Williamsburg's first office building in more than 50 years is set to rise at 25 Kent Avenue. Designed by San Francisco's Gensler and New York–based Hollwich Kushner (HWKN), the office complex will span 480,000 square feet, rising to eight stories with space available for commercial and manufacturing purposes, as well as an extensive public courtyard area. Brooklyn-based Heritage Equity Partners is the developer.
Crucially, to make the development happen, the city approved a special zoning district that permits developers to trade light manufacturing space for extra office construction.
Approved by the City Council and City Planning Commission, YIMBY reports that the new zoning rules allow for greater design flexibility and mandate less parking to encourage office development. The “Enhanced Business Area” is set to incorporate much of the North Williamsburg Industrial Business Zone, a zoning area which, according to the New York City Economic Development Corporation, seeks to "protect existing manufacturing districts and encourage industrial growth citywide."
As for the building itself, a stepped-back brick facade respects the surrounding context while certain structural elements are revealed behind glass to establish a modern yet industrial feel. “At the east and west ends of the building, it’s as if an old building was sliced and we put a curtain wall on,” said Joseph Brancato of Gensler. The scheme will also have 16-foot slab-to-slab heights to facilitate adequate daylighting made possible through large windows deployed throughout the building. Per the new zoning regulations, the number of parking spaces have been set to 275—all situated underground. Before the zoning rules kicked in, the scheme would have had to made room for 1,200 parking spaces.
According to Toby Moskovits of Heritage Equity Partners in Brownstoner, the staggered facade enables office and manufacturing spaces to be modular and have greater flexibility. Startups, whatever stage of development they may be in, would be able to step into 25 Kent Avenue at any time, while amenities such as cafes can be positioned centrally on every level.
Moskovits argued that the development will support Williamsburg by “giving economic opportunity to small businesses and people in the community who need jobs.” Moskovits added: “We’re of the community and we are entrepreneurs. Our goal is to tenant the building in a way that makes sense for the neighborhood...We believe passionately in what we are doing."
The NBA Store, occupying a 25,000-square-foot corner storefront on Fifth Avenue at 45th Street, offers an immersive shopping experience for NBA fans. The store, designed by Gensler in conjunction with Kurt Salmon and TAD Associates, is a multidimensional design effort that merges basketball memorabilia with technology to produce unique interactive experiences.
Three floors of jerseys, hoodies, and hats, along with other official memorabilia spanning NBA, WNBA, and NBA D-League teams, are showcased to the public with a double height glass and aluminum facade.
Set in the circular corner bay of the storefront, 31,000 LED lights form a two-story tall skewed grid that evokes the form of a basketball net. The 32-foot tall structure is capped by a sculpture designed to replicate a basketball tread—presumably on its way to “swooshing” through the LED net.
Date of Completion
anticipated completion date November, 2016
curtainwall with 3mm aluminum plate trim, eyebrow and cured portal, interior wall
3mm aluminum with bespoke 8 unit finish, lumiflon coating
Surfaces with hardwood floor patterning derived from the league’s recognizable maple wood courts extend outward beyond the glass facade to form portals and awnings. The aluminum panels are a product of Pure + Freeform, a bespoke metal company that according to Operations Director Will Pilkington, operates as “contextual, site-specific designers." Gensler, interested in the idea of bringing a durable “hardwood court” aesthetic to the exterior facade, initially approached the company.
The process began with sending a sample of Madison Square Garden’s court which was sent to Pure + Freeform’s design team, which digitally copied the material properties of the court and created multiple diamond and laser engraved steel “design cylinders” capturing aesthetic qualities of the classic hardwood court. The cylinders etch into a one-eighth-inch aluminum plate through a controlled process of adding pearlized inks and resin. The plates are then baked to seal in the print. This exterior lumiflon resin technology process highlights Pure + Freeform’s “solutions-based manufacturing style” which involves production lines that add up to a 1/4 mile in length.
"The best thing about our process is we can create purposeful, site-specific finishes, but then they can be formed in almost any way to emphasize their depth and character," explained Pilkington. The technology allows for a wide range of coloration, design, texture, and glossiness, allowing the design team to accurately produce a staggering array of material effects from natural stone and wood finishes to a variety of metallic, abstract, and bespoke finishes. Additionally, the printed resin fabrication process allows for the metal surface to be post-formed in a variety of challenging bent and folded configurations that typical painted surfaces would not hold up to. The NBA Store utilizes these abilities through a radiused concealed fastener application, forming the inner lining to the NBA’s trademarked logo, massively scaled up to the double height facade elevation. The material was used for interior wall paneling as well.
Beyond the facade, over-scale elements play a key role in the design, evoking the larger-than-life feeling fans may have when finding themselves standing next to basketball’s greatest players. A 40-foot footwear wall made from an undulating nylon “shoelace”, a Spalding basketball chandelier featuring 68 game balls, and a wall of 2,500 hats covering every team are among the store’s most architectural features. Departments are designed to produce basketball-specific environments. A children’s section doubles as a locker room, while video screens saturate the main floors arena-like vibe with a 400-square-foot video wall broadcasting highlights, news, and social media posts to keep fans up to date.
Personalization areas highlight a retail strategy that seeks to extend beyond the limits of a physical store, tapping into a vast number of online products, social media conversations, and customizable NBA merchandise. “It makes a 15,000-square-foot store like a 100,000-square-foot warehouse,” said Ross Tannenbaum, president of memorabilia and in-venue divisions for Fanatics, which is operating the store. In this sense, the retail store acts as a virtual portal of sorts, offering fans a virtual experience when entering the physical space.
The Gensler-designed $60 million rehaul of the US Bank Tower’s public areas in downtown Los Angeles opened this weekend in Los Angeles. Renovations for the original 1,015-foot tall building, designed by Henry Cobb of the architectural firm Pei Cobb Freed & Partners, came about after several years of high vacancy rates for the office building. When the building came under the ownership of Singapore-based Overseas Union Enterprise (OUE) in 2014, plans were floated to convert a portion of the building to residences and a hotel. Eventually, however, the owners and Gensler decided to pursue a modest renovation of key elements of the existing structure, adding tourist-oriented program elements to what will continue to otherwise to be an office building.
The renovation includes a new ground-level plaza and lobby area, as well as a snaking labyrinth of so-called “digital interactivity” spaces, including moody hallways, panoramic video displays, and movement-sensitive light installations on the 54th floor. Because the building’s existing elevator configuration could not be altered, this floor’s waiting areas are a required stop on the way to the 70th floor OUE Skyspace viewing platform and restaurant. The big ticket item for the new OUE Skyspace is a 1¼ inch-thick glass panel slide that exits the building’s envelope at the 70th floor, curves out over the city 1000 feet below, and swoops back onto an outdoor terrace at the 69th floor, where the rider is dumped onto a red, padded mat. At $8 per ride, the slide’s to price tag luckily leaves room for second guessing, as the long line leading to the terrifying threshold is the perfect place to see and hear screaming thrill seekers tumble through the air just outside the building. The slide, designed by Brooklyn-based engineer M.Ludvik & Co consulting engineers, requires the user to scoot over a precipice into the hazy abyss beyond.In a region short on tall buildings, the new viewing area will join a growing list of sky-high vistas including the rotating bar atop the Bonaventure Hotel and the more recent rooftop bars at the Ace and Standard Hotels. The slowly rising steel frame of the nearby Wilshire Grand Hotel will also boast a rooftop pool terrace over 900 feet above the street when completed in early 2017.
On April 22, the city of Denver inaugurated the Denver International Airport Transit Center, a commuter rail terminal that anchors the previously completed Westin hotel. The transit center provides Denver with a key piece of infrastructure (not to mention a signifier of ambition and status) while finally completing a plan that was over 20 years in the making.
In the transit center and associated hotel, Gensler’s steady hand has provided Denver with a handsome, if unexceptional, addition to the airport. Few designs, including Calatrava’s original proposal, could match the tectonic celebration that is the original Fentress Architects–designed terminal. However, Gensler carefully crafted a piece of
architecture that is deferential to the unique and timelessly beautiful structure, while humbly presenting its own attractive qualities. From the catenary swoop of the Westin roof to the well-executed structural canopies interpenetrating it, this is a project that aspires to deliver great design in spite of the city’s traditionally conservative approach to architecture.
The transit center suffers from a common problem in Denver projects: an uneven approach to landscape. Denver-based landscape architects Valerian and studioINSITE provided a variety of landscaped spaces, but it seems that only those that are inaccessible and visible from afar are attractive. The crux of the project—the plaza between the new hotel and the existing terminal hall through which passengers pass when moving from the train station to the airport terminal—is a drab beige and lifeless expanse of brick pavers and an insult to the original terminal and the aspirations of this new addition.
A major component was the procurement of a wide variety of public art and its integration with the architectural and landscape design. In most cases, such as Patrick Marold’s Shadow Array, it supplements the design in a harmonious and aesthetically pleasing way. In the grand public plaza, however, Ned Kahn’s kinetic artwork only adds to the lifeless melancholia, making the traveler wish for a patch of swaying greenery, which, ironically, Kahn’s piece is supposed to evoke.
Denver’s new train line is anchored by exceptional architecture on both ends (SOM’s canopy at Union Station is a symphony of structure and simplicity), as well as generally impressive pieces of monumental public art at every station. Yet the project is being used to justify and support the unsustainable suburban sprawl slowly creeping eastward. The city has focused on the financial impact of additional airport hotels and conference centers being developed at the Peña Boulevard station, but one must wonder what value they add to Denver’s culture and what environmental and social debt we have incurred by supporting their construction. Not all commuters and visitors will use transit, and the burdens of commuting weigh unevenly on the most marginalized and financially strained citizens among us.
If the city does intend to stitch together the thirty mile gap between central Denver and the airport with new development, we should aim higher than lifeless beige boxes surrounded by parking lots in spite of the transit line just feet away. Conversely, while central Denver’s Union Station and the adjacent train canopy provide viable anchors for downtown revitalization, they are hemmed in and overpowered by ramparts of beige stucco and cement siding. Marketing materials for both the transit center and Union Station have championed the economic impact of the development they will spur, which is no doubt important, but architecture aspires to be measured by more than function and economic effect.
Just as the design of this new hotel and transit center ignores the spaces that knit the project together with the past, so has Denver ignored the workaday spaces that compose the majority of the city. City government (and, by extension, the voters) seem to believe that no matter how dismal the majority of urban infill is (or how unsustainable development in an empty field is), they can drop a Libeskind, Graves, or Calatrava in the middle of it and somehow lend Denver the cultural and aesthetic capital they feel it should have. The overlooked projects that make up the urban fabric have been so thoroughly neglected—in form and execution and analysis and criticism—that the city lacks the cultural vocabulary necessary to articulate what is off about its built environment. Like many American cities, Denver is struggling with its low zoning density, huge numbers of cars, uncultivated aesthetic standards, and particularly oppressive height restrictions. Projects like Denver International Airport’s Hotel and Transit Center (and the larger FasTracks regional transit initiative) are but the germ of a solution.
One attractive project alone cannot chart a new course for architectural and urban design in the city. Denver is blessed with many of the ingredients necessary for a sophisticated and expressive regional modernism to flourish: a native population that cherishes the city, a steady stream of immigrants, a strong environmental consciousness, plentiful local materials, robust building trades, advanced manufacturing and fabrication, and a unique climate. What the city requires is an elevated discourse around architecture and urbanism that goes beyond a limited number of showcase projects and is fostered by the same degree of cultural investment and education that Denver has put into its public art program and economic development initiatives—the results of which speak for themselves.
Architecture firm Gensler has won the commission to design the interior of the Chase Center, which will be located in the firm's native city of San Francisco. The arena, which will be constructed in the Mission Bay area, will host the home matches of the Golden State Warriors in time for the 2019-20 NBA season.
Collaborating with Kansas City-based firm MANICA Architecture, who produced proposals for the arena's exterior, Gensler will fit out the 18,000-capacity stadium's concourses, clubs, suites, administrative offices, home and visiting locker rooms, as well as other visitor facilities such as concession areas, sponsor zones, a team store, and retail spaces.
The Chase Center aims to create a new 11-acre district that will offer other amenities including restaurants, cafes, offices, and public plazas that aren't otherwise easy to find in the area. A new five-and-a half-acre public waterfront park will be built nearby; the Chase Center itself will have connections to a major Muni Metro rail line and the BART system. Once built, the arena is set to be the "only privately-financed facility of its kind built on private property in the modern era."
"Gensler is a perfect fit for Chase Center, bringing both incredible local experience and extensive global expertise to our project—and, of course, a track record of architectural excellence," said Stephen Collins, Chief Operating Officer of Chase Center in a press release. "We want an arena that is a reflection of the Bay Area, but also a stand-out in the world of sports and entertainment. Gensler will help us achieve that mission."
"Gensler is excited to join the current design team on such a significant project as Chase Center," said Gensler Sports Principal-in-Charge, Ron Turner, FAIA. "When complete, this will be a showpiece for the NBA, the Warriors, and the Bay Area, so helping to achieve this will be a distinct pleasure for our group."
San Francisco firm Gensler's proposal for the new 96 acre Del Mar College campus in Corpus Christi, Texas has been given the official go-ahead. The campus will be located in the city’s Southside on the corner of Yorktown Boulevard and Rodd Field Road.
A timeline and funding for the scheme hasn't yet been established. However, planning for the project is due to total $1.8 million, financed from a bond package which was given voter approval in 2014. According to the Caller Times, officials have said a “funding source to build the campus will likely be in the hands of voters.”
Last year the college saw more than 24,000 students take part in credit and continuing education courses. "What we have is an opportunity to enlarge theses programs,” Del Mar’s vice president of Workforce Development and Strategic Initiatives Lenora Keas said. She also reiterated the necessity for the college’s expansion, saying that the courses offered are almost at capacity. Enrollment numbers for workforce and continuing education courses have witnessed growth of 76 percent over the last five years. "The demand is there like never before," said Escamilla.
Continuing education courses would be offered at the new campus—which would serve up to 20,000 students—as well as engineering, computer science, hospitality and architecture, among others.
On April 19, the Landmarks Preservation Commission (LPC) approved the $190 million renovation to the Ford Foundation Building at 320 East 43rd Street. The building, designed by Kevin Roche John Dinkeloo and Associates with its iconic atrium by designer Dan Kiley, has been largely untouched since it was completed in 1967. In 1997, the LPC designated the exterior, atrium glass walls, and garden of the foundation headquarters as official landmarks. The new upgrades are mostly focused on bringing the building up to code and will be conducted by Gensler with Bill Higgins of Higgins Quasebarth & Partners as consultants, while Raymond Jungles Studio will handle the plantings.
This undertaking will include doubling conference space and dedicating two floors to other nonprofit organizations, creating a new visitors center, art gallery, and public event spaces, and reducing Ford’s own office area by one-third.
Darren Walker, president of the Ford Foundation, said, “This means more accessibility for people with disabilities; [and a place that is] more open to visitors and the public, including a visitors center and art gallery; more open to our colleagues and sister institutions through expanded meeting facilities; and a more open working environment for our own staff to encourage collaboration and reduce hierarchy.”
However, at the presentation in April, commissioners and Historic District Council (HDC) director of advocacy and community outreach Kelly Carroll had reservations. Carroll pointed out that many of the buildings the HDC reviews have little evidence of their former glory, while the Ford Foundation still retains its original brass doors, planters, modernist tile pavers, and signature indoor-outdoor flow—a rare gift. “An approval [to remove features] today can easily be a regret a generation from now,” she said. In particular, she voiced concerns over removing planters—which are currently ADA compliant—and suggested that the team look into automating the bronze doors rather than tossing them.
Others, such as Tara Kelly of the Municipal Art Society, expressed similar concerns and suggested more greenery on the facade and entrance on 42nd Street. In the end, commissioners voted to approve changes. The renovation is expected to be complete by 2019.
Our architectural community became a little smaller this week. Sadly one of our members, Walter Alexander Hunt, Jr. FAIA died on May 27th 2016. He had a long and prolific career and intersected with many of us in different ways and at different points in our lives.
To Gensler he was the consummate team player who joined the firm in its early days in San Francisco and became instrumental in transforming it from a small interiors practice into one of the leading and largest architectural firms in the world. During the course of his 38-year career, he hopscotched around the country setting up offices first in Denver in 1978 and then in New York in 1985 with Margot Grant. By the time he retired in 2012, he was the Managing Director of the Northeast Region and Vice-Chair of the firm. By all accounts he was incredibly successful. He was exceptionally skilled at giving life to large complicated projects. In 2009, for instance, he led the team of 9 architectural firms that completed the 16 million square foot MGM Mirage City Center in Las Vegas, still the largest private development in the US and the largest LEED development in the world. His most recent project was probably the Msheireb Downtown Doha, a 76.6 acre development in an historic neighborhood that incorporated traditional design features with smart grid technology and is on track to be the largest LEED certified community when completed.
Any architectural office needs a dedicated staff of talented and motivated people to do the work and make it cohesive. Walter played a strong role in forging the entrepreneurial culture that became Gensler’s hallmark. After a couple of years at Gensler he decided to pursue a passion for industrial design and quit his job. He stayed in touch, decided the small firm he was at wasn’t for him, and was invited back. He felt that the experience caused him to grow and develop as an architect and made him so much more committed and more valuable to Gensler. Business journals have written a lot about the ‘boomerang’ as a way of motivating employees; Gensler institutionalized and celebrated the practice. Others often cite Gensler as a model and quote Walter.
To the AIA he was a former Chapter President, Center for Architecture Foundation President, and member of the NY State AIA Board. Without Walter, there would probably be no Center for Architecture. When the local chapter occupied a couple of donated desks in a borrowed office on the 6th floor the Interior Design Building in the late 90’s, Walter helped conceive of a storefront to promote design and architecture in New York and served as co-chair of the Capital Campaign. They raised $6 million ensuring that the Center would become a leading and permanent cultural institution in New York. Inspired by the vibrancy in New York, more than 20 architecture centers sprouted around the country.
Walter was highly committed to the next generation and educating both the practitioners and the public about design. He mentored young (and middle-aged) architects and funded more than a few organizations he felt would make a difference such as the ONE@@Time Foundation which provides pro bono design services to non profits. He also established multiple scholarships for architecture students both through the AIA and Yale, his alma mater. Yale tapped him for the Alumni Committee and the Dean’s Council. He even served on the Advisory Board of cultureNOW and helped shape its programming, its internships, and its mission to make the built environment accessible. Everyone who had the opportunity to collaborate with him would talk about his commitment, generosity, support, leadership, mentoring, and enthusiasm. Not only did he give advice, but he participated in the programs. He received many awards including the AIANY Chapter’s President’s Award and the Harry B. Rutkins Award, as well as the AIA NY State’s James William Kideney Gold Medal. Gensler established its ‘One Firm Firm’ Award in his honor. This is quite a testament to an extraordinary career. Our hearts go out to his wife Judy, his companion through life, and his family who will miss him more than we will.
Gensler’s Los Angeles office has revealed plans for a $150 million expansion to the Port of Los Angeles by marine science and business innovation group AltaSea. At a ceremony hosted at the firm's Downtown L.A. headquarters, designers at Gensler detailed a 280,000 square foot facility encompassing a new waterfront promenade, aquaculture research center, and science hub set 35-acre stretch of historical docks and waterfront spaces. The project combines the adaptive reuse of existing dockside warehouses with the construction of a new visitor’s center and signal-house. Three formerly industrial warehouse shells, exposed composite steel beams, and original overhead trusses will house dedicated research and business development facilities for aquaculture and underwater robotics endeavors. The project's development will be divided into phases beginning with the redevelopment of Warehouses 58 through 60, which will add 180,000 square feet of combined research and business hubs to the site. This phase also incorporates an education pavilion and wharf plaza into the mix. The second and third phases entail renovating Warehouse 57—which will contain 60,000 square feet of laboratory and classroom space—and the construction of the site's two new structures. Those new constructions, Berth 56 and a tower dubbed “the Viewing Structure,” are located between the arms of the two docks housing the science warehouse spaces. Berth 56 is a landscape-oriented community center with educational and exhibition spaces, as well as amenities like viewing platforms and a theater. The 5-story viewing tower is located at the foot of a Berth 56’s roof terrace, which has been sculpted to blend with a street-level plaza.
After citing the prominence of tower structures in the port’s historical development, Li Wen, Design Director at Gensler, described the firm’s approach with the new tower as an attempt to, “make a place with a new, 21st century tower that’s all about sustainability. So instead of emitting light, this tower actually harvests energy.”
The overall scheme is an attempt to create a closed loop of scientific discovery, product innovation, and entrepreneurial commercialization at AltaSea’s campus. It is also being designed to be “net-positive” by generating more energy, through tidal, wind, and solar generation, than it consumes. Gensler expects to begin construction on the first phase of the project in 2016 with the community center set to open in 2023.
Chicago’s historic Old Main Post Office may finally be redeveloped. The city has announced that the gigantic empty structure has been sold to the New York-based developer 601W Companies LLC for an undisclosed amount.
The Graham, Anderson, Probst & White-designed building was once the largest post office in the world, handling the seemingly endless mail order traffic coming from Chicago retailers such as Marshall Field’s, Montgomery Ward, and Sears. With the decline of those companies and the rise of private shipping companies, among other causes, the post office was completely shut down, with operations moving to another site in 1995. Built between 1921 and 1932, the building has 2,500,000 square foot of floor space, and 18-foot ceilings though out many of its spaces.
Since its closure it has often been used as a film set, including in the recent Batman and Transformers movies. In the years since the city sold the building to private investors, it has changed hands multiple times. With each sale promises of redevelopment ranging from adding high-rises to the top, to cutting an atrium through the building’s heart, have all come to nothing. In February, the city announced that it would take the building back through eminent domain and put out its own RFP for a developer. With the involvement of 601W the city has suspended that plan, at least until June, to give 601W a chance to finish acquiring the building and pursue its redevelopment plan.
Working with Chicago-based architects Gensler, 601W’s $500 million redevelopment plan includes a three-phase renovation that would turn the building into office space. Other amenities will include a three acre rooftop park complex, outdoor cafes, events space, a fitness center, and a public river walk. The first 24 months of construction are planned to bring the building up to code, replace the roof and windows, and restore the facade. The second phase will update the building’s systems, while the third phase will restore the historic lobby and finish tenant spaces.
601W is also the owner of Chicago’s AON Center, Prudential Plaza and the former Montgomery Ward warehouse. Gensler was not immediately available for comment on the project.
Gensler’s proposal the Los Angeles Football Club’s (LAFC) $250 million stadium complex in South L.A. moved one step closer to becoming a reality this week when the L.A. City Council “unanimously approved” the final Environmental Impact Report for the 22,000 seat stadium project. The sports arena is expected to be the most expensive privately-financed soccer stadium in the country. Like many new urban stadium proposals, LAFC’s stadium is also set to feature sidewalk-adjacent restaurants, office space, a conference area, as well as a soccer museum alongside its more traditional sports programming. The new stadium for the as-yet-unnamed franchise will replace the outmoded and unloved L.A. Sports Arena, a 1959 Welton Becket-designed, elliptical transverse steel truss roof-clad spaceship of a building. That structure has been the home for the Los Angeles Lakers and Los Angeles Clippers professional basketball teams as well as University of Southern California’s and University of California, Los Angeles’s college basketball teams in the past. It has also hosted concerts by Pink Floyd, Madonna, Michael Jackson, and the Grateful Dead. The L.A. Sports Arena held its final event in March when Bruce Springsteen performed there to a sold-out concert.Demolition of the L.A. Sports Arena is set to begin in June of this year. The new stadium is expected to open in 2018.
After moving this past July, the A+D Museum in Los Angeles is now fully settled in its new home at 900 East 4th Street in the developing Downtown Arts District. The exhibit that opened March 24 features the work of creatives like product designers KILLSPENCER x Snarkitecture, to architects/gamers Ozel Office, to sculptor Vincent Tomcyk.
A+D was founded in 2001 by architects Stephen Kanner and Bernard Zimmerman and focuses on contemporary architecture and design exhibits, educational programming, kid-focused design workshops, and outreach. The museum originally opened in the Bradbury Building and was nomadic for much of its first decade. In 2010, the museum thought it found a permanent space at 5900 Wilshire Boulevard on Museum Row near the Los Angeles County Museum of Art (shout out to one former exhibit Never Built: Los Angeles co-curated by AN contributing editor Sam Lubell). But eminent domain forced A+D to look for another spot. Soon after moving in, the Metropolitan Transportation Authority announced plans to demolish the Museum Row building to make space for the future Fairfax station that is part of the in progress 3-phase Purple Line extension. The complete extension is estimated to open, if on schedule, by 2035.
Gensler designed A+D’s new digs, renovating an 8,000-square-foot old brick building that could have been a bowling alley. The new arts district location means the museum is across from the downtown L.A. architecture school, SCI-Arc. These recent developments are part of a larger effort to convert an area that was once mostly empty warehouse into a new neighborhood celebrating art and design.