texturing and millwork throughout the house has been replaced with a more modern aesthetics and smooth wall finishes. There is new lighting, paint and a water filtration system.

    The garage is now set up to be a pottery studio with custom cabinetry, upgraded electrical and epoxy floor.

    C&K Custom Remodeling

    [BEFOREThe kitchen was dated with gingerbread styling and out-of-date finishes. The layout did not flow well. Improvements were made within the existing square footage.]

    AFTER Cooper Design Build

    Whole house remodel: The once claustrophobic kitchen in the single-level Portland home now expands into the dining room. Cooper Design Build also installed a large skylight and picture window to draw in natural light.

    Cooper Design Build

    BEFORE

    AFTER Photo by Brian Pierce/Pierce Pixels

    First floor and basement remodel: A wall was removed between the dining room and kitchen. Creekstone Design + Remodel found a way to accommodate a built-in deep refrigerator and the fronts of new pantry cabinets have practical magnetic chalkboards.

    The basement is now a self-contained in-law unit with a kitchenette, master suite, closet, laundry, walk-in tile shower and heated bath floors.

    Creekstone Design + Remodel

    BEFORE

    AFTER Kraft Custom Construction

    Condo remodel: A dark condo is now a more open space that showcases the owner's original artwork.

    Kraft Custom Construction removed walls to open up the kitchen and installed cabinets that are white gloss and matte bright blue. An underused bedroom closet is now a butler's pantry.

    The new master bathroom was designed to accommodate aging in place with a curb-less shower, removable shower seat, grab bars and ample lighting.

    There is also a wall-mounted Washlet toilet and sink faucet, floating vanity with strip lighting underneath, quartz counters and large-format porcelain tile.

    A pink sink faucet is near an art niche.

    Kraft Custom Construction

    BEFORE

    AFTER Petrina Construction

    Master bedroom remodel: Petrina Construction added space to the second floor of a house in Portland's Laurelhurst neighborhood to upgrade the master bedroom and incorporate a bathroom without having to go into the hall.

    AFTER Photo by Brian Pierce/Pierce Pixels

    Kitchen remodel: Creekstone Design + Remodel removed a 16-foot-long fireplace wall to open the kitchen to adjoining rooms. The new kitchen has navy cabinets and mosaic backsplashes as well as a wine fridge and microwave concealed in the island.

    Creekstone Design + Remodel

    BEFORE

    AFTER Brian Pierce/Pierce Pixels

    Kitchen remodel: To open up the confined kitchen, Creekstone Design + Remodel exposed the existing coffered ceiling and added windows as was as LED wafer lighting to the vaulted ceiling.

    Creekstone Design + Remodel

    BEFORE

    AFTER Wiedly Construction

    Whole house remodel: A 1970s Mediterranean-style house in Lake Oswego needed to be upgraded and updated from its Old World style to a contemporary one with new cabinets, countertops, staircases and light fixtures.

    Wieldy Construction created a new ceiling structure supported by two large beams. Interior arches mirror outside colonnade arches.

    A covered porch and two large windows face a forest area. Inside, seven skylights and four large windows maximize natural lighting. The lower floor now has an entertainment area and sunroom.

    Wiedly Construction

    BEFORE

    AFTER Cooper Design Build

    Whole house remodel: Cooper Design Build restored the natural character of a Craftsman-style house in Lake Oswego while modernizing its systems and layout, including creating an expanded master bathroom with a soaking tub, shower and double vanity.

    The unfinished basement is now a suite of separate, flexible spaces and off of the kitchen is a large deck that connects to a new two-car garage.

    Cooper Design Build

    BEFORE

    AFTER Brian Schmidt Builder

    Whole house remodel: A 1915 bungalow walking distance to Oswego Lake received foundation work, a reconfigured, open floor plan and second floor addition by Brian Schmidt Builder.

    Brian Schmidt Builder

    BEFORE

    AFTER Metke Remodeling & Luxury Homes

    Main floor remodel: Metke Remodeling & Luxury Homes opened the kitchen-living-dining space to enhance the home's view of Lake Oswego. The kitchen was also made more functional for entertaining.

    A large masonry fireplace and chimney were removed to draw in more light and expand the kitchen and add a bar. The master bathroom now has a steam shower, double vanity and soaking tub.

    Metke Remodeling & Luxury Homes

    BEFORE

    AFTER NVHolden Photography

    Whole house remodel: Mountainwood Homes renovated a house in West Linn's Ashdown Woods neighborhood to function better and enhance its style.

    The sunken living room was raised to eliminate steps and stained hardwood floors were installed throughout the main level.

    The kitchen was reconfigured and the cooktop was relocated to make the hood the focal point of the back wall.

    The master bathroom was enlarged and a jetted tub was replaced with a sculptural, freestanding tub that has a view of the courtyard.

    Mountainwood Homes

    BEFORE

    --Janet Eastman | 503-294-4072

    jeastman@oregonian.com | @janeteastman

    Subscribe to Oregonian/OregonLive newsletters and podcasts for the latest news and top stories

    See the article here:
    Tour a restored Robert Rummer-built midcentury modern and 12 other remodeled homes (before, after photos) - OregonLive

    Have You Visited These 10 New Additions to the Sunshine State? – Flamingo Magazine - March 7, 2020 by Mr HomeBuilder

    NORTH FloridaA bartender serves up cocktails at the Farm & Fire Southern Pizzeria in Santa Rosa Beach. Photography by Colleen DuffleyFARM & FIRE SOUTHERN PIZZERIASanta Rosa Beach

    Chef Jim Shirley expands his eatery empire with this Prohibition-era pizzeria. The vaulted ceilings and the mobsters in the buildings history naturally lent themselves to a speakeasy-style restaurant. Legend has it that the club that used to occupy the space had a gun check at the door, Shirley says. Diners wont find a place to store their firearms, but they will find coal-fired cuisine in a vintage coastal setting. Guests can watch from their tables as their pizzas, meatballs and fish are cooked in an 800-degree clean-burning coal oven that leaves the perfect char. The farm portion of the name comes from the restaurants partnership with local farmers, who provide fresh ingredients for salads, cheeses, meats and desserts. Cap off the night with a cocktail at the copper-top bar and soak in expansive views of Choctawhatchee Bay at this speakeasy by the sea. farmandfirepizza.com

    The coastal clothing and home goods in Emily Raffields collection are more than just beach accessories: theyre tangible pieces of her home. Raffields designs and the understated accessories sold alongside them at Becasa not only serve as everyday staples for Floridians, but also evoke a sense of nostalgia for the Gulf Coast. Raffield releases limited collections multiple times a year, featuring natural, no-fuss clothing suited for life on the beach, along with black and ivory pieces that stick around all year long. Breathable midi dresses, cotton tank tops, linen throws and other beautifully basic pieces harken back to her childhood in Port St. Joe. I dont claim to be a couture designer, but I know what people want and need in their closets, especially at the beach, Raffield said. She opened her online shop in 2018 and grew such a loyal fan base that she opened a brick-and-mortar storefront in 2019. shopbecasa.com

    This new coffee shop just blocks from the beach is designed to make people linger. Wide, clear garage doors roll up to let the seaside breeze waft in, and ample seating invites people to settle in for a spell. Sago was started by the neighboring Beach Church as a way to build local relationships. So many people know what churches are against. We want to be known by what we are for, said executive pastor and owner Carey Sumner. Here, coffee is an experience, a means to bring people together. With an emphasis on community, Sago selects a different organization each quarter to receive 25 percent of its profits. Since opening in September, the coffee shop has supported Beaches Habitat for Humanity and The Donna Foundation. All of the coffee is brewed by Concord Coffee in Lakeland, and the pastries are sourced from local bakeries including Jax Bread Co. and Lucys Sweet Shop. Starting in April, Sago will offer a limited-release specialty brew to let customers taste coffee from all over the world. sagocoffeejax.com

    The latest addition to the Old Citys lauded distillery scene brings playful flavors of rum, vodka and moonshine to the cobblestone streets of St. Augustine. Just steps from the Castillo de San Marcos, City Gate Spirits aims to offer libations for every palate. Stop in to take a swig of apple pie moonshine, sweet tea vodka or pineapple rum during a 15-minute tasting experience. Booze buffs will find that the liquor is infused with more than just tropical fruit and spicesits also rich in the towns lore. Each bottle sports a postcard-style image of an iconic landmark from the city and includes a fact about the location, making it the perfect keepsake. Since celebrating its grand opening in October, City Gate has launched new flavor options for 2020 and promises its soon-to-come whiskey wont disappoint. citygatespirits.com

    One block over from bustling Canal Street, this charming artisan market and specialty coffee shop is a curated collection of all things made-in-Florida. We wanted people to be able to see the great things that we have in our state, said co-founder Alonda McCarty. So in June 2019, McCarty and her friend Chelsea Preston opened a retail space that celebrates the states accomplished makers. Locally sourced goods from brands like Le Chic Miami, Lure Paper Goods, Naked Bar Soap Co., Aramore Art and more line the shelves. Even the lattes froth with DeLand-based Trilogy coffee. The duo wanted to create not just a boutique but a place where locals can gather to work, socialize and learn new things. The Living Room, a playful space filled with greenery, flamingo-patterned chairs and a large wooden table at the center, functions as a coworking office and workshop classroom, where the shop hosts everything from wreath-making seminars to author talks and oyster shucking lessons. floridalocalmarket.com

    When guests first enter this nostalgic cocktail room, dimly lit by vintage street lamps, it isnt clear whether theyve stepped into the 1980s or the 1800s. The sleek black marble countertops, velvet fabrics and gold accents give a distinctly modern feel to this storied space. Built in 1884, the building originally functioned as a laboratory for the states chemist, Norman Robinson. Today, it serves as the historical backdrop and inspiration for this swanky new Orlando hot spot. Owner Daniel Mawardi goes beyond shaking and stirring to carefully craft innovative drinks, using a centrifuge to infuse liquor with unexpected flavors and create imaginative combinations, like apricot bourbon and banana fernet. Sink into one of their plush couches and order the crowd-pleasing Just To Be Clear gin-based cocktail or, if youre feeling adventurous, give the boozy Rum Fashioned a go. Eco-conscious revelers can enjoy their beverages guilt-free knowing The Robinson operates with sustainability in mind. This means limiting their waste and using all pieces of the produce in their cocktails. therobinsonroom.com

    When mother and son duo JoAnn and Matthew Matchin decided to start churning their own ice cream, they wanted their product to rival all other frozen treats while also remaining dairy-free and vegan. Given the hype around the recently launched Plant Love Ice Cream, it seems theyve accomplished just that. The psychedelic shop boasts a creative rotating menu with specialties such as molten chocolate and cookie butter made from simple ingredients. The use of plant-based components, such as almond milk and coconut milk, instead of dairy means that even people with certain allergies and lactose intolerance can enjoy a scoop. Customers also have the option to add CBD drops to their orders to reap the chemicals stress-relieving benefits, JoAnn Matchin said. Along with making better-for-you ice cream, the pair also wanted to run a business that was healthier for the planet. They only use biodegradable serving dishes and wood or metal silverware, and even their water is sold in glass bottles, making the dessert experience virtually guilt-free. plantloveicecream.com

    At this intimate Italian eatery in Miamis Buena Vista neighborhood, simplicity meets sophistication. With an emphasis on stellar service, owners Alex Meyer and Luciana Giangrandi hope to walk the line of fine dining in an approachable atmosphere. Boia De is one of the few restaurants in the city that offer natural and low-intervention wines. Guests can expect simple yet exceptional plates, such as seared grouper with artichokes and Meyer lemon beurre. The interior, inspired by the Memphis design style of the 80s, sports geometric shapes and splashes of color. The bathrooms have a hint of whimsy with monkey wallpaperbe on the lookout for a tiny hidden monkey figurine. The duo have infused the space with their personalities by incorporating treasures from their travels around the world. Venture down the hallway to catch a glimpse of a lithograph from Erberto Carboni displaying an advertisement from 1926. boiaderestaurant.com

    If it werent for the works of Miami artists adorning the walls of this historic minicastle in the heart of Brickell, diners at Chateau Miami would be forgiven for thinking they had been transported to Europe. Formerly the residence of community activists John and Ethel Murrell, the French-style villa will now be the home of James Beard Award semifinalist Clay Conleys newest venture. Returning to Miami for the first time in a decade, Conley brings with him the global-inspired open-fire cooking methods lauded at his flagship Palm Beach restaurant Buccan. Designed for sharing, Chateaus menu will highlight South Floridas natural ingredients, like Florida pink shrimp and quail eggs, while also reflecting Conleys world travels. After passing around a plate of grilled Florida peaches, linger a little longer in the lounge to sip on a cocktail and gaze out into the classic European garden surrounding the manor. chateaumiami.com

    As soon as visitors step inside this new contemporary art museum, its clear that the space itself is a masterpiece. What was formerly Sarasota High School, a 1926 collegiate Gothic building, has transformed into 15,000 square feet of sweeping exhibition spaces. Along with areas for site-specific and site-responsive installations, the museum features a 110-seat auditorium for live performances and a great lawn, which hosts temporary sculptures, installations and special programming. As a contemporary kunsthalle, the museum is a noncollecting art institution, which means art lovers can expect an endless rotation of new works. The museum debuted in December with an exhibition by Sheila Hicks exploring the science of color and material through large-scale fiber art (pictured below), fine art photography by Brazilian artist Vik Muniz and a light installation by Christian Sampson that uses the architecture of the building and the suns rays filtering through. ringling.edu/museum

    Follow this link:
    Have You Visited These 10 New Additions to the Sunshine State? - Flamingo Magazine

    83-year-old owner of Gebhart’s Grooming shares business advice – Ashland Source - March 7, 2020 by Mr HomeBuilder

    Parallel to Ashland's Main Street is a less traveled one-way street, featuring the back entrance to popular spots like the Downtown Perk and Uniontown Brewing Company and approximately half a dozen other small, locally owned and operated gems.

    Some like HoldFast Tattoo and Substance Church are relatively new to South Street, while others like Hair Connection and Linder's Sports Bar and Grill have long had a presence in Ashland. All are proud of their downtown locations.

    In the coming weeks, Ashland Source will highlight many of these South Street businesses and discuss how revitalization efforts in downtown effect them.

    ASHLAND -- Lifelong Ashland County resident WilliamGebhart doesn't make plans.

    The 83-year-old owner ofGebhart's Family Grooming Centersimply shows up on-time and works hard for his customers.

    It's what he's done since obtaining his barber license in 1957, and he intends to keep up the pattern until he can't get up and go to work anymore.

    Gebhart says he became a barber because he knew other barbers who seemed happy with their careers. He worked along Second and Main Streets before opening his own barber shop in 1973, Gebhart's Family Grooming Centeron58 South St West in Ashland. He'll celebrate the business's 47th anniversary in April.

    "I just get up every morning and go to work, and if I can't get up to go to work, then I won't be work anymore. That's all," Gebhart said.

    His South Street location was a taxi garage before Gebhart moved in and renovated the building's interior. Four cars could fit into the space where he now cuts hair.

    Nearly 50 years later, it looks similar. The most significant additions and changes have come from his customers in the form of gifts. One wall features a yard stick collection; many are from Westinghouse, F.E. Myers and other businesses in the region and aren't made anymore.

    Other walls are adorned with plaques from Gebhart's involvement with the Lions Club, Masonic Lodge and other local organizations. And he's especially proud of the American flag that he displays.

    His services haven't changed much over the years either.

    "We don't get into a lot of the other stuff like coloring, mainly just cutting and shaving. Keep it simple," Gebhart said. "We don't create the trends the public creates the trends, and the standard hair cut for guys stays pretty well the same. Young people change to be different, but then they go back."

    Even before downtown's revitalization and despite ever-evolving competition, he's always kept busy.

    "I have just been serving the people. Since I started I've had regulars. A lot of them are gone now, but they book for the next one when they come in," he said.

    Gebhart resides in Perrysville with his wife of 60 plus years. He has three children and more grandchildren and great-grandchildren than he can count.

    The Grooming Center is open 8 a.m. to 5:30 p.m. Tuesday through Friday and from 8 to 1 p.m. most Saturdays. The shop is closed on the first Saturday of the month.

    Local news coverage is only sustainable with local support. Here at Ashland Source, our stories will always be free to read, but they arent free to produce. Consider supporting our coverage of Ashland County by becoming a member today.

    Continue reading here:
    83-year-old owner of Gebhart's Grooming shares business advice - Ashland Source

    LEVITATION Announces Full Lineup for SXSW 2020 Day & Night Parties Featuring The Black Lips, Ringo Deathstarr, Kokoroko and More – mxdwn.com - March 7, 2020 by Mr HomeBuilder

    Annalise Hughes March 6th, 2020 - 9:45 AM

    Originally named Austin Psych Fest when formed by members of The Black Angels and friends in 2008, LEVITATION provides the perfect manifestation of bliss for every psychedelic rock fan. In honor of Austins psych rock pioneers, The 13th Floor, the festival was renamed LEVITATION in late 2014. If you have ever been to this festival, youve experienced the phenomenal, abstract kind of euphoria that it entails and for its 9th year, Volcom and Tower Records are presenting LEVITATION SXSW including official showcases and free day parties. The festivities will take place from Wednesday, March 18th Thursday, March 19th at The Volcom Garden and Hotel Vegas.

    Garage rock band The Black Lips will be among the many musical acts making an appearance. Formed in Atlanta in 1999, The Black Lips are a self-proclaimed flower punk band, mixing blues, rock and punk with a little bit of country thrown in there. The band has a reputation for crazy and unpredictable live shows and have slowly built up a diverse fanbase that appreciates their spontaneous nature and high energy.

    Bringing a delightful touch of shoegaze, Austin based band Ringo Deathstarr will take you through a portal of dreams. Their self-titled debut, a five-song EP, was released by British label SVC Records in the fall of 2007. After playing several shows, the band released their first official album, Colour Trip in 2010 featuring the dreamy alternative track Kaleidoscope. They have since put out two more albums and a collection of Eps.

    Kokoroko will be displaying a truly unique sound inspired by contemporary West African style music and European jazz. Since 2014, the London-based Afrobeat group have been known for shaking up Londons live music scene, bringing in horn-and-drum driven jams and polyrhythms. According to their own manifesto, they play music they love, they grew up with and that their parents got funky to! Kokoroko contributed their track Abusey Junction to award-winning compilation We Out Here, a showcase of Londons new jazz, funk and global grooves in February 2018.

    With this epic genre-crossing lineup, there will be a little something for everyone here so come get weird!

    LEVITATION SXSW Wednesday, March 18th @ The Volcom Garden (1209 E 6th St) & Thursday, March 19th @ Hotel Vegas (1502 E 6th St)

    Wednesday, March 18

    Volcom x LEVITATION Launch Party (Free & Open to the Public/ 21+)

    Location: The Volcom Garden (1209 E 6th St)

    ***RSVP here***

    12:00pm Doors open

    1:00pm Iguana Death Cult

    2:00pm Hoover iii

    3:00pm Elephant Stone

    4:00pm Ringo Deathstarr

    5:00pm Holy Wave

    6:00pm Frankie & The Witch Fingers

    Thursday, March 19

    Day Party 1pm-7pm (Free & open to the public/ 21+)

    Location: Hotel Vegas (1502 E 6th St)

    ***RSVP here***

    Lineup: The Black Lips The Coathangers Kokoroko Automatic Algiers Vanishing Twin Fenne Lily Elephant Stone Porridge Radio Deca Joins Kills Birds The Shivas The Mauskovik Dance Band Lightning Bug Model/Actriz T.V.O.D.

    Official SXSW Showcase 7pm-2am (Badge & Wristband Priority Entry/ Open to the public with $10 Cover/ 21+)

    Location: Hotel Vegas (1502 E 6th St)

    ***RSVP here***

    Lineup: The Dream Syndicate Frankie And The Witch Fingers Holy Wave Ringo Deathstarr Corridor A Giant Dog Lorelle Meets The Obsolete The Paranoyds Hoover iii Control Top The Underground Youth Los Bitchos Tengger Greenway Records Presents: Levitation Room Triptides The Muckers Max Pain & The Groovies Smock Ghost Car Shadow Show Silver Synthetic

    *Stay tuned for the full schedule, set times and final additions!

    LEVITATION SXSW is a 21 and over event including two free day parties and a cover charge of $10 for the official showcase that will be presented on March 19th. Music and Platinum badge holders and wristband wielders receive priority access to the official showcase.

    Featured image photo credit: Kalyn Oyer

    Read the original post:
    LEVITATION Announces Full Lineup for SXSW 2020 Day & Night Parties Featuring The Black Lips, Ringo Deathstarr, Kokoroko and More - mxdwn.com

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