Before he became Bruce Banner, Mark Ruffalo was perhaps best known for indie movies and the odd whimsical rom-com. The year was 2005 and Reese Witherspoon was stilla few months away from winning an Oscar for Walk The Line, andlighter love stories were still very much in her wheelhouse. Just Like Heaven does not share the same beloved legacy as 13 Going on 30 or Legally Blondebecause it is not as funny or charming as either of these movies. However, it is an appealing and comforting rewatch, twistingthe falling-for-a-ghost narrative with predictable but fun results.

This tale of a love that must triumph over adversity dont they all? is a solid viewing optionfor these trying times. It doesnt sound like much of a selling point to call something aggressively fine (it has55% on Rotten Tomatoes), but sometimes that is the idealmovie experience, not to mention that Witherspoon and Ruffalo dosell the fantasy-infused narrative with gusto.

Based on a French novel, Elizabeth (Witherspoon) and David(Ruffalo) are polar opposites. Elizabeth is a dedicatedER physician, spendingso much time ather work that her social life is nonexistent, whereas Davidstruggles to leave the house preferring his own company to being with the living. The movie begins with Elizabeth on a monster 26-hour shift, emphasizing how she prioritizes herjob over everything else. Her loneliness sets her apart from thecolleagues who manage tojuggle it all.

At the end of her shift, Elizabeth is told she has been awarded the attending physician positionshe has been busting her gut to land, but in an attempt to open up her lovelife she has agreed to go on ablind date that evening. On her way home from the hospital she is involved in a car accident, which suggests it is lights out for Lizzy. Her long hours at work have contributed to her crash and this is a reminder of the pressure medical professionals are under even when there isn't a pandemic.

Meanwhile, Davidis looking for a place to rent. The San Francisco market is notoriously expensive so it is a miracle when a flyer with adream place sublet announcement landsdirectly on his face. What forces could be doing this? His biggest concern is finding a furnished apartmentwith the perfect couch because he doesnt plan on moving from it. Davidis a social distancing king whose behavior in 2005 is a concern to his one friend, but in 2020 we all need to be more like David.

Taking a different approach to a meet-cute, Elizabeth is horrified to find Davidin her apartment particularly as he has takeout containers and beer cans scattered everywhere but disappears as quickly as she entered. Convinced he has a ghost haunting his solitude, Davidtakes measures to exorcise this malevolent spirit, but heis plagued by a different specter from his past. His reluctance to leave his very comfy apartment the size, view and roof access makes this a very appealing location stems from the sudden death of his wife two years ago. A brain aneurysm killed her, and therandomness of the event and his inability to do anything to save her has led to this life of hiding away.

Elizabeth's predicament is somewhat more complicated as she is separate from her actual body. It turns out that she isn't deadbut in acoma. The rules of her existence are fuzzy, much like her ability to sit in a car andlie on a bed, and yetshe can't pick up a phone. Hanging out in the refrigerator to berate Dave about his choices also turns her into a buzzkill presence.She also can enter David's body, which sounds far kinkier than it is. Instead, she just wants him to drink less.

What links the pair is a shared theme ofmissing out on life Elizabeth because she works too hard and Davidbecause he is still consumed by grief. Again, David'sstay-at-home mantra is actually ideal for right now but in the world of the movie,people keep telling him to get out. Stay in your pajamas, Mark Ruffalo. It is a good look and I'm not just saying that because the cut of jeans in 2005 wasvery bad.

The antagonistic undertones are replaced by a newfound connection and while they can't physically touch each other much like any other new relationship right now they fall in love despite this huge obstacle. The other major bump in the road they have to overcome is the fact that Elizabeth's life support machine is going tobeturned off. If you have read this far without having seen the movie, you can guess what happens next.

Another discovery cements their destined to be with each other status: Davidwas the guy Elizabeth had been set up with on the night of the crash. Who could have seen that coming? OK, everyone could.

Love moves in mysterious ways and the pair wereconnected before this crash and even the blind date. In her moments of catnappingwhile at work, Elizabeth envisioned a beautiful heaven-like garden on her roof. David's job? A landscape architect! After she wakes from her coma, she doesn't remember him, but all it takes is for a trip to her roof to see what he has done (along with a graze of their hands) for it to all come flooding back. He has somehow designed and created the exact garden she pictured during those quieter moments at the hospital. While Elizabeth's non-corporeal rules are all over the place, nothing is more set in stone in rom-coms than the notionofkismet.

Peak mid-aughts Mark Ruffalois, of course, a big selling point to this movie. It also ticks all therom-com real estate dream home boxes. At the moment it is hardto watch something and not consider how it would rank as a shelter-in-place location, butElizabeth (and David's) palatial apartmentand fantasy rooftop garden score pretty highly. Just Like Heavenis incredibly predictable; nevertheless, the familiarity and warmth is a welcome change of pace, andsometimes that is all you need.

See the original post:
The cozy appeal of romantic comedy Just Like Heaven - SYFY WIRE

First Minister Nicola Sturgeon admitted distancing measures were likely to extend beyond 2020 but said schools and some businesses could re-open if their workplaces were redesigned.

It may be that some businesses in some sectors can reopen, but only if they can change how they work to keep employees and customers 2m distant from each other, she said.

With schools, classrooms may have to be redesigned to allow social distancing, so maybe not all children can go back to, and be at, school at the same time.

In a Framework for Decision-Making document published yesterday, the Scottish government confirmed it would work with partners across society to redesign workplaces, education settings and other premises so they are places where spread is minimised.

The announcement by Scottish government is the first official acknowledgement that public and business spaces may have to be adapted for a new normal after lockdown is eased.

The Royal Incorporation of Scottish Architects responded to the announcement by writing to the chief architect at the Scottish government and offering assistance in developing design solutions and adaptions required to address the likely future changes.

A spokesperson for the Scottish government told the AJ: We very much welcome the offer of assistance from RIAS to assist with classroom re-design and we will explore all potential options as we take forward our exit strategy from lockdown.

Jude Barber, director at Glasgow-based Collective Architecture, said: Given the spatial and behavioural challenges surrounding the pandemic, it seems only right that architects, landscape architects and planners should be central to the discussion and share their ideas and expertise.

But Alan Dunlop, visiting professor in architecture at the University of Liverpool, told the AJ: It is not a great idea to redesign classrooms, lecture theatres, or studios.

Dunlop described the cost of the measure as prohibitive and said: Even if you could compartmentalise classrooms, there is the issue of common areas, such as stairways, corridors, toilets etc and the no small matter of parents and carers collecting and dropping off children at the same time.

He added: I have never seen a retrofit school that works particularly well and certainly none that would promote learning.

Chris DobsonHaving spent years analysing our workspaces (and concluded they need to be deconstructed and re-imagined to create more collaborative, comfortable and communal environments), how do we reconcile the need for human interaction with the presence of a highly contagious virus?

If we are not to recreate the isolation of working from a kitchen table, or a make-shift desk in a bedroom, great care must be taken. A simple thinning of workstations would not seem to cut it. And what about the contained vessel of the passenger lift, communal kitchens and the imposed proximity of many shared sanitary facilities?

Beyond the immediate and the make-do, there are fundamental questions to answer and creative responses required to some of the most challenging briefs that we are likely to receive within the profession. Our societal health and wellbeing is truly on the line.

Chris Dobson is a director at 3D Reid

Robin LivingstoneNicola Sturgeons announcement yesterday on redesigning the spaces we share to pull us apart and seek greater isolation goes against the purpose of our craft, to gather people together and keep each other close. In the short term we will need to come together to use what we have more flexibly and creatively for all our collective safety.

This would seem as much about logistics as it is design, but architects have the skills to make the most of what we have available. But longer term, my hope is this will reignite debates on the ever decreasing space standards in our homes, work places and schools, the quality of the outdoor spaces we provide, the importance of light and natural ventilation in our buildings and the need for generous, accessible civic space in our cities.

Robin Livingstone is a director at Fraser/Livingstone Architects

Peter DrummondThe market, and austerity, has been squeezing space standards throughout the sector for a very long time. As a consequence we find ourselves with very many buildings which will require significant adaptation if we are facing a medium to long-term requirement for even modest social distancing, be it in the school or in the workplace. Meanwhile, many in social and large-scale housing provisions will have found the current isolation and staying in requirements extremely difficult to deal with, to say the least.

It is in everyones interests for a return to the new normal whatever that might be. I therefore very much welcome the first ministers recognition that adaptation is required, and hope that our sector works together as a matter of urgency to bring the expertise from science and design/construction together to provide not only solutions for working now, but how we might need to work and operate in our buildings going forward.

Peter Drummond is a director at Peter Drummond Architects

More here:
Scottish govt says offices and schools need redesign for lockdown to be eased - Architects Journal

The Sling Chair by Clement Meadmore is arguably the best Australian chair ever. At least the cleverest design. This is the argument.

Clement Meadmore was born in Australia in 1929, his father a toy model salesman and mother an avid lover of modern art. He trained for 2 years as an aeronautical engineer at Melbourne Technical College (later RMIT) before swapping to the inaugural industrial design course.

He graduated in 1949 and he began designing furniture (in black steel and cord), lights (the Calyx range) and interiors (Legend Espresso and Milk Bar) under the brand Meadmore Originals. He gained early recognition (the Good Design Award in 1952), worked with rising artists of the time (Leonard French) and opened his own Gallery A (with 2 friends) in 1955.

He worked in Melbourne throughout the 50s, before leaving for Sydney in 1960 for a position as art director for the Cond Nast magazine Vogue Australia. In 1963 he designed the Sling Chair as his last creation before he left Australia to settle permanently in New York, eventually as a US citizen.

Steel chairs manufactured by Michael Hirst (courtesy Curve magazine)

He had a lifelong love of chairs, collected his favourites, made photos and measured drawings, which culminated in his writing one of the great furniture reference books: The Modern Chair: Classics in Production, published by VNR in 1975 (not 1974 or 1977 as often referenced we checked our much worn first edition).

Included in the book is his own finest design: the Sling Chair, designed 12 years earlier, as homage to the chrome steel and leather chairs he had documented by Le Corbusier, Mies van der Rohe and Marcel Breuer, and those that form the bedrock of the book.

The Sling Chair of 1963 (image by +one)

The sling is made from 2 pieces of thick leather (usually brown) stitched together and slung between 2 frames made from 3 chromed steel pieces. Who better to describe the chair than Meadmore himself; this is the description of the chair taken from his book:

The design of this chair grew out of an interest in the possibility of using the sling principle in an anatomically correct fashion and in a way which would intrinsically include armrests. The steel structure consists of three parts, the back brace and uprights welded into a single unit and the two front elements, each of which is attached with two screws thus locking the leather sling in place.

The extended flat steel strips seamed into the leather swing at each side repeat the principle of the base and it is this construction method that distinguishes this chair from others using a similar base but supporting a conventionally upholstered seat and back. Because the leather is in a loose sling form seamed between the seat and back contact areas there is no stretching in use and no restriction of body movement, even though the sling is virtually form fitting. It is as comfortable as many more complex padded and upholstered chairs. Both functionally and aesthetically the metal and leather elements are sufficiently close integrated to form a unified whole.

The Sling Chair of 1963 deconstructed for transport or cleaning (image by +one)

His appreciation of chairs in his book centres on elegance of idea, simplicity of execution and comfort. This last is unusual as most descriptions of chairs (as for most designed objects) are of the history or design characteristics and importance, not their success in use.

Every one of the chairs was seemingly personally tested over a period of time by made more before he wrote his piece. The description of all the classics from 1870 to 1975 included faithfully transcribed dimensions of every chair at 1/8th scale, providing details of the structure and proportions and, inter alia, the ergonomic performance of each chair.

1/8th scale drawing of the Sling Chair of 1963 from The Modern Chair book.

We regard the Sling Chair so highly as it embodies the desire for a design to be stripped back to the bare essentials, both out of need, given the scarcity of materials post WW2, and the desire to meet the aesthetics of the age of modernism.

The best Australian design from the fifties and sixties seems to cleverly make beauty from nothing more than a 4x2 and fencing wire. Here the chair has few parts and is held together with just 4 bolts, disassembled in a matter of minutes for cleaning, transport or repairs.

So good was his original reference book that it was republished by Dover some 22 years later, but interestingly, nine very unusual chairs at the end of the original are omitted: one shaped as a baseball glove called Batting Joe, and a large pair of sittable lips called Marilyn. Seats by different designers presumably celebrating star crossed lovers Joe Di Maggio and Marilyn Monroe.

The lesson here is that Meadmore was more inclusive and progressive in the 70s, celebrating design variations that are the beginnings of postmodernism, than the conservative publishers 20 years later making a book for the rich persons collectable passion.

After arriving in the USA in 1963 he concentrated his practice on large sculptures, particularly in the then novel pre-rusted steel called Cor-Ten. His interest in chairs waned, and he became known, and still is entirely known on the net, for his sculptures. Substantial and significant Meadmore sculptures can be found in art galleries around the world.

In 1970 the Australian National Gallery (the ANG as it was then and should still be known) in Canberra commissioned Virginia, a piece also found in the USA, although not in that named state, but in Detroit. Similar to many of Meadmore's sculptures it is a twisted cubical form, of massive proportions.

Virginia Sculpture by Clement Meadmore at the ANG. (image courtesy of the NGA)

Harry Howard, landscape architect of ANGs garden, designed its siting as carefully as a master curator in an indoor gallery, thus contributing to Australias most beautiful made landscape. More subjective superlatives deserving of an argument.

In 1975 Meadmore published the book How to Make Furniture Without Tools, a guide that included tear out sheets to take to a lumber yard (we are in the USA) which could then be assembled to create chairs, wardrobes, bookshelves, bureaus and desks. The elegance and simplicity of these designs match the earlier work, like the sling chair, but how do these plywood and glue chairs turn out? Thats another episode of +one designs.

plus 1 / plus one / +one is a collective of designers and artists promoting sustainability and Australian design. You can contact them at [emailprotected]

Read more here:
The 'Sling Chair' by Clement Meadmore - Architecture and Design

He is certainly no stranger in the conservation circle, being a figure behind great projects like the restoration of the renowned Cheong Fatt Tze mansion in Penang. In fact, for the past 26 years, architect Laurence Loh has been promoting conservation efforts in Malaysia.

The Cheong Fatt Tze building, also known as the Blue Mansion, won Most Excellent Project in the 2000 Unesco Asia Pacific Awards for Cultural Heritage Preservation. Another notable project of Lohs was the restoration of Stadium Merdeka, which won an Award of Excellence in the 2008 edition of the above-mentioned awards.

In the same year, the Suffolk House in Penang received an Award of Distinction while in 2002, the Cheng Hoon Teng Temple in Melaka received an Award of Merit (both in the same awards). Loh is also known for the restoration of the Lunas Rubber Smokehouse in Kedah, which was shortlisted for the Aga Khan Award for Architecture (2008-2010). Besides transforming the formerly abandoned structure into an important town landmark, the project also united the different communities in the area and created a sense of shared history.

As recognition of his work, Loh was recently awarded the Pertubuhan Akitek Malaysias (PAM) Gold Medal for his lifetime contribution to the architectural community and landscape. The PAM Gold Medal award is the highest honour that can be bestowed on an architect to acknowledge the persons accomplishments and contributions to the architectural community both locally and abroad.

The Suffolk House in Penang also received an Award of Distinction in the 2008 edition of the awards. Photos: Filepic

(The award) represents a watershed moment because, by acknowledging my contributions and achievements, PAM has turned the spotlight on the promotion and practice of conservation. By implication, the Institute recognises that conservation is an integral part of its mission and objectives. Until recently, I always had the feeling that conservation practice was a marginal concern and not seen as a powerful tool and symbol to be celebrated in local architectural circles, shared Loh via email.

He feels that one of the key challenges hampering conservation efforts in the country is the lack of funding. An indicator of the emphasis and importance that has been placed on conserving Malaysias heritage, or the lack of it, is the quantum of national funding allocated in comparison to other sectors of government, be it at the federal, state or local levels.

Many of the major heritage buildings and sites are government-owned. Right in the heart of Kuala Lumpur, major heritage icons are being totally neglected and falling into disrepair. There is no accounting for the lack of shame about what the poverty of respect for our past signifies in terms of public relations and international reception, he said.

In 2002, the Cheng Hoon Teng Temple in Melaka received an Award of Merit in the same Unesco awards.

Education, Loh added, has a major role to play in creating love for, and awareness of, local heritage, coupled with the understanding and skills to conserve, manage and sustain it.

The manner in which national cultural policies are framed and promoted also contributes to conflicting views and approaches, with many being left behind. Conservation truly works when there is collective ownership, shared values and shared histories, he emphasised.

Loh has been a jury panel member of the Unesco Asia Pacific Awards for Cultural Heritage Conservation for the past 20 years.

In all this time, Malaysia has won only six awards. Whilst I helped set the pace in Malaysia in the early years, other countries are performing exceedingly well now. It is frustrating for me because, year in year out, my fellow panellists ask me why there are so few entries from Malaysia, which in the face of very stiff competition, never make the grade. Even smaller countries like Singapore and Hong Kong do better than us.

Ever since the management of heritage became mainstream as a result of the creation of a Department of Heritage in Malaysia, advocacy groups have taken a backseat. The system suffers from a lack of cohesion, transparency, inclusiveness and a sense of priority. There are practically no financial incentives and support given to the private sector, except under special circumstances.Loh was recently awarded the PAM Gold Medal for his lifetime contribution to the architectural community and landscape.

Heritage should not be for the privileged. It should be conserved and protected to reflect Malaysias cultural diversity and to be shared by all communities, he opined.

Commenting on the Covid-19 pandemic, he believes that it is turning the focus on inclusiveness, resilience, environmental protection and climate change, some of the targets of the United Nations Sustainable Development Goals.

The message is strong and clear. We have to look for new ways to engage with the natural and cultural world. It can no longer be big business as usual, dictating how the rest of us consume, produce and service it.

I am advocating that we place heritage at the heart of sustainable development. By doing so, we will start to return the right to survive to all living things, and in the end, save ourselves.

Beautiful transformations are taking place because of the global lockdown. Rivers and seas are clean. Animals are reclaiming their original habitats. Temperatures are dropping. Reversal and repair of sites should be the new norm, he said.

Read this article:
Award-winning Malaysian architect says heritage is the core of sustainable development - The Star Online

With more and more homeowners wanting to grow their own vegetables and tend their own gardens, it may lead you to wonder whether installing a greenhouse on your property would hurt or help your property value. Before you build, here's what you need to know about having a greenhouse at your home.

A greenhouse is an enclosed glass structure primarily used for gardening that can either be free-standing or attached to a home. Greenhouses extend the growing season and allow gardeners to grow plants that would otherwise not grow well in their climate as well as increase the production of any outdoor gardens.

But there are secondary uses as well, especially if the greenhouse is attached to your home. It can expand your functional living space, with many homeowners choosing to use it as a living or dining room. It can also passively heat your home during the day during the winter and can create a more humid environment that can be beneficial in arid climates or for those who suffer from respiratory issues.

One potential negative to having a greenhouse on your property is the upkeep required to keep the structure from falling into disrepair. Just like with a pool or roof in need of maintenance, some buyers may not be interested in fixing this big-ticket item themselves or may offer a significant amount below your asking price to compensate for the added expense.

Greenhouses can also require a lot of energy to keep warm in the winter, which is an added cost some homebuyers may not find worthwhile. Additionally, in contrast to the welcomed warmth in the winter months, if a greenhouse is not well built with proper ventilation, it can also provide unwanted heat in your home during the summer months.

A number of studies have determined that well-designed landscaping can increase the value of a home. One study in particular conducted by Virginia Cooperative Extension stated that home values were found to increase between 6% and 11% with a sophisticated landscape design. However, little data has been gathered to identify whether a greenhouse specifically adds value to a home. For this reason, it's unclear whether a greenhouse would add monetary value to your home when it comes time to sell, but it can still add value to your home while you live there.

Adding a well-designed greenhouse to your property could possibly increase the value of your home, but it could also narrow the interested pool of buyers, as some may not want the added maintenance and expense. Some buyers, however, may see value in having a well-built, well-maintained greenhouse, and this could be seen as a unique selling feature, especially if the potential buyer also enjoys gardening or sees the attached greenhouse as a bright and cheery sunroom.

There's no guarantee that a greenhouse will add value to your home when it comes time to sell, but if it enhances your enjoyment or use of the home while you live there, it may be a worthwhile investment.

Before building, carefully weigh the advantages and disadvantages that come with having a greenhouse on your property. If you decide to move forward, consult an architect, landscape architect, or contractor to help you design and build a functional, attractive greenhouse for you and any future property owners.

You can build your own greenhouse to save on cost; just make sure it is well thought out and well-built and that all of the proper permits were pulled for the construction, if needed for your county or structure. This way you can reduce the chance of the greenhouse being viewed as a burden rather than a selling feature to later buyers.

More:
Should you Install a Greenhouse on your Property? - Motley Fool

Landscape architect Ernest W. Bowditch, who was born on this date in 1850, has been overshadowed in his field by Frederick Law Olmsted and sons. But he was a key figure in establishing the profession in the 19th century and had a major impact on the design of estates, such as The Breakers and Chateau-sur-Mer.

In fact, he designed the landscape for The Breakers' predecessor on the same site, then owned by Peter Lorillard IV, as well as the grounds of adjacent estates Vinland and Wakehurst. As Jim Donahue, our Curator of Historic Landscapes and Horticulture, puts it: In laying out all three, he created a unified landscape along Ochre Points seaside. Combining private estates was an innovative approach that was scarcely repeated anywhere and not at all in Newport.

Today, the Preservation Society continues the major effort to rehabilitate Bowditchs landscape plan for the existing Breakers, including the Serpentine Path that was a key element of his vision.

#NewportMansionsFromHome#MuseumsFromHome#NewportMansionsStrong#AloneTogether

Source: Preservation Society of Newport County

Go here to see the original:
Landscape architect Ernest W. Bowditch, who was born on this date in 1850, has b... - Portsmouth Press

Along with physical classes, a majority of the countrys top architecture and design schools also outright canceled or postponed what remained of their planned spring semester event programming due to the ongoing COVID-19 pandemic.

A handful of schools, however, have opted to keep lectures, symposiums, and the like on their respective event calendars and will proceed with hosting them but in an online format. Below youll find a select handful of intriguing and enlightening lectures to close out the academic year with.

Most will be held on Zoom and, unless otherwise noted on their individual event pages, all are free and open to the public. Most require pre-registration.

For an even wider range of virtual goings-on in the architecture and design world, check out ANs Event pages.

The Bernard & Anne Spitzer School of Architecture, the City College of New York: Upcoming events held as part of the SCIAME Zoom Lecture Series include: The Rolex Conversations, a filmed discussion between David Adjaye, Niger-born architect Mariam Kamara, and the schools dean, Lesley Lokko (April 20), and a talk with Denise Hoffman Brandt, director of the Graduate Landscape Architecture Program at the Bernard & Anne Spitzer School of Architecture (April 23).

The Cooper Union:On April 28, The Cooper Union, via Zoom, will present New Investigations in Collective Form, a remote lecture by architect and urban designer Neeraj Bhatia.

Harvard Graduate School of Design: On the near horizon for Harvard GSDs Zoom-based virtual public lecture series: A talk with Jenny and Anda French of Boston-based architecture studio French 2D entitled Together Again (April 17); a live screening of Heinz Emigholzs Goff in the Desert (April 18);an Earth Day-tied discussion with Moreno Mateos, assistant professor of Landscape Architecture, on the long-term recovery of ecosystems degraded by human development (April 21); and Heritage and Debt: Art in Globalization,a lecture by David Joselit, professor of Art, Film, and Visual Studies at Harvard (April 23).

Massachusetts Institute of Technology:On April 30, MIT Architecture will host Informal to Formal, a conversation with Chris Leong of New York-based practice Leong Leong, as part of its now-virtual Spring Lecture Series.

UCLA Architecture and Urban Design:Rounding out AUDs 2019-2020 public event series are virtual lectures from Ignacio G. Galan, principal of [igg office for architecture] (April 29), architectural historian David Gissen (May 13), and Tei Carpenter, Founder of AgencyAgency (May 20).

The University of Pennsylvania Weitzman School of Design: On April 22, UPenns McHarg Center will host an online group conversation with the authors of A Planet to Win: Why We Need a Green New Deal.

University of Virginia School of Architecture:On April 20, the UVA School of Architecture will hold, via Zoom, its annual Thomas Jefferson Medalists in Architecture Public Talk with this years recipients, Marion Weiss and Michael Manfredi of New York-based multidisciplinary design practice Weiss/Manfredi.

See the rest here:
Close out spring with these streaming academic lectures and talks - The Architect's Newspaper

Excerpt from the book Memory Houses, House of Memories (Lighthouse) (all images courtesy Robert Hutchison)

The memory or mind palace (AKA method of loci) is an old technique of memorization, developed in ancient Greece and Rome, to help cement knowledge in the mind by way of visualizing it in a palace. In Memory Houses (Casas de la Memoria) a conceptual architecture project that has evolved into a physical exhibition of sketches and models, as well as a detailed book cataloguing architecture both real and imagined Seattle-based architect Robert Hutchison adaptsthe notion of the memory palace in a work that serves as a peri- and post-mortem conversation with his father, who suffered from advancing dementia leading up to his death in 2016.

With the support of his studio, generally tasked with the more concrete application of architecting spaces to be built in physical spaces, the Memory Housesproject resuscitates Hutchisons first commission a multi-building winery design on a property owned by his parents some 25 years prior, that was abandoned before implementation. This work culminated in an exhibition and book project that showcases the energetic force of architecture in the examination of the mental landscape.

Perhaps because it was never realized, the purity of its design remained intact, wrote Hutchison, in the introduction. What unfolds throughout the book are updates and expansions on the original designs, unfettered by the need for practical implementation, and therefore open to create spaces that hold the echo of decades-old dreams. Likewise, Hutchison builds out spaces for the future, with the addition of a chapel and columbarium dedicated to the architects father, and a new house for his now-widowed mother a process that Pia Sarpaneva titles Remembering Forward in her essay for the book.

In addition to the eight imagined buildings on the site plan House for a Train Engineer, House for Locomotives, Telescope House & Milkhouse, House for Winemaking, House for Remains, House for Bells, House for a Widow, and House of Memories the book intersperses designs and documentation of the firms brick-and-mortar creations. The further one pages through it, the finer the lines become between real and imagined spaces an apt kind of conflation for the process of memory in the aging or distant mind.

Memory Houses,in its myriad forms, is an excellent and subtle paean to the power of design, which beyond being useful in the creation of physical spaces to house and shape our daily life, offers tools for the conceptual construction of spaces to hold grief, fix memory, or build the possibilities of new mental architecture. At a time when many of us are a little more housebound than usual, it is inspiring to think of ways to create new structures for remembering our way into a brighter future.

Robert Hutchison Architecture: Memory Houses (Arquine, 2019), with contributions from Taiji Miyasaka, Vctor Alcrreca, and Pia Sarpaneva , is available on Bookshop.

Read more here:
An Architect's Tribute to the Power of Design and Memory - Hyperallergic

'Tis the season for gardening. And with social distancing and quarantines to adhere to, there's no better time to take your garden to the next level than right now. "Spring is the natural time to work in the garden," says Ed Hollander, founder and president of Hollander Design Landscape Architects. "It is the time when trees and shrubs break their dormancy along with perennial flowers, grasses, and herbs, which re-emerge from the earth as the sun warms the soil."

This year, getting active in the garden goes beyond aesthetics, says Hollanderit will "also work to rebuild the spirit. Our fight with coronavirus has been so draining that getting outside, working in the earth, and feeling the joy that comes with growing things is that much more important." Looking for ways to be creative with your garden this spring? We asked a few of our favorite landscape architects for some inspiration.

Related: 30 Great Ideas for Your Garden

Nothing livens up a garden like a bunch of beautiful, blossoming flowers, which is why landscape architect Janice Parker says you should start planting flowering bulbs in March and April. "In the spring, plant flowering bulbs in groupings so they arrive by summer," she says. "My favorite summer bulbs are Abyssinian gladiolus (Acidanthera) and calla lilies because they're a great way to play with color and form in your flower bed."

If you're searching for a fun way to save money this summer, Amber Freda, a landscape and garden design expert, suggests planting vegetable seeds. "I think people are going to be more into growing their own food this year than ever before, so I recommend planting vegetables from seed this spring, as well as strawberries and blueberries," she says. "I like to start all my seedlings in biodegradable peat pots indoors to protect them from cold snaps and critters. Once they've sprouted, I move them to a small plastic greenhouse outdoors until they look big and strong enough to be transplanted into the garden or containers."

Story continues

Getty / Tatyana Tomsickova Photography

Haven't yet attempted to grow sedges? Now's the time to start. A grass-like plant that grows fast and freely, Parker says they're perfect for filling an empty patch in your outdoor garden. "Sedges are great ground covers. Unlike lawns, they don't require mowing," she says. "Choose a semi-shady spot in your gardenabout three-feet-by-three-feetand fill it with Carex Pennsylvanica to enjoy for the season."

A little string light action goes a long way in a garden, especially if you like spending time outdoors at night, too. "One thing that people frequently overlook is how beautiful a garden can feel in the evening," Hollander says. "Stringing caf lights from trees and other forms of landscape lighting can make the garden as wonderful to enjoy at night as it is during the day."

There's no better time than spring to start cultivating your container plants, and Parker says the vessels you use are rife with design opportunity. "Plant containers should echo the style of the house and the garden that it embellishes," she says. "That's why the style and material of the container is just as important as the plant itself."

Originally posted here:
Five Ways to Get Creative in the Garden This Spring - Yahoo Lifestyle

As the novel coronavirus continues to derail restaurants plans for 2020, owners and operators may be beginning to contemplate what is in store for their future. Inevitably, some will fail. Others, however, will be ready to expand into new spaceand with some concepts closing their doors, there will be an increase in vacated real estate open for takeover.

While it is possible to take over an existing restaurant space quickly, effectively and affordably, you have to be careful. Those unfamiliar with this type of development often think theyre getting a great deal because so many required elements of a typical restaurant build-out are existing. Landlords and brokers will emphasize these aspects, highlighting the opportunity to save. However, these existing conditions rarely work out the way theyre promoted and can end up costing more in the long-run.

MORE FROM THE AUTHOR:

What foodservice and cleaning looks like in the age of coronavirus, and why it's here to stay

Restaurateurs have the potential to keep these costs down, but in order to do so, its important to understand why the costs might not be as low as expected or promoted. There are two key things that influence the costs of developing or taking over an existing restaurant:

Differentiationa fine line

The former restaurant youre taking over most likely failed. There is a very thin line that separates the amount of changes required to convincecustomers that there is a totally new concept and operation in the existing failed space. Finding that line is difficultfalling short can mean continued failure. Blowing past it can mean overspending, making it nearly impossible to make a reasonable return on investment. It is critical to definethe minimum amount of changes and investment required toexorcise the demons from the failed restaurant and make it clear that a unique, new concept has settled in.

Assumptions

There are many variables associated withredeveloping an existing restaurant.People will often initially assume that much of the equipment, building utilitiesand existing build-out can be reused because there wasapreviously operating restaurant in the space. Unfortunately, regardless of what landlords or brokers may tell you, there aretoomanyunknown factorsrelated to reusing existing items:updated building codes, changes in use, condition and useful lifespan of the existing items, etc. Many people may tell you that all of the existing conditions are grandfathered because there was an existing restaurant in use prior to you taking possession of the property. Unfortunately, the threshold for reusing existing elements that may not meet current requirements is very low.Every jurisdiction sets their own requirements for allowing non-conforming, existing conditions and these requirements are getting more andmorestrict.

Keeping in mind why the costs might be potentially higher than you originally expect, there are three simple things any restaurant owner can do to understand the true costs associated with redeveloping an existing restaurant site and how to control these costs:

Do your homework: As soon as you identify a potential existing restaurant location that you think might work for your concept and execute a Letter of Intent to acquire it, we highly recommend you work with professionals that can help you with thorough due diligence.This may be speaking with your Architect to identify and understand any potential existing areas that are non-compliant with current building, zoning and health codes. It could also be working with your contractors to examine the building systems (especially the HVAC and kitchen exhaust systems) to make sure theyre in good working order with reasonable life left. Do the same with your kitchen equipment vendor on the refrigeration, electrical and mechanical components of the existing foodservice equipment.Dont make assumptions. Verify as much as possible so that you can clearly ascertain the true costs.

Locate the Documents: There are two different sets of documents that contain critical information and will help with the due diligence above.One set is the Base Building Construction Drawings and the other is the latest Tenant Upfit Construction Drawings. These should include Civil, Landscape, Architectural, Structural, Food Service, Plumbing, Mechanical, Electrical and Fire Protection drawings. Several details could be evident in these drawings that wont be readily visible in even the most thorough site investigation, like the size of a grease interceptor, under-slab plumbing, exhaust duct sizes, etc.The accuracy of this information caneasilyswing a project budgetalmost $100,000 in one direction or another.

In many cases, the only place to find this information is in a detailed set of Construction Drawings. These documents are often available through the landlord or property seller.If not, you can also usually access them for a small fee from the local building department.Thereally goodreal estate brokers will make it their responsibility to find and copy these documents for the project teams use.

Verify the fit:We strongly recommend preparing a test fit, or a preliminary layout, as early as possible to determine which aspects of your ideal layout, including cookline, prep kitchen, bar, seating, etc., will fit in this specific location. For example, even though a kitchen exhaust hood may be existing, it might not accommodate your standard equipment line-up. This could either lead to an atypical operation or require significant changes.Either option may be the difference between success or failure.

We also often see an assumed number of seats and / or tables able to fit in a given space based on its square footage, or what was existing.Manytimes,we find that once a test fit is performed and the actual kitchen is laid out in a non-standard shapedspace, either more extensive modifications are necessary to get the required seating capacity or the seating capacity becomes secondary to saving money.In either case, the ability to meet the desired ROI is compromised.

These are three simple and very low-cost things you can do to better ascertain the true costs associated with taking over an existing restaurant.Once the true costs are determined,its much easier to either negotiate up-front to address these costs or look at other design alternatives to mitigate these costs.

With decades of experience in the industry, Steve Starr has become a nationally-recognized leader in restaurant and retail design. While his insight and expertise spans the hospitality industry, his focus is on branding, consumer behavior and the development process. Steve leads a creative, multi-disciplinary team of architects, interior designers, graphics designers and branding professionals at Starr Design in Charlotte, North Carolina, where they concentrate on connecting people with brands through creative environments and responsible processes.

Link:
Post-COVID 19: The Pros and Cons of Location Takeovers - QSR magazine