#WHO WAS MENTORED BY FRANK GEHRY

[cuntrytaylor]

🍳☕️

[fashionlandscapeblog]

I was recently introduced to Alec Leach's work, which I find so incredibly important, especially now that our planet is on fire.

In one of his most recent articles, Alec questions whether we need new ideas in fashion and makes a very valid point arguing that longetivity in a garment is far more important than how groundbreaking it is (in reference to Peter Do's debut collection for Helmut Lang, which was harshly met by critics calling it 'Helmut lite' for not offering enough subversion to the garments as HL typically did). I do agree largely with his point, but I am not sure I think this is an absolute.

To support his argument, he mentions that 'nothing is new anymore' and that 'Brands don’t sell new ideas anymore, they sell remixed versions of old ones'. He further argues that 'a totally original idea doesn’t count for much anymore.', because the industry should instead focus on solving the climate emergency. It's the part in bold I have a problem with.

First off, saying that there are no new ideas anymore and that everything has been done is kinda suggesting that fashion hasn't changed much during the past decade, when it massively has (IMO for the better). Or worse, is he suggesting that designers influenced by others, like Peter Do who has clearly been influenced by HL, do not offer something refreshing and different to their mentors? And no, it's not just marketing or aesthetics. He fails to understand that art has always evolved through inspiration and 'remixing version of old ideas' with new ones as does music.

Furthermore, I think creativity and longevity are not opposites, they can go hand in hand. I personally own several garments with a subversive twist which I've had for nearly a decade and which I still love and wear (I was one of the only influencers rewearing years old pieces of clothing). Not everyone wishes to wear uniforms or look 'normal'. I think that space fashion offers us to express our differences is incredibly important for us humans. It promotes diversity and tolerance. I think Alec is right in his concern , but he underestimates the importance of being different in a world where sameness is the norm.

Clothes need to steal your heart, and that is where the longevity comes in. It’s then when you will repair that hole and reuse it for years, and for a lot of us, basic, razor-sharped tailoring won't cut it

What needs to change is not the design of the clothes per se (longetivity?, definitely), it's our mentality regarding consumption or worrying about our clothes being on trend or not. I could not give a rat's ass whether my 7 year old cropped puff sleeved Tomé jacket is so 'passé', because it expresses who I am.

The attempt to create new things should always exist. After all, designers will continue releasing new collections and they might as well offer their creativity. I follow Peter Do since 2018 for his unique point of view. If he offered me what everyone else offers me, I wouldn't follow him. What shouldn't really exist is our mentality when seeing these new things and 'needing' to buy them. It is possible to see beautiful fashion without that impulse. It is possible for it to exist without destroying our planet. It's the way and quantities in which it is produced what really needs to change.

Finally, I truly believe there is a place for everything on this planet. While not everyone wants to wear avantgarde fashion and basic clothing is what is mostly needed, I think there should always be a space for new ideas, even if minimal. Not everyone can build like Zaha Hadid or Frank Gehry, nor should they (our planet doesn't count with the resources for every building to look like the Guggenheim de Bilbao, plus this would lead to countless other problems). However, I believe these buildings deserve their place in the world, as does anything different, including fashion.

[randomnoteforfuturereference]

For @omgcpanniversaryweek's Day I, I decided to expound on what I said I'd expound upon: architecture!Dex.

_X_X_X_X_X_X_

As long as he could remember, Dex has had an enduring love for architecture. I mean, sure, he loves art in general (excluding contemporary art; he's willing to make an exception for Lardo), and coming from a long line of boat builders and craftsmen, he values artisanry. But there's just something about how architecture intersects scientific ingenuity and artistic creativity that's always captivated him.

When he was little, he collected books on skyscrapers and ancient wonders. He doodled all kinds of designs on his free time, and he would never hesitate to point out different styles of buildings the passed; visiting New York City to take in that forest of diverse skyscrapers was always a goal.

And ultimately, he wanted to be an architect. No... he wanted to be the next great architect. The next Amenhotep or Apollodorus. The next Bernini or Sinan. The next Frank Lloyd Wright or William LeBaron Jenney. He had dreams.

Then... he got older. And as he became more aware of things like bills and job security, he got more pragmatic. Never mind that his family and mentors saw his creative potential and supported it; he realized that dreams are nice but don't always guarantee the green. Sure the really famous architects bring in the bank (sometimes undeservedly so in his opinion; don't get him started on Gehry), but those are the ones who made it; ultimately, creative fields like architecture are a competitive field, and the risk is not worth the cost.

So when Dex went to Samwell, he put aside his dreams for a practical degree. Sure, he may not be an absolute whiz in the tech field to get some glorious six-figure job (his lack of success in snagging summer internships would be a sign of that), but he's decent enough to be sure he'll get a good enough job to make a living and even have some left over to send back to his community. Whether he's happy or not with that field is irrelevant.

But something chipped away at that set and solid goal. Or it was probably a multitude of things. Some of it watching his friends finding comfort in being themselves. Some of it through his own academics and not only making the Haus habitable but actually pleasant. A lot of it simply spending time in the fine arts department with Lardo; initially to just help her out with her pieces but also, with her encouragement, to do that modeling job.

Whatever the case, and with the encouragement of his advisor, Dex decided to shift his academic path midway through his second year. It wasn't a drastic change, and it didn't need to be. He still had a practical degree if his end goals fell through, and most of the classes he already took were just as applicable to civil engineering as they were to compsci. Except now he added a studio art minor (with an emphasis on architecture).

The portfolio he'd build with his minor (bolstered by his major) would be good enough to get not just into a M.Arch. program (with a hefty scholarship) at a prestigious school; it would already catch the eyes of various architects and firms.

And just before that, in the summer between the Frogs' junior and senior years, Dex would get a chance to visit NYC for the first time... and the shining look of wonder and joy in those usually-hardened golden eyes would be something Nursey never forgets.

[profbruce]

Urban planners are damaging local, regional, national and global economies…

A client of mine wrote to me recently about her concerns with her current urban planner. She is trying to get a complex real estate project out of the ground and needs somebody who is prepared to go to battle with endless municipal and upper tier government land use regulations.

Here’s what I wrote back:

Planners are a different breed, Jill. I can’t say in an email what my exact feelings are but suffice it to say that the profession isn’t especially blessed with courage, vision, guts, break-the-mold idealism. 

I believe that urban planners have done more to damage our cities and towns, plus hold back overall economic progress than anything other than the Black Death, which by the way killed 50 million Europeans (60% of the population) in just seven years (1346-1353, http://www.historytoday.com/ole-j-benedictow/black-death-greatest-catastrophe-ever). 

I exaggerate, but not by much.

I actually tried to calculate the damage they are doing (see below—this is an excerpt from my most recent book, Why and Why Not to Invest in Real Estate, http://brucemfirestone.com/product/why-and-why-not-to-invest-in-real-estate/)

Bottom line, I completely share your reservations about your planner. I’ve felt this way for more than six months.

I suggest you interview 3 other planners including: [names withheld].

Best Bruce

It would be wise to recall this quote:

“Those who make peaceful revolution impossible will make violent revolution inevitable," said John F Kennedy on the first anniversary of the Alliance for Progress, March 13th 1962

I see more and more occurrences of civil disobedience as more and more homeowners and others silently protest asinine zoning bylaws and ordinances and other rules and regulations that do nothing more than choke the life out of our towns, villages and cities.

Did you know, for example, that most mortgage lenders won’t allow you to rent any portion of your principal residence, and if you do, you’re in breach of your mortgage terms and conditions--at least six foolscap pages of 8-point type that no one ever bothers to reads.

So if you are a like a 72-year old client of mine who takes in roommates (mostly students) because a) she is lonely since her husband died, and b) she needs the extra money, you pay no never-mind to cockamamie rules that would otherwise sentence you to penury in your sunset years... 

Anika (not her real name) takes in 2 or 3 female roommates at a time. She fusses over them; makes them wonderful Indian meals occasionally and reaps about $650 per month per room. She’s been averaging about $1,625 per month over the last few years; enough to pay her mortgage, which should completely paid off by the time she’s 75 thankfully. 

I estimate that there are around 25 million homes in Canada and the US presently owned by seniors, possibly more. So if every one of them did what Anika is doing, they’d earn an extra $40.625 billion a month between them. 

Alternatively, they could always ask prime minister Justin Trudeau and president Donald Trump to pony up additional income support in the vicinity of nearly $500 billion a year, right?

Good luck with that.

You can think your way to wealth a lot faster than you can work your way there, viz:

“I remember saying to my mentor, ‘If I had more money, I would have a better plan.’ He quickly responded, ‘I would suggest that if you had a better plan, you would have more money.’ You see, it's not the amount that counts; it's the plan that counts,” Jim Rohn

And since we are talking (mostly) about real estate here, I couldn’t resist adding in one more quote... because in addition to having good plan, you need decent buildings too:

“There are people who design buildings that are not technically and financially good, and there are those who do. Two categories—simple,” Frank Gehry

Bruce M Firestone, B Eng (civil), M Eng-Sci, PhD, Ottawa Senators founder, Real Estate Investment and Business coach, Century 21 Explorer Realty Inc broker,  1-613-762-8884 bruce.firestone@century21.ca twitter.com/ProfBruce profbruce.tumblr.com/archive brucemfirestone.com

MAKING IMPOSSIBLE POSSIBLE

ps now for that excerpt:

Here, I attempt to estimate the annual cost of anti-democratic and often irrational NIMBYism and bad zoning codes to the economies of the United States and Canada.

First, I asked myself this question: what are some of the factors holding back these economies?

Here are some of those factors:

1  low birth rate

2  low productivity growth

3  lower workforce participation

4  lack of lifetime learning

5  underemployment

6  misfit of skills

7  early retirement/force out of over 50s (and in tech, anyone over 40)

8  lack of startups and PB4Ls

9  poor urban design, urban planning, zoning and NIMBYism

To estimate the cost of NIMBYism and zoning codes, I looked at just one variable—adding more density to existing residential areas by permitting coach houses (tiny “granny” flats in your backyard)[1]. Here are my sample calculations:

[If you prefer, you can download my spreadsheet from dropbox at, https://www.dropbox.com/s/sfr0k6uh3nace0l/whats-holding-back-the-economy-public.xls?dl=0 to see what I did/how I calculated these numbers]

If 20% of the housing stock in the US and Canada added a coach house, I estimate that the annual increase in GDP is more than $1.8 trillion.

Now that’s a big number.

I think the unwillingness to experiment with better urban design is holding back both innovation and growth as well as making our cities, towns and villages less interesting and less vibrant than they otherwise could be.

Official plans that purport to dictate the type of growth and uses that will be permitted to locate within a city or town over the next 20 years (or even longer) is a fool’s errand in my view—if a town planner thinks s/he can predict what will be needed/in demand over the next generation, it’s only because they are time travelers from the future or like Biff Howard Tannen[2], they’ve met someone from the future who told them who the next 20 Super Bowl winners are.

…

[1] This has been permitted in Ottawa since November 2016.

[2] Biff in Back to the Future Part II acquired Grays Sports Almanac in 2015 and then made one trip back in Doc Brown’s (DeLorean) time machine to November 12th 1955 to give it to his younger self, making him incredibly rich because he could reliably predict winners in multi-sports including: football, baseball, hockey, horse racing, boxing, slamball, golf, tennis, track, polo, bowling, surfing, sailing, auto racing, rugby, soccer (aka football in the UK), ping pong, darts, swimming, diving, ice skating, racquetball, rodeo, and more. Source: http://backtothefuture.wikia.com/wiki/Grays_Sports_Almanac

postscript: here’s a coach house design (with mezzanine) by architectural technologist Leo Clement I like--

postscript 2: you may also want to read this,  Approval of Coach Houses Opens the Way to Better Urban Design

http://profbruce.tumblr.com/post/155481711979/approval-of-coach-houses-opens-the-way-to-better

[whorchataaa]

5 Role Models to Help Us Cope with the Pandemic

How do you dig deep to withstand the ongoing stress and requirements of life during a pandemic? Look to the role models: seniors. Seniors have a depth of experience confronting crises and using creative problem-solving skills that summon the higher instincts of the human spirit. They have experience showing up. They reached within to draw on character and integrity, and learned what it means to come through a recovery. From the Great Depression to World War II to 9/11, they did what was needed. Right now, they can be a fountain of hope. 

There are countless examples of people who had to switch to plan B and not only survived, but thrived — and some of them have spent their lives in the spotlight and the headlines. The surprise is that instead of resting on their laurels and enjoying the fruits of a long career, these senior superstars are still going strong. Retired or still working, they’re also giving back, supporting important causes both with their resources and their activism. 

We can all use inspiration right now. Look to these role models still leading the way:

Itzhak Perlman overcame the ravages of polio to become a globally renowned concert violinist. Born in 1945, he contracted polio at the age of four, which left him partially paralyzed. Despite this, he gave his first public concert at ten, enrolled in Juilliard at thirteen, and has performed the entire classical repertoire. The exquisite attention to detail in his technique has earned him the rare accolade of virtuoso. And he gives back: in 1998, he and his wife co-founded the Perlman Music Program for gifted string musicians from 12 to 18.

In 2009, Glenn Close’s nephew, Calen, was diagnosed with schizoaffective disorder. He was eighteen. Their strong and supportive family learned about mental health and they stood with him, offering love and encouragement. Eventually, Calen found recovery. Then Ms. Close’s sister Jessie — Calen’s mother — was diagnosed in her late forties with bipolar disorder. She had lived almost to middle age without a diagnosis. Hand in hand with Jessie, the actress founded a nonprofit called Bring Change to Mind, “to end the stigma and discrimination surrounding mental illness.” At 73 the Emmy winner sustains a highly successful career, as well as her mission to bring mental illness out into the open.   

As a young boy, Warren Buffett had extraordinary math skills; now he’s one of the ten richest men in the world. Known for his frugal lifestyle, he uses his wealth for good. He’s a supporter of GLIDE in San Francisco, which supports the needy with 2,000 meals served every day and a range of social services. He also supports Girls, Inc., which provides high-risk girls with recreational and educational programs that help alleviate hardships and misfortune. As he approaches his 90th birthday, Mr. Buffett greets each day with considerable vigor and a habit of making the world better.

Dame Judi Dench, born in 1934, made her first appearance on stage as a snail in a Junior School play. She has garnered awards and honors throughout her distinguished career. Queen Elizabeth appointed her a Dame Commander of the Order of the British Empire. She’s also an ambassador for the Hope Foundation, which helps to restore basic human rights for the street children of Kolkata, India.  

Once you see Frank Gehry’s architectural work, you will be able to recognize his style. He is often described as the most important modern architect in the world. He revolutionized his profession by treating each project as “a sculptural object, a spatial container.” At 90, he is an active partner in his firm, Gehry Partners. Since 2016 Mr. Gehry has been part of the George Soros Open Society Foundation study on criminal justice reform. He introduced prison design to students at SCI-Arc and the Yale School of Architecture.

Matilda Raffa Cuomo is a bold and intense advocate for women, children, and families. Service is the cornerstone of her life. When her husband, Mario Cuomo, was the NY Governor, she established Mentoring USA, which has grown to national and international status today. Designed to prevent students from dropping out of high school and boost their success, not just in school, but in work and life, the program has paired together 10,000 students and trained mentors. She will be 89 in August and has not “retired” her activism — and she continues to inspire her sons, current NY Governor Andrew Cuomo (who signed “Matilda’s Law” to protect those over 70) and CNN journalist Chris Cuomo.

We’re living in a time of longevity as well as uncertainty — and being able to live with ambiguity and unpredictability is undoubtedly a skill developed throughout a long life. So as we look for answers, we ought to look to our seniors. These five are just a handful of the senior newsmakers who turned their success into advocacy and activism. But there are many all around us, whether in the spotlight or next door. 

from https://ift.tt/2YjuwJh Check out https://peterlegyel.wordpress.com/

[ashley-unicorn]

5 Role Models to Help Us Cope with the Pandemic

How do you dig deep to withstand the ongoing stress and requirements of life during a pandemic? Look to the role models: seniors. Seniors have a depth of experience confronting crises and using creative problem-solving skills that summon the higher instincts of the human spirit. They have experience showing up. They reached within to draw on character and integrity, and learned what it means to come through a recovery. From the Great Depression to World War II to 9/11, they did what was needed. Right now, they can be a fountain of hope. 

There are countless examples of people who had to switch to plan B and not only survived, but thrived — and some of them have spent their lives in the spotlight and the headlines. The surprise is that instead of resting on their laurels and enjoying the fruits of a long career, these senior superstars are still going strong. Retired or still working, they’re also giving back, supporting important causes both with their resources and their activism. 

We can all use inspiration right now. Look to these role models still leading the way:

Itzhak Perlman overcame the ravages of polio to become a globally renowned concert violinist. Born in 1945, he contracted polio at the age of four, which left him partially paralyzed. Despite this, he gave his first public concert at ten, enrolled in Juilliard at thirteen, and has performed the entire classical repertoire. The exquisite attention to detail in his technique has earned him the rare accolade of virtuoso. And he gives back: in 1998, he and his wife co-founded the Perlman Music Program for gifted string musicians from 12 to 18.

In 2009, Glenn Close’s nephew, Calen, was diagnosed with schizoaffective disorder. He was eighteen. Their strong and supportive family learned about mental health and they stood with him, offering love and encouragement. Eventually, Calen found recovery. Then Ms. Close’s sister Jessie — Calen’s mother — was diagnosed in her late forties with bipolar disorder. She had lived almost to middle age without a diagnosis. Hand in hand with Jessie, the actress founded a nonprofit called Bring Change to Mind, “to end the stigma and discrimination surrounding mental illness.” At 73 the Emmy winner sustains a highly successful career, as well as her mission to bring mental illness out into the open.   

As a young boy, Warren Buffett had extraordinary math skills; now he’s one of the ten richest men in the world. Known for his frugal lifestyle, he uses his wealth for good. He’s a supporter of GLIDE in San Francisco, which supports the needy with 2,000 meals served every day and a range of social services. He also supports Girls, Inc., which provides high-risk girls with recreational and educational programs that help alleviate hardships and misfortune. As he approaches his 90th birthday, Mr. Buffett greets each day with considerable vigor and a habit of making the world better.

Dame Judi Dench, born in 1934, made her first appearance on stage as a snail in a Junior School play. She has garnered awards and honors throughout her distinguished career. Queen Elizabeth appointed her a Dame Commander of the Order of the British Empire. She’s also an ambassador for the Hope Foundation, which helps to restore basic human rights for the street children of Kolkata, India.  

Once you see Frank Gehry’s architectural work, you will be able to recognize his style. He is often described as the most important modern architect in the world. He revolutionized his profession by treating each project as “a sculptural object, a spatial container.” At 90, he is an active partner in his firm, Gehry Partners. Since 2016 Mr. Gehry has been part of the George Soros Open Society Foundation study on criminal justice reform. He introduced prison design to students at SCI-Arc and the Yale School of Architecture.

Matilda Raffa Cuomo is a bold and intense advocate for women, children, and families. Service is the cornerstone of her life. When her husband, Mario Cuomo, was the NY Governor, she established Mentoring USA, which has grown to national and international status today. Designed to prevent students from dropping out of high school and boost their success, not just in school, but in work and life, the program has paired together 10,000 students and trained mentors. She will be 89 in August and has not “retired” her activism — and she continues to inspire her sons, current NY Governor Andrew Cuomo (who signed “Matilda’s Law” to protect those over 70) and CNN journalist Chris Cuomo.

We’re living in a time of longevity as well as uncertainty — and being able to live with ambiguity and unpredictability is undoubtedly a skill developed throughout a long life. So as we look for answers, we ought to look to our seniors. These five are just a handful of the senior newsmakers who turned their success into advocacy and activism. But there are many all around us, whether in the spotlight or next door. 

from https://ift.tt/2YjuwJh Check out https://daniejadkins.wordpress.com/

[brentrogers]

5 Role Models to Help Us Cope with the Pandemic

How do you dig deep to withstand the ongoing stress and requirements of life during a pandemic? Look to the role models: seniors. Seniors have a depth of experience confronting crises and using creative problem-solving skills that summon the higher instincts of the human spirit. They have experience showing up. They reached within to draw on character and integrity, and learned what it means to come through a recovery. From the Great Depression to World War II to 9/11, they did what was needed. Right now, they can be a fountain of hope. 

There are countless examples of people who had to switch to plan B and not only survived, but thrived — and some of them have spent their lives in the spotlight and the headlines. The surprise is that instead of resting on their laurels and enjoying the fruits of a long career, these senior superstars are still going strong. Retired or still working, they’re also giving back, supporting important causes both with their resources and their activism. 

We can all use inspiration right now. Look to these role models still leading the way:

Itzhak Perlman overcame the ravages of polio to become a globally renowned concert violinist. Born in 1945, he contracted polio at the age of four, which left him partially paralyzed. Despite this, he gave his first public concert at ten, enrolled in Juilliard at thirteen, and has performed the entire classical repertoire. The exquisite attention to detail in his technique has earned him the rare accolade of virtuoso. And he gives back: in 1998, he and his wife co-founded the Perlman Music Program for gifted string musicians from 12 to 18.

In 2009, Glenn Close’s nephew, Calen, was diagnosed with schizoaffective disorder. He was eighteen. Their strong and supportive family learned about mental health and they stood with him, offering love and encouragement. Eventually, Calen found recovery. Then Ms. Close’s sister Jessie — Calen’s mother — was diagnosed in her late forties with bipolar disorder. She had lived almost to middle age without a diagnosis. Hand in hand with Jessie, the actress founded a nonprofit called Bring Change to Mind, “to end the stigma and discrimination surrounding mental illness.” At 73 the Emmy winner sustains a highly successful career, as well as her mission to bring mental illness out into the open.   

As a young boy, Warren Buffett had extraordinary math skills; now he’s one of the ten richest men in the world. Known for his frugal lifestyle, he uses his wealth for good. He’s a supporter of GLIDE in San Francisco, which supports the needy with 2,000 meals served every day and a range of social services. He also supports Girls, Inc., which provides high-risk girls with recreational and educational programs that help alleviate hardships and misfortune. As he approaches his 90th birthday, Mr. Buffett greets each day with considerable vigor and a habit of making the world better.

Dame Judi Dench, born in 1934, made her first appearance on stage as a snail in a Junior School play. She has garnered awards and honors throughout her distinguished career. Queen Elizabeth appointed her a Dame Commander of the Order of the British Empire. She’s also an ambassador for the Hope Foundation, which helps to restore basic human rights for the street children of Kolkata, India.  

Once you see Frank Gehry’s architectural work, you will be able to recognize his style. He is often described as the most important modern architect in the world. He revolutionized his profession by treating each project as “a sculptural object, a spatial container.” At 90, he is an active partner in his firm, Gehry Partners. Since 2016 Mr. Gehry has been part of the George Soros Open Society Foundation study on criminal justice reform. He introduced prison design to students at SCI-Arc and the Yale School of Architecture.

Matilda Raffa Cuomo is a bold and intense advocate for women, children, and families. Service is the cornerstone of her life. When her husband, Mario Cuomo, was the NY Governor, she established Mentoring USA, which has grown to national and international status today. Designed to prevent students from dropping out of high school and boost their success, not just in school, but in work and life, the program has paired together 10,000 students and trained mentors. She will be 89 in August and has not “retired” her activism — and she continues to inspire her sons, current NY Governor Andrew Cuomo (who signed “Matilda’s Law” to protect those over 70) and CNN journalist Chris Cuomo.

We’re living in a time of longevity as well as uncertainty — and being able to live with ambiguity and unpredictability is undoubtedly a skill developed throughout a long life. So as we look for answers, we ought to look to our seniors. These five are just a handful of the senior newsmakers who turned their success into advocacy and activism. But there are many all around us, whether in the spotlight or next door. 

5 Role Models to Help Us Cope with the Pandemic syndicated from

[juliandmouton30]

Arata Isozaki and David Gauld complete renovation of Miami Beach art museum The Bass

The Bass museum of contemporary art is reopening in Miami Beach, following a renovation that saw architects David Gauld and Arata Isozaki amend an extension they designed for the building 16 years ago.

Closed for two years while work took place, The Bass will open to the public on 29 October 2017.

Its interior spaces have been reworked by New York architect Gauld, who consulted his mentor, 86-year-old Japanese architect Isozaki, during the project.

Isozaki won a previous competition to extend the art museum's home on Collins Avenue in 2001, while Gauld was working for his firm, but the museum needed to keep up with changing exhibition requirements and increased visitor numbers so required a second renovation.

Therefore, at the request of Miami's Historic Preservation Board, Gauld was brought on in 2015 to make alterations to Isozaki's new wing and first level added to the original art deco-style building, completed in 1935 by architect Russell Pancoast.

Photograph by Robin Hill

Gauld has altered a number of key features and reconfigured the internal layout to create nearly 50 per cent more useable space for the interior.

The museum has been opened up to cater to a wider audience – including a bigger programme of contemporary art exhibitions, a museum store and cafe, and a number of educational facilities.

A ramp that Isozaki designed to lead from the entrance to the first floor, which visitors found difficult to navigate, was stripped out to create a large lobby that can host public gatherings as well as artwork.

A pair of outdoor terraces that were too hot to be used in the summer are now roofed so they can be used all year round.

Gauld also chose materials that would continue the aesthetic of the original building throughout the project.

"I tried to use mostly design vocabulary that had already been established here, either in the historically building or in Isozaki's addition, rather than try to introduce something new," Gauld told Dezeen at a preview of the museum.

This is demonstrated in one of the now-covered courtyards, which is set alongside the lobby's new cafe area at a junction between the old art deco building and the previous extension.

Gauld describes this space as his "mediation between Pancost's original and Isozaki's addition". Glazing that mimics other windows in the Isozaki addition raises the new roof above the key limestone walls of Pancoast's structure.

"I did it with a new roof that is above the highest point of the Pancost so it is all revealed," Gauld said. "The connection is behind the parapet so there is nothing touching this historical building."

"The way the glass is configured is based on other parts of the building so that there is continuity around the building," he continued. "It looks like it could have been here from the beginning."

Large terrazzo paving that covers the floor is set in a diamond pattern to reference previous projects by Isozaki, like the MOCA Museum of Contemporary Art in Los Angeles.

Other alterations include the addition of a new floor to add extra exhibition space – four new galleries were added in total. Rooms towards the rear of the museum are adapted to include classrooms for the children's Creativity Centre, which will hold summer camps, and a meeting room.

The Bass was founded in 1964 to house the private art collection of Miami residents John and Johanna Bass. It will reopen with exhibitions by Swiss mixed-media artist Ugo Rondinone and Cameroonian sculptor Pascale Marthine Tayou. An display of work by video artist Mika Rottenberg will open on 7 December 2017.

The museum's development forms part of a growing focus on art and culture in Miami Beach, which is home to annual fair Art Basel, the OMA-designed Faena Forum art and performance centre, Frank Gehry's New World Center and the Miami City Ballet.

Related story

OMA completes Faena Forum cultural centre in Miami Beach

Photography is by Zachary Balber, unless stated otherwise.

The post Arata Isozaki and David Gauld complete renovation of Miami Beach art museum The Bass appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/10/25/the-bass-contemporary-art-museum-arata-isozaki-david-gauld-renovation-miami-beach/

[earlrmerrill]

Senior Producer

The Music Center in beautiful downtown Los Angeles is currently in search of a dynamic Senior Producer to join its Programming/Community Engagement team!

The Music Center is one of the most impressive performing arts centers in the United States. It is also one of the largest. For the past five decades, the Center has provided Los Angeles County with the finest performing arts experiences, acting as both presenter and as host to four world-class organizations: LA Philharmonic, Center Theatre Group, LA Opera and LA Master Chorale.

The Music Center’s venues are among the best known in the world and include the following:

Dorothy Chandler Pavilion (3,107 seats), the first and largest of the Center’s venues, opened in 1964. It is home to LA Opera and the Center’s own Glorya Kaufman Presents Dance at The Music Center. For decades, Dorothy Chandler Pavilion was home to the LA Philharmonic and more than 20 Academy Awards presentations.

Ahmanson Theatre (1,600 to 2,007 seats) opened in 1967, is home to Center Theatre Group, which produces and presents large-scale theater and musical theater productions on its stage.

Mark Taper Forum (739 seats) is also home to Center Theatre Group; the circular building has a thrust stage offering seating on three-sides. The Mark Taper Forum underwent a $30 million renovation in 2007-08.

Walt Disney Concert Hall (2,265 seats), designed by Frank Gehry and completed in 2003, is the newest of The Music Center’s major venues. It is home to the LA Philharmonic and LA Master Chorale. The audience chamber is configured in a “vineyard” style, providing seating on all four sides of the stage.

Outdoor Venues 

Music Center Plaza (225,000 square feet) is an expansive outdoor urban venue that hosts events such as National Dance Day, LA Arts Month, festivals, live simulcasts and weekend activities for dance as well as many private and civic celebrations, special events and galas.

W. M. Keck Foundation Children’s Amphitheatre (350 seats) is a hidden gem located on the rooftop of the Walt Disney Concert Hall and adjacent to The Blue Ribbon Garden

Blue Ribbon Garden is the Walt Disney Concert Hall’s rooftop garden. Nearly an acre in size, the garden is serves as a backdrop to pre- and post-theater receptions, private events and children’s programming.

Grand Park– “The Park for Everyone” – sits between The Music Center and City Hall, stretching over four city blocks. Although managed under the aegis of The Music Center, Grand Park currently operates with its own staff leadership, budget and programming. To date, collaborations and co-presentations have been minimal, but there is great opportunity for Grand Park to become a significant portion of The Music Center’s reach into the community. http://grandparkla.org

More information on The Music Center, its programs and venues can be found on their website: http://ift.tt/1eWweWx

Current Environment

The Music Center operates on an annual budget of over $65 million with a fulltime staff of 225. Notwithstanding this enormous team, the internal culture of The Music Center is one of service to clients and audiences as well as collegiality with each other.

In June 2015, Rachel Moore was tapped to become The Music Center’s President and CEO, beginning her new position on October 5. She is the former CEO of American Ballet Theatre and is the first Music Center leader who comes from the artistic producing world (vs. venue management). Ms. Moore replaces Stephen Rountree, who resigned in December 2014 after a 12-year tenure to take a position with Center Theatre Group.

The Music Center’s multiple resident companies offer extraordinary programming within their various disciplines in classical and orchestral music, opera, choral music and theater. The Music Center therefore focuses primarily on other programming disciplines and areas. Key among these is dance, and the Glorya Kaufman Presents Dance at The Music Center series is at the center of its programming efforts. Major national and international dance companies have graced the stage of the Dorothy Chandler Pavilion (the primary venue used for the Glorya Kaufman series) including, The Royal Ballet, The Bolshoi, American Ballet Theatre, Joffrey Ballet, Alvin Ailey American Dance Theater, Mark Morris Dance Group, among many others.

The Music Center is seeking a Senior Producer to join its Programming/Community Engagement team.

Reporting to the Chief Operating Officer with a strong dotted line to programming, the Senior Producer will oversee, manage, and be responsible for all operational and logistical aspects of Music Center programs, including but not limited to: festivals, Sleepless, DanceDTLA, The Music Center On Location, Glorya Kaufman Presents Dance at The Music Center, one-time special events, and other programs.

Key performance measures for this position are:

Establish and meet budget expense goals (working with production) and closely monitor revenue goals (working with marketing); Meet timeframes for delivery of the programs across all categories; Meet contractual obligations regarding logistics with all suppliers and partners; Create, monitor and achieve all production Health and Safety targets; Positive partner and stakeholder feedback, both internal and external.

In addition, the Senior Producer will work closely with all other internal departments such as Scheduling/Events, Production, Guest Services, Security, Grand Park, etc. and other internal staff to maintain effective and on-going internal and external relationships including Resident Companies, vendors, and Music Center management; and will serve as primary point-of-contact for the department.

Principal Duties & Responsibilities include, but are not limited to: 

Collaborate with Leadership Team in the development of operational plans for all departmental programs and events, providing production and logistics advice to support artistic decision-making;

Create and manage programming and production plan, schedule and budget to meet operational goals; Participate in negotiation and drafting of co-production, co-commissioning and other contracts, including vendors and consultants;

Oversee and steer the production related elements of future commissions and projects in a variety of artistic disciplines;

In partnership with the Leadership Team, source and manage the necessary partnerships to ensure future presentations of commissioned and co-commissioned work nationally and internationally;

Oversee, manage, develop and support logistical, operational and production teams;

Working closely with the Leadership Team, oversee and manage implementation of program and project plan, troubleshooting as and where required;

Collaborate with the Leadership Team to source and select venues for programs and projects as necessary;

Liaise with venue management, unions and any municipal/government bodies as required to secure venues, permits and negotiate contracts;

Liaise with artists/companies, venues, other internal departments and stakeholders to ensure that specifics of contracts are followed/met, partner benefits are accommodated, any conflicts are resolved quickly and satisfactorily; oversee visa applications for international artists as needed;

Ensure that all Health and Safety regulations and any other relevant legislation and regulations are complied with at all times;

Be available to stakeholders and partners to provide support with any production and/or logistics issues;

Oversee the tear-down, wrap-up and clean-up activities at the end of the each event, ensuring that stakeholder expectations and agreements are met;

Gather information from individual programs/projects and disseminate to various departments on an on-going basis to enable effective project management and to support write-ups of post-mortem reports;

Collaborate with Marketing and Communications, and liaise with marketing team members to ensure that goals are met.

Required Qualifications & Desired Competencies include: 

Post graduate degree and/or equivalent experience from an accredited four-year college or equivalent education and experience, required.

Minimum of 10 years related experience in production at major arts organization.

Key competencies are:

Team player

Financial acumen

Understanding of creative process

Able to work with wide variety of people – creative, finance, unions, etc.

Excellent ability to supervise, train and mentor staff

Culturally savvy

Trustworthy

Big picture perspective

Strong communication skills

Great motivator

Well-organized

Excellent with computers and electronics

Data savvy

Creative problem-solving

Flexibility, judgment, confidence

Sense of humor, tolerance, patience, diplomacy

Ability to lift at least 25 pounds, un-assisted; up to 40 pounds with assistance

Must possess a car and a valid California driver’s license

Must be available to work evening and weekend hours.

Salary range: Will be commensurate with experience; this is an exempt full-time position.

How To Apply: To be fully considered, please email your cover letter, resume, salary requirement to: jobs@musiccenter.org or fax to 213 972 0721.

Equal Opportunity Employer

Article source here:Arts Journal

[mervinsimonson-blog]

OUTLET MALL Relevant Articles.

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[cuntrytaylor]

oh AND the woman who knows frank gehry and wants to mentor me (hello?????) finally emailed me back so i am no longer spiraling about finding a job and moving to new york (this will change again and again and again until i have my job offer secured but hey)

[viralhottopics]

‘One never builds something finished’: the brutal brilliance of architect Paulo Mendes daRocha

Hes been blacklisted and seen his work torn down. But the great Brazilian creator of vast gravity-defying buildings has just entered architectures elite

All space is public, says Paulo Mendes da Rocha. The only private space that you can imagine is in the human mind. It is an optimistic statement from the 88-year-old Brazilian architect, given he is a resident of So Paulo, a city where the triumph of the private realm over the public could not be more stark. The sprawling megalopolis is a place of such marked inequality that its superrich hop between their rooftop helipads because they are too scared of street crime to come down from the clouds.

But for Mendes da Rocha, who received the 2017 gold medal from the Royal Institute of British Architects this week an accolade previously bestowed on such luminaries as Le Corbusier and Frank Lloyd Wright the ground is everything. He has spent his 60-year career lifting his massive concrete buildings up, in gravity-defying balancing acts, or else burying them below ground in an attempt to liberate the Earths surface as a continuous democratic public realm. The city has to be for everybody, he says, not just for the very few.

Marxism in concrete… The MuBE in So Paulo. Photograph: RIBA

His most celebrated work, the Brazilian Sculpture Museum (MuBE) in So Paulo, completed in 1995, is the result of trying not to make a building at all. The site is instead conceived as a terraced sculpture garden, with the museums galleries located underground and a concrete canopy flying overhead, a jaw-dropping 60-metre long levitating beam. When asked why he didnt opt for the more obvious solution of a building with a sculpture courtyard in the middle, he simply replied: It would hide the things that happen there, and the city would be excluded in some way.

The ageing Marxist, with his baggy navy blazer and bristling white moustache, makes for an unlikely addition to the list of famous names chiselled into the walls of RIBA, alongside Zaha Hadid, Frank Gehry and Jean Nouvel. In the past decade Mendes da Rocha has been showered with awards, winning the Pritzker prize (architectures Nobel), the Golden Lion at the Venice Biennale and Japans Praemium Imperiale award last year, but he doesnt fit the stereotype of a globe-trotting starchitect.

He maintains an office of one, based in a modest room in So Paulos crumbling 1940s headquarters of the Institute of Brazilian Architects, lit by a naked lightbulb, its walls lined with blackboards on which he sketches his structures with extraordinary freehand precision. He has built little outside his home country. When he works on projects, he collaborates with a number of different studios around the city, many of them run by former students.

I dont have any desire to manage a business, he says. There is so much administration in the world these days, and I am delighted my colleagues are willing to do it. Not having my own office gives me the greatest freedom to do nothing if I want to!

Casa Butanta, So Paulo. Photograph: RIBA

It is a unique model of practice for an architect of his stature, and he may make light of it now, but this unusual setup stems from the fact that he was forbidden from running his own office in Brazil for almost 25 years.

When the military dictatorship came to power in 1964, he and his fellow left-leaning architects were dismissed from their university teaching posts and had their architectural licences revoked. Many fled the country: Oscar Niemeyer went to Paris, where he designed the Communist party headquarters. Joo Batista Vilanova Artigas, Mendes da Rochas closest colleague and mentor, left for Uruguay. But Mendes da Rocha stayed put.

I couldnt leave, he says. I had five children and I didnt want to abandon the country. It was a dreadful time. I had friends who were arrested and murdered. Brazil is still living with the consequences of that period today our current state of crisis is a hangover from those days.

Blacklisted for almost half his career, Mendes da Rochas rise to prominence is all the more remarkable. He first made his mark at the age of 30, a toddler by architects standards, with his startling scheme for the Paulistano Athletic Club. Photographs of the building were widely published on its completion in 1958, showing a minimalist concrete UFO: a disc held aloft on six slender blades, each sharply chiselled to express the geometry required by the thrusts they must oppose. Pairs of cables, strung from the top of each concrete fin, support a suspended steel shell, sheltering the space of the gym below, keeping the ground open to retain views through the space. It is as stripped down and sparse as possible, a pure diagram of the means of enclosure.

Raw concrete forms… FIESP Cultural Center (1997), So Paulo. Photograph: Nelson Kon/RIBA

In its bold structural simplicity, it set the tone for what would become a series of projects driven by clear constructional logic, each building generated by a singular idea about how to support a roof, or how to free the ground. His So Pedro Chapel, built in Campos do Jordo in 1987, doesnt look like it should stand up at all, consisting of a hefty concrete slab sitting on top of a delicate glass box the whole thing magically cantilevered from a single column in the middle of the building.

The architect says he learned technical discipline from his father, who was an engineer and designer of hydraulic works and port facilities. Their shared love of infrastructure is evident in the raw concrete forms of Mendes da Rochas buildings, with their echoes of dams and flyovers. This pragmatic attitude lay at the foundations of the Paulista school, a group that included Artigas and Lina Bo Bardi together known as the Brazilian brutalists. They favoured chunkier massing and rougher concrete finishes than their Rio counterparts of the Carioca school, typified by Niemeyers smooth, curvy white forms. In contrast to the formalist approach favoured by some contemporary architects, who come up with a shape and hand it over to the engineers, Mendes da Rocha insists that you can only imagine what you know how to build.

His Brazilian pavilion for the Expo 70 in Osaka was the most daring demonstration of his engineering prowess, a vast concrete waffle slab levitating over an undulating landscape, which rose up to support the great weight of the roof at just three delicate points. Though intended to be temporary, it was so well received that the local university wanted to keep it as a dance school for children. The Brazilian military government refused and had it torn down.

Paulo Mendes da Rocha. Photograph: Ana Ottoni/EPA

However fleeting, the pavilion embodied what Mendes da Rocha saw as the founding trait of architecture, as an instrument for configuring the land, an idea he would develop in his competition entry for the Pompidou Centre in Paris. This imagined a generous public piazza sliding beneath the building, the floors of the gallery stacked up above as a series of sloping terraces. He lost out to Richard Rogers and Renzo Pianos pipe-clad refinery, but he finally got to build something of a similar scale in Lisbon, in the form of the National Coach Museum, completed in 2015.

Located near the gothic confection of the Jernimos Monastery in Belm, it feels a little out of place a great white aircraft hangar jacked up on fat concrete columns, as if lost in translation from the brasher streets of So Paulo. Still, it might soften with time and use. As Mendes da Rocha insists: One never builds something finished.

Read more: http://ift.tt/2kcEs4F

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