Search results for "little rock"
Digital PrintingUsing a new digital printing technique that does not require high-temperature firing, digital slabs feature colorful custom designs. Fired after decoration, the ceramic surfaces are stain-resistant and highly durable. Wide & Style ABK
Flora and FaunaFlower and plant motifs bring sensory experiences to engage both sight and touch. These new tiles were aptly inspired by nature. i filati di rex Florim
TerrazzoAggregate flakes of marble, stone, or other materials are the defining characteristic of terrazzo. New collections offer a variety of colors and sizes to create unique applications. Medley Ergon Engineered Stone
HolographicIridescent glazes allow light and shadow to refract from new holographic finishes. This playful treatment allows the color of the glossy tile to change given the light. Spectre 41zero42
3DNew ceramic wall tiles adorned with 3D relief patterns add texture to otherwise flat vertical surfaces, bring color, dimension, and a little pizazz. Veneto Porcelanosa
MarbleEngineered marble, or otherwise put, ultra compact surfacing made to look like the metamorphic rock, is more cost-effective and unarguably more durable, but, perhaps, also more beautiful than natural stone. These new surfaces articulate the natural veining in marble in a hyper-realistic depiction that can only be made through manufacturing. Dekton Stonika - Olimpo Cosentino
WellnessBeyond spa-like touches of wood and atmospheric lighting, bathroom design has taken health to new extremes. Manufacturers like Scavolini have “optimized” the bathroom experience by combining bath fittings with wall-mounted gym equipment. Gym Space Scavolini
WoodEngineered wood is by no means new, but manufacturers are taking a step beyond emulating the mere appearance of the material. New motifs mimic how the material is used in artful compositions of parquetry and marquetry. Intarsi Ceramica Sant’Agostino
Just before financier and alleged pedophile Jeffrey Epstein died in a New York City jail, New York Magazine published the A-to-Z contents of Epstein's contacts book. Along with business tycoons, foreign royalty, and powerful politicians, there were a number of names from the worlds of art and design—including architects and interior designers.
Perhaps the most prominent of these is Alberto Pinto, the interior designer known for his lavish-beyond-lavish creations for the superrich. According to the magazine, Epstein's $56 million Upper East Side mansion featured silky leopard print armchairs and walls covered in custom-tooled gold-leafed leather. Interior designer and countess-by-marriage Muriel Brandolini—who's dreamed up luxe spaces for the prince and princess of Greece, among other high-profile clients—also made the list. Of course, association doesn't mean guilt by association—rich people hang out with other rich people, especially when working on a commission or reached out to and asked to take on a project.
Joining these A&D professionals in the book were luxury hotel genius Jean-Michel Gathy, Mexican architect Ricardo Legorreta, Peter Marino, and guitar-shaped Hard Rock Hotel interiors honcho David Rockwell.
The last architect in Epstein's contacts executed one of the most puzzling buildings in the entire Miami–Caribbean–New York City triangle of Epstein's real estate portfolio. For the late financier's private 70-acre island, Little St. James Island, resort designer Edward Tuttle designed the centerpiece "main house" in 2003. However, no designer has yet been named for the most enigmatic structure on the island, a blue-striped, gold-roofed "temple" on a white plinth that is surrounded by a red geometric pattern baked into the white plaza.
Remembrances from 2002-2015
Peter Lang on Cristiano Toraldo di Francia's 'incredible love'
Soulcycle for Your Life
What do architects think about Related Companies' Stephen Ross fundraiser for Trump?
Related owns a slew of properties in the United States, from New York to Miami, as well as in London and Abu Dhabi. Phase one of Hudson Yards on the far west side of Manhattan’s opened earlier this spring to mixed reviews and is successfully attracting throngs of people who are spending countless hours and dollars shopping around the $25 billion site. The Shed, the transformative arts venue designed by Diller Scofidio + Renfro in collaboration with Rockwell Group, was built on city-owned property and is not directly affiliated with Hudson Yards, but no doubt the recent news may rock its fall season of already-planned performances. In fact, one fashion designer, Prabal Gurung, announced he's canceling a show that was in talks to be located at the Vessel after hearing about Ross's ties to Trump. New York Fashion Week was supposed to be hosted at Hudson Yards in the coming years. Buildings aren’t necessarily something one can boycott or at least totally ignore. They are a basic human necessity and provide tangible shelter. But the towering monoliths at Hudson Yards weren’t conceived to shelter your average New Yorker. What’s done is done and Hudson Yards is here, and a number of prominent firms contributed to the project's first phase, including Kohn Pederson Fox, Skidmore Owings & Merill, Elkus Manfredi Architects, and Nelson Byrd Woltz Landscape Architects. The next few years of construction, set to start late next year, will see the build-out of designs by Gehry Partners, Santiago Calatrava, Robert A.M. Stern, and more by Heatherwick Studio. So this leads us to ask: Like Jose Andres, artist Jerry Saltz, and other figures who've laid bare their frustrations with Ross in the last 24 hours, will architects vocalize their political views and become part of this conversation?
I respect a person’s right to politically support who he chooses but these are not normal times!. So I ask u Steve Ross to use your conscience! Cancel this fundraiser for @realDonaldTrump You are a good man.Don’t support a candidate whose goal is to drive my beloved USA apart! 🙏 pic.twitter.com/mTMhCZsmzl— José Andrés (@chefjoseandres) August 8, 2019
AN has reached out to a number of firms who’ve worked on Hudson Yards and will update this story when we hear back.
Statement from Stephen Ross: pic.twitter.com/nvn3pmAPVE— Adam Beasley (@AdamHBeasley) August 7, 2019
Old Landscapes in New Places
Decoding the colonial history behind Blue Origin's space settlements
Ennead Architects, the New York-based firm formerly known as Polshek Partnership, will team up with SmithGroup to redevelop the Newseum building in Washington, D.C. for Johns Hopkins University. The Baltimore-based university announced its plans to purchase the building from the nonprofit Freedom Forum earlier this year for $372.5 million. Johns Hopkins will consolidate its existing real estate holdings in the city at the new offshoot building on Pennsylvania Avenue, which will host various academic and administrative initiatives.
Ennead is an appropriate choice to head the project for obvious reasons. Led by architect James Polshek, the firm designed the current Newseum building before changing its name from Polshek Partnership in 2010. Opened in 2008, the building has several distinct features, including a 75-foot-tall marble slab engraved with an excerpt from the First Amendment. A so-called “window on the world” also occupies the structure’s Pennsylvania Avenue frontage, allowing for views between the street, the National Mall, and visitors inside the museum. Ennead has handled multiple high-profile museum projects around the world, such as the Rose Center for Earth and Space at New York’s American Museum of Natural History and the Clinton Presidential Center in Little Rock, Arkansas.
Ennead submitted initial drawings for the major remodeling to the U.S. Commission on Fine Arts (CFA) on July 3. Before construction can begin, the commission must provide informal feedback and officially approve of the final design. The filing sent to the CFA indicates that certain aspects of the building’s facade will change. The marble tablet with the excerpt from the Constitution, as well as the newspaper headlines that line the avenue, will be removed. The entrance will be reimagined as more transparent and open. Due to boundary line regulations on Pennsylvania Avenue, though, much of the structure’s original massing will remain in place.
The interior will undergo a significant transformation as well. The university has announced plans to reconfigure floor slabs and circulation within the building—currently, much of the museum is positioned around a large, multistory central void. With more than 400,000 square feet of floor space available inside, the facility will house classrooms, offices, and event spaces that will be open to the public. No plans for alterations to the 135-unit Newseum Residences have been released.
As for the Newseum itself, administrators at Freedom Forum have not yet announced where the museum will move. After years of serious budget deficits, the institution will close temporarily at the end of 2019. Employees will work out of a provisional office in Washington until a new home is found. Hopkins has suggested that construction on its facility could begin as early as 2020, and as late as 2023, with no estimated completion date.
During my days as a technology vendor, I chafed at the idea of introducing government standards for technology developed by a polyglot group of stakeholders. Users, software companies, and bureaucrats often sought a “lowest common denominator” between various software, sacrificing innovation and progress for vague notions like “open access.” In the early days of Building Information Modeling (BIM), several such efforts emerged, the most prominent of which were the General Services Administration (GSA) attempts to create a standard and the development of BIM-derived digital permitting submissions in Singapore. Both projects garnered much attention but gained little traction in the form of implemented technologies or operating protocols—at least in their early forms. But they had one important effect: In the loosely organized, disparate network of the building industry supply chain, government could provide a galvanizing influence. At least when government spoke, the industry listened.
In 2011, however, we witnessed a welcome change with the publication of the United Kingdom’s “Government Construction Strategy.” Much of the early theory about industry productivity and need for process integration had long emerged from that side of the Atlantic—for example, Sir Roger Egan’s seminal “Rethinking Construction” report—but there was little action. The David Cameron government, however, saw construction as a critical economic engine, concluding that improving the cost and carbon impacts of building while bolstering U.K. capabilities as a global building leader would drive growth. One pillar of the resulting government policy document was BIM, and the following requirement: “2.32. Government will require fully collaborative 3-D BIM (with all project and asset information, documentation, and data being electronic) as a minimum by 2016. A staged plan will be published with mandated milestones showing measurable progress at the end of each year.”
As upwards of 40 percent of construction dollars in the U.K. are spent by the government, the industry snapped to attention, formed cross-industry collaborations, and established and implemented BIM requirements for all their projects (with logistical and financial support from the government). BIM adoption shot up from 10 percent in 2012 to 70 percent by 2018, and savings on the first prototype projects were estimated at as much as 2.5 percent of the total lifetime cost of designing, building, and operating the project. By my own estimate, that’s as much as five times the fees likely paid to the design team and 25 percent of original construction cost. Not bad for a first effort. And, in typical British fashion, the resulting standards (search online for “PAS 1192”) were clear, rigorous, and implementable.
The success of the U.K. effort has spread across Europe, and EU government leaders have taken similar roles (at least until Brexit) in developing standards for the entire European Union, while also establishing footholds with other global networks, most notably in Latin America and Southeast Asia. Singapore, in collaboration with the U.K. team, has spurred a multiyear effort to create a standards collaboration there. As we approach the end of the second decade of BIM, one can see the slow emergence of a global network of BIM standards leading to a single market BIM, catalyzed by what may be the only cohering force in the building universe: the long arm of the law.
Now that the technology is mature and its use stable, global BIM standards are a good thing. The U.K. effort rightly became the basis of a worldwide standard created by the International Organization for Standardization (ISO; see ISO Standard 19650) and released in early 2019. Based on the now viral PAS 1192, ISO describes its work as “recommended concepts and principles for business processes across the built environment sector in support of the management and production of information during the life cycle of built assets (referred to as 'information management’) when using building information modelling (BIM).” Note the emphasis on business process driving the technology standard; precisely the right relationship for creating a stable platform for the otherwise disparate players in the global building industry.
And there’s an even larger idea here. What’s most powerful about the U.K.’s trailblazing work on BIM standards is the origin point: Rather than start with the prosaic, bottom-up question of lowest common denominator tech standards, they chose a broad organizing principle—improving building through technology is good for the economy and the environment, and doing this in a way that is agnostic to specific technologies or proprietary software drives competitive innovation that helps the entire market.
Driving BIM standards has further benefits to government, not the least of which is transactional transparency. State-run construction is rife with overbidding, conflicts of interest, and corruption. A bedrock principle of “collaborative 3-D BIM” is information clarity—all members of the building team can see and understand the physical and technical characteristics of the project in parametric three dimensions, along with the resulting arithmetic of cost projection—which makes it that much harder to manipulate a bid.
In the early days of the U.K. project there was an appointed Chief Government Construction Advisor with a direct line to high-level policy makers in the Cabinet. The United States’ construction market, roughly five times the size of the U.K.’s, could surely benefit from some policy-driven federal leadership, something that is certainly hard to imagine in today’s administration and go-go economy. But when the inevitable downturn does occur, we’ll know which way to look for inspiration for industry improvement.
Studio Gang and SCAPE team up for Arkansas cultural project
The American Institute of Architects, San Francisco chapter (AIASF) has announced the award recipients of its 2019 AIASF Design Awards program. This year, the group is honoring projects located throughout the San Francisco Bay Area as well as in other parts of the country in architecture and interior design categories with special awards highlighting projects that excel in historic preservation, community infrastructure, urban transformation, and other areas.
Included in the list of winners this year are Aidlin Darling Design's In Situ restaurant at the San Francisco Museum of Modern Art, Saint Mary's Student Chapel by Mark Cavagnero Associates, and the Rain installation in Washington, D.C., by Thurlow Small Architecture + NIO architecten, among many others.
The 2019 AIASF Design Awards program was juried in New York City in partnership with the AIA New York. The jury deciding the awards program includes Katherine Chia of Desai Chia Architecture, Stefan Knust of Ennead Architects, Jason Long of OMA, Susan T. Rodriguez, and Kim Yao of Architecture Research Office.
See below for a full list of winners:
ArchitectureHonor Monterey Conference Center Skidmore, Owings & Merrill LLP
Ridge House Mork Ulnes Architects
Roseland University Prep Aidlin Darling Design
Saint Mary's Student Chapel Mark Cavagnero Associates
The Amador Apartments jones | haydu
Tree House Aidlin Darling Design
Kua Bay Walker Warner Architects
SoMA Residence, Artist Gallery + Studio Dumican Mosey Architects
The O'Donohue Family Stanford Educational Farm CAW Architects
University of California, Merced, Pavilion at Little Lake Skidmore, Owings & Merrill
Interior ArchitectureMerit In Situ Aidlin Darling Design
CitationConfidential Financial Services Firm Gensler
Studio Dental II Montalba Architects
El Pípila Schwartz and Architecture
Commendation for Historic PreservationLodge at the Presidio Architectural Resources Group
Commendation for Urban DesignHunters Point Shoreline envelope A+D
Commendation for Social ResponsibilityEl Pípila Schwartz and Architecture
Special Commendation for Commitment to Community Spaces901 Fairfax Avenue Paulett Taggart Architects + David Baker Architects
Special Commendation for Sustainable Community InfrastructureHalf Moon Bay Library Noll & Tam Architects
Special Commendation for Urban Infrastructure EnhancementRain Thurlow Small + NIO architecten Special Commendation for Urban Transformation 1100 Ocean Avenue Supportive Family and Transitional-Aged Youth Housing Herman Coliver Locus Architecture