#Landscape Design In Geneva NY

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Mary Brainard Geneva, NY - A Seasoned Kitchen Designer

Mary Brainard, a seasoned kitchen designer hailing from Geneva, NY, boasts a remarkable track record in transforming culinary spaces. With expertise spanning mortgage lending and account management, she navigates the intricate landscape of design and finance effortlessly. Her passion for creating functional yet aesthetic kitchens shines through her meticulous attention to detail and dedication to client satisfaction.

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MoMA Emilio Ambasz Research Institute

Emilio Ambasz Research Institute MoMA New York City, Manhattan Building News, Design

Emilio Ambasz Research Institute MoMA New York

Nov 26, 2020

Emilio Ambasz Research Institute at MoMA NY

The Museum Of Modern Art Of New York (MoMA NY) announces the establishment of the ‘Emilio Ambasz Research Institute’ – The Emilio Ambasz Institute for the Joint Study of the Built and the Natural Environment – (EA/RI) in the MoMA NY.

In the attached press release, the Museum of Modern Art in New York (MoMA) announces the establishment of the ‘Emilio Ambasz Research Institute’ (EA/RI) for the joint study of a new architecture that will reconcile nature with the artificial environment.

photos courtesy of Compasso d’Oro

The Institute, based in the MoMA Department of Architecture and Design and funded by a major gift from the LEAF Foundation, will be dedicated to understanding the interaction between architecture and ecology.

The Argentinian Emilio Ambasz – considered the father, poet and prophet of green architecture – together with MoMA aim to further develop and enrich the global debate about the urgent need for an ecological recalibration.

ACROS centre Fukuoka, Kyushu Island, Japan, design by Emilio Ambasz: image courtesy of Emilio Ambasz & associates / ambasz.com

The press release from the Museum of Modern Art in New York states that: “The establishment of the Ambasz Institute offers an important opportunity for MoMA to continue its global leadership on sustainability issues while celebrating and cultivating a deeper public understanding of architecture and design. Research opportunities and a variety of programs including public lectures, conferences and symposia, many of them online, will bring together and prompt conversations amongst architects, designers, policy makers, social thinkers, historians, and the general public. The Institute will specifically study creative approaches to design at all scales of the built environment – buildings, cities, landscapes, and objects – in order to work toward an ecological future and environmental justice.”

Emilio Ambasz says: “Every building is an intrusion into the plant kingdom and is a challenge to nature: we must devise an architecture that stands as the embodiment of a reconciliatory pact between nature and construction, designing buildings so intrinsically connected to their surroundings that they are unable to disentangle themselves from each other.”

Ambasz has designed projects all across the globe that have become benchmarks and provided inspiration for modern green architecture.

This year is the 25th anniversary of the inauguration of the ACROS centre in Fukuoka (Japan), one of the most innovative, spectacular and best-known green buildings in the world. “There is, I believe, no prior example of nature governing architectural creation with such poetic power and haunting seduction […] Emilio Ambasz has taught us to see a dimension in which nature and architecture are inseparable, a realm that goes from nature created by God to one forged by man […] Ambasz‘s research has inspired a new development in the recent success of many among his fellow architects,” in the words of Tadao Ando.

Important Emilio Ambasz solo exhibitions have been held all over the world, from MoMA in New York (twice) to the Milan Triennale (twice), to the Reina Sofia in Madrid, not to mention Tokyo, Geneva, Bordeaux, Zurich, Chicago, Philadelphia, Mexico City, San Diego and Saint Louis, celebrating his unique design, creative flair and moral commitment.

He was formerly the curator of Architecture and Design at MoMA (1969-1976), where he organised the hugely successful exhibition Italy: The New Domestic Landscape, bringing Italian design objects to the attention of the whole world. He is an honorary member of the American Institute of Architects and the Royal Institute of British Architects.

In September 2020 Emilio Ambasz won his fourth Compasso d’Oro, this time for his extraordinary career, as “a pioneer of the relationship between buildings and nature that has created genuine ‘living’ manifestos for a culture of sustainable development.”

The MoMA will soon be staging a large exhibition about green architecture by various architects illustrating the great influence of Emilio Ambasz‘s decades-long research to find symbiosis between nature and buildings and to combat the destruction of the environment.

Emilio Ambasz Compasso d’Oro award 2020 images / information received 109020

Previously on e-architect:

10 Sep 2020

Emilio Ambasz: Compasso d’Oro award

Argentinian Emilio Ambasz, international champion of design and architecture, has been awarded the Compasso d’Oro during the ceremony for the 26th edition of the prize (one of the oldest and most prestigious Design awards in the world). photo courtesy of Emilio Ambasz & associates Emilio Ambasz Compasso d’Oro award

ACROS centre, Fukuoka City, Kyushu Island, Japan Design: Emilio Ambasz Architect photo courtesy of Emilio Ambasz & associates Fukuoka’s ACROS centre by Emilio Ambasz

Architecture

Emilio Ambasz Prize

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Interiors

Comments / photos for the Emilio Ambasz Research Institute MoMA New York City page welcome

Website: Israel

The post MoMA Emilio Ambasz Research Institute appeared first on e-architect.

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The Vietnam War Is Over. The Bombs Remain.

Ariel Garfinkel, NY Times, March 20, 2018

Shading my eyes from the bright sun, I stared into the bomb crater amid the verdant rice paddies. While it had been nearly 50 years since the last American planes riddled the countryside near Danang in central Vietnam, craters still pockmark the land. Some of the deep depressions remain dry while others, a testament to the ingenuity of the villagers, serve as watering holes for the oxen that farmers harness to till their fields.

It was my first week in Vietnam, where I would spend the summer of 2016 conducting research. I was studying the efficacy of international law, namely whether legal remedies exist for civilian victims of unexploded ordnance and chemical weapons from the Vietnam War. I had arrived well versed in the numbers: America dropped three times more ordnance over Vietnam, Laos and Cambodia than all sides did during World War II. Estimates are that at least 350,000 tons of live bombs and mines remain in Vietnam, and that it will take 300 years to clear them from the Vietnamese landscape at the current rate.

Bombs and other ordnance were dropped on thousands of villages and hamlets. The most common were cluster bombs, each of which contained hundreds of baseball-size bomblets; the bombs are designed to explode near ground level, releasing metal fragments to maim and kill. But many of the cluster bombs failed to release their contents or, in other cases, their bomblets failed to detonate.

For the Vietnamese, the war continues. Loss of arms, legs and eyesight are for the more fortunate ones. Others have lost their family breadwinners, or their children. Children find baseball-size metal objects and unwittingly toss the “toys” to one another in games of catch until they explode. Nearly 40,000 Vietnamese have been killed since the end of the war in 1975, and 67,000 maimed, by land mines, cluster bombs and other ordnance.

That’s not the only, or even the worst, legacy of the war that Vietnamese families still face. Seeking to defoliate entire forests to expose enemy forces to spotter planes, the Americans dropped 18 million gallons of chemical herbicide over South Vietnam from 1962 to 1972. There were several defoliants used, but the best known was Agent Orange. In 20,000 spraying missions, planes drenched the countryside and an estimated 3,181 villages.

While entire forests dried up and died typically within weeks of spraying, it would be years before scientists established that one of the active ingredients in the defoliants, a group of compounds called dioxin, is one of the deadliest substances known to humankind. Just 85 grams of dioxin, if evenly distributed, could wipe out a city of eight million people. But illnesses and deaths from Agent Orange exposure were only the initial outcomes. Dioxin affects not only people exposed to it, but also their children, altering DNA. Large numbers of Vietnamese babies continue to be born with grotesque deformities: misshapen heads, bulging tumors, underdeveloped brains and nonfunctioning limbs.

The deadly defoliants also rained down on American troops. Researchers led by Jeanne Stellman of Columbia examined military records of the flight paths of Agent Orange spraying missions. Comparing those flight paths to the position of nearby villages and American ground troops revealed a direct association between exposure and later health problems.

These findings, published in 2003, put an end to the longtime denial by the government that Agent Orange spraying did not harm American troops. The Department of Veterans Affairs now assumes, as a blanket policy, that all of the 2.8 million troops who served in Vietnam were exposed to chemical defoliants, and provides some medical coverage and compensation for that. But the United States has never acknowledged that it also poisoned millions of Vietnamese civilians in the same way.

American combat deployments ended in 1973 and all American personnel were removed from Vietnam by 1975, but the explosive ordnance and dangerous chemicals remained. Polluted soil and waterways were left untouched. Innocent children and families would serve as human guinea pigs to test the long-term results of exposure.

The indiscriminate use of ordnance and chemical weapons against civilian populations is prohibited under international law, dating back to the Hague and Geneva Conventions of the late 19th and early 20th centuries. But for more than a decade, the United States acted in direct contravention of those agreements, which it had pledged to uphold. Since that time, numerous additional international treaties and conventions have come into force that not only prohibit the types of weapons used by the United States in Vietnam, but also require their cleanup after hostilities cease.

The United States, however, has done very little to fulfill such obligations, leaving it largely to the Vietnamese to suffer the results and to clean up what they can nearly 50 years later. Some have suggested that because much of the relevant international law requiring cleanup came into effect after the United States left Vietnam, the country is absolved of such obligations. But this assertion hangs on a thin thread, as the unexploded ordnance and defoliants still injure and kill people today. American responsibility for cleanup is therefore applicable under international law, not something to be dismissed with a historical wink.

My father’s generation served in Vietnam, but the war’s continuing impact is no longer theirs alone to bear. The United States used weapons against civilians contrary to widely accepted international standards, and has skirted its responsibilities to clean up what was left behind. Working to enforce international law, and to assist the Vietnamese in addressing the deadly mess that remains, is a burden now resting on the shoulders of a new generation of Americans.

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At the Threshold: Works on Paper by Regina Scully and Iva Gueorguieva presented by Octavia Art Gallery

May 6 – May 27, 2017

Opening Reception: May 6, 6 - 8 pm

Octavia Art Gallery is pleased to present At the Threshold: Works on Paper by Regina Scully and Iva Gueorguieva. While utilizing different approaches, both artists create imagined or illusionistic spaces, exploring both landscape and the figure.

Regina Scully approaches her works on paper in the same way that she begins a canvas. With intuitive mark-making, she uses paint to both spontaneously and meticulously layer brushstroke and color to create imagined environments. Space is divided up and considered from different perspectives, and there are suggestions of figures and objects as well as references to water, land, city and other-worldly places. Different types of spaces are linked together with line, pattern, staccato-like dots, thick bold strokes, and poured paint. The result is a painted mindscape that invites the viewer in to meander and explore in his or her mind, while attention is also brought back to an appreciation of paint, color, and brushstroke in and of itself. This exhibition features a selection of paper pieces from Scully’s Translation and Passage series, as well as works from a new series inspired by her recent exploration of Japanese landscapes and by the paintings created for her current exhibition at the New Orleans Museum of Art (April 6-October 10).

Iva Gueorguieva’s works range from intricate ink and watercolor compositions to heavily collaged surfaces where the image is constructed from fragments of paper and muslin. The former reveal her attention and interest in narrative and the figure. There are legible characters and clear references to landscapes. In the case of the latter, she abandons the confines of the traditional rectangle and the figure becomes the space. The glowing light of the papers is undone and sacrificed in order to explore the sculptural possibilities of paper. The Man series, which began with Crooked Man, was inspired by H.C. Westermann’s Coffin for a Crooked Man, which left a profound impact on Gueorguieva’s imagination. The constructing of a flat man out of scraps of paper and muslin compelled her to explore the possibility of the shape being expressive of the bodily gesture. It is the tension between physical space and illusionistic space that Gueorguieva explores in her drawings which in many ways defines the negotiations and explorations underway in both her paintings and sculptures.

Regina Scully lives and works in New Orleans and maintains a daily practice in her Bywater studio. She was born in Norfolk, Virginia and received her BFA in Painting from the Rhode Island School of Design and her MFA from the University of New Orleans. She has exhibited at C24 Gallery, NY; Octavia Art Gallery, LA and TX; Opera Gallery, Geneva; Prospect1.5, LA; Prospect.2, LA. Scully’s work is included in the Microsoft Art Collection, New Orleans Museum of Art, Capital One Art Collection, and the Frederick R. Weisman Art Foundation Collection.

Iva Gueorguieva was born in Bulgaria and currently resides in Los Angeles. She received an MFA from the Tyler School of Art in Philadelphia in 2000. Recent solo shows include Ameringer/McEnery/Yohe; ACME, CA; Susanne Vielmetter Los Angeles Projects, CA; Frederic Snitzer, FL; Galerie Stefan Roepke, Cologne, Germany; Luther W. Brady Art Gallery, DC; Bravin Lee Programs, NY; Samson Projects, MA; Stichting Outline, Amsterdam, Netherlands; and Pomona Museum of Art, CA. Her work is included in many public and private collections including the Los Angeles County Museum of Art, CA; the Minneapolis Institute of Art, MN; The Museum of Contemporary Art, CA; University Art Museum California State University Long Beach, CA; Art, Design and Architecture Museum at UC Santa Barbara, Santa Barbara, CA; and the Pomona College Musuem of Art, Claremont, CA.

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Peep This: 8 Homes Perfect for Scoping Out the Best Fall Foliage

realtor.com; iStock

With school back in session and bathing suits packed up ’til next year, we’re actually looking forward to the change of the season. With the onset of fall comes the glorious return of fall foliage, nature’s fiery pre-winter display.

And while the East Coast shines when it comes to leaf-peeping, it’s not the only place out there that’s great for beautiful trees in autumn. In fact, almost every region of the United States shows a little color in the cooler months.

Inspired by an article in Travel and Leisure that tours the country for the best places for spotting fall colors, we found eight homes on the market where you can enjoy the falling leaves—sometimes without even leaving your living room!

1746 Stockslager Rd, Oakland, MD 

Price: $1,385,000 Leaf-peeping perks: Built in 1983, the Craftsman-style lakefront home was designed to flow around the surrounding natural scenery. The floor plan and abundant outdoor living spaces all give you plenty of chances to take in landscape in any season. Located in the back of a deep-water cove, the recently updated home also boasts a carriage house and a lakeside cabana bar.

Oakland, MD

realtor.com

———

532 E Lakeshore Dr, Whitefish, MT 

Price: $4,495,000 Leaf-peeping perks: Perfectly placed on a lakeside lot near Whitefish Lake, the “mountain modern” home was designed to take in the views with its floor-to-ceiling windows and open plan. Soak in the golden aspens peppered among the evergreens from the comfort of your home or gaze on the landscape from a boat in the lake.

Whitefish, MT

realtor.com

———

101 Slopeside Ln, Snowmass Village, CO

Price: $13,500,000 Leaf-peeping perks: Before Snowmass Village is blanketed in feet of snow, it’s filled with fall colors. The foliage can be explored on nearby hiking and biking trails, or from this contemporary mountain home. It’s built into the natural landscape of the mountain, with a winding creek running through the property, plus dramatic landscaping, a trampoline, firepit, hot tub, and easy ski access.

Snowmass Village, CO

realtor.com

———

N1895 Birches Dr, Lake Geneva, WI

Price: $689,000 Leaf-peeping perks: This resort town became famous for its Gilded Age mansions, designed for Chicagoans to get a respite. The locals planted trees to take advantage of the autumnal hues. Get an eyeful from this property located on a wooded five acres and situated only one block from Linn Pier, boat launch, and shore.

Lake Geneva, WI

realtor.com

———

55 Perkins St, Salem, MA 

Price:$549,000 Leaf-peeping perks: Salem boasts tree-lined streets that turn beautiful bright hues in the autumn months, framing the brick homes like this one, a brick and beam loft built in 1915. Once a shoe factory, it’s been meticulously renovated, blending modern touches with historic elements. Located on the waterfront, this unique listing features exposed brick, exposed wood beams, and brand-new, red-oak floors.

Salem, MA

realtor.com

———

814 W Chapel Rd, Sedona, AZ

Price: $2,900,000 Leaf-peeping perks: OK, we know the cacti don’t really change color in Arizona. But the area does boast oaks and maples that turn with the season. This stunning home with views of the red rocks and those trees borders U.S. National Forest land, with access to a trailhead. The floor-to-ceiling windows will inspire and draw guests for years to come.

Sedona, AZ

realtor.com

———

140 Peninsula Way, Lake Placid, NY 

Price: $3,200,000 Leaf-peeping perks: Take in the fall colors of the Adirondack Mountains from the deck or the dock. Built in 1925, this cabin was relocated from Long Island to Lake Placid in 1999, and completely renovated to include in-floor radiant heat, A/C, and a three-season porch. The property includes a boathouse with bonus room and terrace, plus bathhouse, private jetty, and firepit.

Lake Placid, NY

realtor.com

———

4508 Murfreesboro Rd, Franklin, TN

Price: $2,450,000 Leaf-peeping perks: Fall colors come late in the season to this historic Tennessee district, but they do come. What better to channel the East Coast than from this gorgeous 1969 Cape Codder. The 6,062-square-foot renovated estate comes with a heated infinity pool and spa, a guesthouse, and several small barns.

Franklin, TN

realtor.com

The post Peep This: 8 Homes Perfect for Scoping Out the Best Fall Foliage appeared first on Real Estate News & Insights | realtor.com®.

from https://www.realtor.com/news/trends/fall-foliage-homes/

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Emilio Ambasz architect / engineer

Emilio Ambasz architect, University of Bologna News, Green Building Design

Emilio Ambasz architect honorary degree

14 June 2021

Emilio Ambasz Architecture News

Emilio Ambasz to receive an honorary degree from the University of Bologna (Italy)

Known as the trailblazer for “Green Architecture”, the architect/engineer who went against the grain in the ’70s by covering his buildings with greenery will receive an honorary degree in Building Engineering – Architecture from the University of Bologna.

photo : Wade-Zimmerman

The ceremony will take place on Friday 25 June, at 4.30 p.m., at the Church of Santa Cristina (Piazzetta Giorgio Morandi, 2 – Bologna), when Emilio Ambasz, the trailblazer for “Green Architecture”, will be awarded his honorary degree. After a welcome by the Rector Francesco Ubertini and the Head of the Architecture Department Fabrizio Ivan Apollonio, Emilio Ambasz will receive an honorary degree in Building Engineering – Architecture.  Closing the ceremony will be music from the Collegium Musicum Almae Matris.

Banca degli Occhi – Venice, Italy, 2009: photo courtesy of Emilio Ambasz & associates

The University’s Architecture Department explained the reason for Emilio Ambasz’s recommendation to be awarded the honorary degree as follows: “The Argentinian architect and designer was, from 1969 to 1976 curator at the Department of Architecture at the Museum of Modern Art of New York. Ambasz’s distinctive style as a pioneer is a combination of buildings covered with gardens, which he describes as “green on grey”: he uniquely went against the grain of the post-modernist and de-constructionist trends of the ’70s, covering his architecture with greenery.

Botanical Center – San Antonio, Texas, USA, 1982: photo courtesy of Emilio Ambasz & associates

As a designer Ambasz is constantly interested specifically in the relationships between anthropic space and natural space, and he adopted architectural and technological solutions that ensured his architecture was both highly integrated with its setting and improved the perceptual and habitational quality of the spaces. The intention, however, was not limited to the figurative dimension of the architectural results, but extended to the technological significance of the solutions, in terms of both construction feasibility and performance.”

ENI headquarters – Rome, Italy, 1998: photo courtesy of Emilio Ambasz & associates

Ambasz has demonstrated his vocation in the field of industrial and mechanical design, where he has conducted his own personal research into the development of design components and products that have led to numerous patents in his name (more than 220). Interaction with the world of industrial processes, and more generally with the dimension of problem solving in engineering, is a distinctive feature of his work as a design engineer.

Born in Argentina (13 June 1943, Resistencia, Chaco), Emilio Ambasz is also a citizen of Spain by Royal Grant. He studied at Princeton University, where he completed the 4-year undergraduate degree course in one year and received a Master’s degree in Architecture from the same university the following year. He was curator of Architecture and Design at the Museum of Modern Art of New York (1969-76), where he headed and curated numerous architecture and industrial design exhibitions, including the legendary exhibition Italy: The New Domestic Landscape, in 1972 (bringing Italian design objects to the attention of the whole world); The Architecture of Luis Barragan, in 1974; and The Taxi Project, in 1976.

Ospedale dell’Angelo – Venice, Italy, 2008: photo courtesy of Emilio Ambasz & associates

An honorary member of the American Institute of Architects and of the Royal Institute of British Architects, Ambasz has twice been president of the Architectural League (1981-85). He has taught at the School of Architecture at Princeton University as Philip Freneau Preceptor of Architecture and was a visiting professor at the Hochschule für Gestaltung in Ulm, Germany.

Some of the highlights among his architecture projects include the Grand Rapids Art Museum in Michigan, winner of the Progressive Architecture Award in 1976; the Casa de Retiro Espiritual in Seville, Spain, winner of the Progressive Architecture Award in 1980; the Conservatory of the San Antonio Botanical Garden in Texas, winner of the Progressive Architecture Award in 1985, of the National Glass Association Award for excellence in commercial design (1988) and of the Quaternario Award (1990); and the Acros centre in Fukuoka, Japan, which won the highly prestigious American Institute of Architects’ Business week/Architectural Record Award (2000) and first prize from the Architectural Institute of Japan (2001).

Italian Pavilion – Venice, Italy, 2021: photo courtesy of Emilio Ambasz & associates

He also won First Prize and Gold Medal in the competition to design a master plan for the Universal Expo in 1992, held in Seville in Spain, to celebrate the 500th anniversary of the discovery of America. The headquarters he designed for the Financial Guaranty Insurance Company in New York won the Grand Prize at the International Interior Design Awards in the United Kingdom (1987), as well as the IDEA Award from the Industrial Designers Society of America in 1986.

He won first prize in the urban planning competition for the Eschenheimer Tower in Frankfurt, Germany (1986). His Banque Bruxelles Lambert in Lausanne, Switzerland, won the Annual Interiors Award (1983).

Ambasz represented the United States at the Biennale di Architettura in Venice in 1976.

Since 1980 Ambasz has been Chief Design Consultant for Cummins Engine Co. He has patented numerous industrial and mechanical designs, and his Vertebra chair – the first automatic ergonomic chair in the world, developed with G. Piretti, which triggered a new industry for the whole sector – is included in the design collections of the Museum of Modern Art and the Metropolitan Museum of Art, New York. MoMA also included his 3-D Geigy Graphics poster and his Flashlights lamp in its design collection.

ACROS centre Fukuoka, Kyushu Island, Japan, design by Emilio Ambasz: image courtesy of Emilio Ambasz & associates / ambasz.com

Important Emilio Ambasz solo exhibitions have been held all over the world, from MoMA in New York (twice) to the Milan Triennale (twice), to the Reina Sofia in Madrid, not to mention Tokyo, Geneva, Bordeaux, Zurich, Chicago, Philadelphia, Mexico City, San Diego and Saint Louis, celebrating his unique design, creative flair and moral commitment.

He has four Compassi d’Oro (1981, 1991, 2001, 2020 – the last one for his career), and he was named “Commander of the Order of the Star of Italy” in 2014, for “his contribution to Italian culture”. Ambasz has written numerous books on architecture and design, including Natural Architecture, Artificial Design, published for the first time by Electa in 2001 with an extended edition published four times since then.

Emilio Ambasz to receive an honorary degree from the University of Bologna images / information received 140621

Previously on e-architect:

Emilio Ambasz Architecture

Emilio Ambasz Research Institute at MoMA NY photos courtesy of Compasso d’Oro Emilio Ambasz Research Institute at MoMA NY

MoMA Emilio Ambasz Research Institute, New York, NY, USA photo courtesy of Emilio Ambasz & associates Emilio Ambasz Compasso d’Oro award

Emilio Ambasz award

ACROS centre, Fukuoka City, Kyushu Island, Japan Design: Emilio Ambasz Architect photo courtesy of Emilio Ambasz & associates Fukuoka’s ACROS centre by Emilio Ambasz

Italian Pavilion at the 17th International Architecture Exhibition Casa de Retiro Espiritual, 41880 El Ronquillo, Seville, Spain: photo courtesy of Emilio Ambasz & associates Italian Pavilion Venice Biennale 2021

Architecture

Emilio Ambasz Prize

Argentina

Argentina Architects

Comments / photos for the Emilio Ambasz to receive an honorary degree from the University of Bologna page welcome

The post Emilio Ambasz architect / engineer appeared first on e-architect.

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Peep This: 8 Homes Perfect for Scoping Out the Best Fall Foliage

realtor.com; iStock

With school back in session and bathing suits packed up ’til next year, we’re actually looking forward to the change of the season. With the onset of fall comes the glorious return of fall foliage, nature’s fiery pre-winter display.

And while the East Coast shines when it comes to leaf-peeping, it’s not the only place out there that’s great for beautiful trees in autumn. In fact, almost every region of the United States shows a little color in the cooler months.

Inspired by an article in Travel and Leisure that tours the country for the best places for spotting fall colors, we found eight homes on the market where you can enjoy the falling leaves—sometimes without even leaving your living room!

1746 Stockslager Rd, Oakland, MD 

Price: $1,385,000 Leaf-peeping perks: Built in 1983, the Craftsman-style lakefront home was designed to flow around the surrounding natural scenery. The floor plan and abundant outdoor living spaces all give you plenty of chances to take in landscape in any season. Located in the back of a deep-water cove, the recently updated home also boasts a carriage house and a lakeside cabana bar.

Oakland, MD

realtor.com

———

532 E Lakeshore Dr, Whitefish, MT 

Price: $4,495,000 Leaf-peeping perks: Perfectly placed on a lakeside lot near Whitefish Lake, the “mountain modern” home was designed to take in the views with its floor-to-ceiling windows and open plan. Soak in the golden aspens peppered among the evergreens from the comfort of your home or gaze on the landscape from a boat in the lake.

Whitefish, MT

realtor.com

———

101 Slopeside Ln, Snowmass Village, CO

Price: $13,500,000 Leaf-peeping perks: Before Snowmass Village is blanketed in feet of snow, it’s filled with fall colors. The foliage can be explored on nearby hiking and biking trails, or from this contemporary mountain home. It’s built into the natural landscape of the mountain, with a winding creek running through the property, plus dramatic landscaping, a trampoline, firepit, hot tub, and easy ski access.

Snowmass Village, CO

realtor.com

———

N1895 Birches Dr, Lake Geneva, WI

Price: $689,000 Leaf-peeping perks: This resort town became famous for its Gilded Age mansions, designed for Chicagoans to get a respite. The locals planted trees to take advantage of the autumnal hues. Get an eyeful from this property located on a wooded five acres and situated only one block from Linn Pier, boat launch, and shore.

Lake Geneva, WI

realtor.com

———

55 Perkins St, Salem, MA 

Price:$549,000 Leaf-peeping perks: Salem boasts tree-lined streets that turn beautiful bright hues in the autumn months, framing the brick homes like this one, a brick and beam loft built in 1915. Once a shoe factory, it’s been meticulously renovated, blending modern touches with historic elements. Located on the waterfront, this unique listing features exposed brick, exposed wood beams, and brand-new, red-oak floors.

Salem, MA

realtor.com

———

814 W Chapel Rd, Sedona, AZ

Price: $2,900,000 Leaf-peeping perks: OK, we know the cacti don’t really change color in Arizona. But the area does boast oaks and maples that turn with the season. This stunning home with views of the red rocks and those trees borders U.S. National Forest land, with access to a trailhead. The floor-to-ceiling windows will inspire and draw guests for years to come.

Sedona, AZ

realtor.com

———

140 Peninsula Way, Lake Placid, NY 

Price: $3,200,000 Leaf-peeping perks: Take in the fall colors of the Adirondack Mountains from the deck or the dock. Built in 1925, this cabin was relocated from Long Island to Lake Placid in 1999, and completely renovated to include in-floor radiant heat, A/C, and a three-season porch. The property includes a boathouse with bonus room and terrace, plus bathhouse, private jetty, and firepit.

Lake Placid, NY

realtor.com

———

4508 Murfreesboro Rd, Franklin, TN

Price: $2,450,000 Leaf-peeping perks: Fall colors come late in the season to this historic Tennessee district, but they do come. What better to channel the East Coast than from this gorgeous 1969 Cape Codder. The 6,062-square-foot renovated estate comes with a heated infinity pool and spa, a guesthouse, and several small barns.

Franklin, TN

realtor.com

The post Peep This: 8 Homes Perfect for Scoping Out the Best Fall Foliage appeared first on Real Estate News & Insights | realtor.com®.

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[architectnews]

Italian Pavilion Venice Biennale 2021

Italian Pavilion Venice Biennale 2021 Event, Casa de Retiro Espiritual Spain, Italy Architecture Design Exhibition

Italian Pavilion Venice Biennale 2021 News

1 June 2021

La Biennale di Venezia 2021 – Italian Pavilion

The Italian Pavilion at the Venice Biennale of Architecture celebrates the maestro Emilio Ambasz.

Emilio Ambasz, considered the father, poet and prophet of Green Architecture, will be exhibiting in the second section of the Italian Pavilion at the 17th International Venice Biennale of Architecture, curated by Alessandro Melis.

Casa de Retiro Espiritual, 41880 El Ronquillo, Seville, Spain, design by Emilio Ambasz:

The Italian Pavilion at the 17th International Architecture Exhibition

The Italian Pavilion will take an in-depth look at the pressing theme of climate change and its related challenges, where the contribution of architecture is considered a sine qua non. It will put forward new ideas and suggestions, provide food for thought, and reveal the results of years of interdisciplinary research spent listening to and trying to understand – on the outer limits of error-prone mainstream architecture – the “background noise and flapping butterfly wings,” in the words of Alessandro Melis.

Casa de Retiro Espiritual, Seville, Spain, design by architect Emilio Ambasz:

One of the exhibition’s invitees – with a large area dedicated to him – is the multi-talented inventor Emilio Ambasz, the creator of projects across the globe that have become benchmarks and inspiration for modern-day green architecture.

Emilio Ambasz says: “Every building is an intrusion into the plant kingdom and is a challenge to nature: we must devise architecture that stands as the embodiment of a reconciliatory pact between nature and construction, designing buildings so intrinsically connected to their surroundings that they are unable to disentangle themselves from each other.”

Casa de Retiro Espiritual, Seville, Spain, design by Emilio Ambasz:

Using multimedia resources, the Pavilion will pay tribute to the Argentinian maestro via films, signs, panels and models of two iconic creations from Ambasz’s huge output, two works that, decades later, are and will be at the heart of the debate on poetics and the discipline of design: the Casa de Retiro Espiritual – an incredible, dreamlike reference to the primordial notion of home -, and the ACROS centre in Fukuoka, one of the most innovative, spectacular and well-known green buildings in the world, whose 25th anniversary celebrations were broadcast around the world at the end of 2020.

Casa de Retiro Espiritual, Seville, Spain:

Melis explains, “Emilio Ambasz’s presence in the pavilion is essential for at least three reasons: his pioneering research, his focus on radical architecture, and the international significance of his visions”. According to the Pavilion’s curator, it is Ambasz’s experiments that inspired the green architecture that is now so revered, but that has never shown enough gratitude to the maestro. And, again in the words of Melis, his “are experiments that are no less sophisticated than current ones: they are works that are already complete and conclusive, and already include contemporary elements. This is not a pioneering value, it is an absolute value.”

Another absolute value is the legacy stemming from two of Ambasz’s experiences – the famous exhibition Italy: The New Domestic Landscape (which brought Italian design to the attention of the whole world) and his having shined a spotlight on radical movements and new utopias to call into question current paradigms – two significant elements for this celebration. Not to mention his role as a paradigmatic figure, inspirer and fundamental bridge for architects from all over the world.

Casa de Retiro Espiritual, Seville:

Ambasz’s message brings together “technology and primitivism” (Terence Riley, former head of the department of Architecture and Design – MoMA, NY), and “he creates sophisticated heavens on earth” (A. Mendini); Emilio Ambasz “has taught us to see a dimension in which nature and architecture are inseparable, a realm that goes from nature created by God to one forged by man” (Tadao Ando).

Portrait of Emilio Ambasz: photos courtesy of Compasso d’Oro

Against this backdrop, the Pavilion will be providing further visibility to the announcement by MoMA of New York of the establishment of the ‘Emilio Ambasz Research Institute’ (EA/RI) for the joint study of a new architecture that will reconcile Nature with the artificial environment. It will be based in the MoMA Department of Architecture and Design and will further develop and enrich the global debate about the urgent need for an ecological recalibration. Ambasz continues with his poetic research where the natural and the artificial blend and become one: “it is an ethical obligation to demonstrate that another future is possible. We need to affirm another model of life in order to change the route of the present […] The Western notion of man’s creations as distinct and separate entities – contrasting with Nature – has exhausted its intellectual and ethical capital.”

Acros building, Fukuoka, Japan: photo courtesy of Emilio Ambasz & associates

Just as his buildings can be found all over the world, so his design objects have brought Ambasz into homes, offices and streets on every continent. Ambasz is the owner of more than 220 industrial and mechanical patents and has received an impressive number of awards from across the globe (most recently, the Compasso d’Oro ADI – his 4th – for his international career, in September 2020).

Important Emilio Ambasz solo exhibitions have been held all over the world, from MoMA in New York (twice) to the Milan Triennale (twice), to the Reina Sofia in Madrid, not to mention Tokyo, Geneva, Bordeaux, Zurich, Chicago, Philadelphia, Mexico City, San Diego and Saint Louis, celebrating his unique design, creative flair and moral commitment.

Formerly curator of Architecture and Design at MoMA, where he organised the hugely successful exhibition Italy: The New Domestic Landscape (1972), he is an honorary member of the American Institute of Architects and the Royal Institute of British Architects. He was named “Commander of the Order of the Star of Italy” in 2014.

1 June 2021

Italian Pavilion La Biennale di Venezia 2021

The Italian Pavilion at the 17th International Architecture Exhibition

Atelier(s) Alfonso Femia presents the research “Tempodacqua”.

Ceramic model by Adrar Danilo Trogu: photo © S.Anzini

Italy Pavilion Venice Biennale 2021

Italian Pavilion Venice Biennale 2021 images / information received 310521

Location: Giardini della Biennale, Venezia, Italia

Emilio Ambasz Architecture

MoMA Emilio Ambasz Research Institute, New York, NY, USA MoMA Emilio Ambasz Research Institute

Emilio Ambasz: Compasso d’Oro award photo courtesy of Emilio Ambasz & associates Emilio Ambasz Compasso d’Oro award

ACROS centre, Fukuoka City, Kyushu Island, Japan Design: Emilio Ambasz Architect Fukuoka’s ACROS centre by Emilio Ambasz

Emilio Ambasz Award

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