#berkley landscape design

[professorplaid]

Contemporary Pool - Infinity Large contemporary backyard tiles and an idea for an infinity pool fountain

[cheerddanshi]

Landscape - Retaining Walls This is an illustration of a traditional, mid-sized backyard landscape with retaining walls.

[iamcharlieg]

San Francisco Retaining Walls Landscape

[wanna-b-poet31]

Abandoned Places, Abusive Spaces

So I was thinking about how space is a big theme in the miniseries. Hell (in Good Omens) is crowded while Heaven’s HQ is uncomfortably abandoned. 

Heaven is empty. But like. It’s not a “noone is here, we own nothing” empty. It’s not a “we sold everything we had to provide for the needy” empty. It’s the clinical emptiness of an abandoned hospital. It’s sterile. It’s empty. It’s purposeful. 

Heaven with their elitist bureaucracy and misguided approach to “earthly” things (these guys can’t remember what the hell a book is) would pick the incorrigible rich person aesthetic of minimalist interior design with open spaces.

Hell, on the other hand, is constantly packed with bodies and in a similar way is empty of objects but full and crowded with bodies:

This contrast in and of itself isn’t too unusual.  You can see the masses of people (entities?) traveling out the door. You can see the piled chairs serving no use except to be a pile. The clothes are disheveled and torn, compared to the “immaculate” suits of the Angels. Even their skin is decomposing (well mostly, Crowley and Ligur are notable exceptions)

There is clearly a commentary on class dynamics going on. 

Where Heaven CHOOSES to be empty, with large spaces between the individuals, Hell doesn’t have such a luxury, so people don’t have things because their currency (SPACE) is being commodified.

Making a Bookshop a Home

And I could talk for hours about the class dynamics going on, but that’s not my expertise. Abuse, Trauma, and Queer Studies is. So, let’s turn our attention to Aziraphale’s home:

It is packeddddd with books and collections that he’s proud of. Just look at the GIF above. It’s packed wall to wall with bookcases. 

And, on top of it, we know he’s got the best selection of wines (at least a good selection), he hoards books (usually first additions) and spends his miraculous wealth on things that make him happy, specifically underpinning the Heavenly choices for minimalism. It’s cramped, yes, but not cluttered. 

AND specifically not “Full” in the same way Hell is. 

Perhaps the best way to see this difference is by focusing on the lighting. Where Heaven is blindingly bright, like an “it-hurts-my-eyes-to-look-at-too-long” kind of bright, Hell is so poorly lit I have to crank the brightness up on my computer to adequately see the beginning of Ep. 6 well.  

Aziraphale’s bookshop has no such problem. Look at the below GIF:

The whole room is full of light sources. It is sprinkled with lamps, and the windows (that we see in Ep. 5) are big and wide, allowing alot of supplementary natural lighting eluminating the building.  Even at night (See the below GIF), details are clear, you can make out the time on the clock, and that the bookcases are full. Yes, it’s darker than the above GIF, but we are reliably informed it’s late at night here. 

Instead, what’s going on is that his Bookshop is being filled with Warm light. Heaven’s brightness is cold and blinding while Hell’s crowded darkness is hard and suffocating. Both have an absence of warmth and tbh “warm” is great description of the Angel himself. He exudes the soft, kind aura of someone who is willing to give you a hug (only if you wanted on though). 

Crowley’s Hall of Sparked Joy

Crowley, in contrast, IS a minimalist. 

So surely he must be a Heavenly mirror? (I mean he is but not because of this) Instead, his minimalism is much more in-line with Marie Kondo’s school of thought. He keeps only things that spark joy. 

While his flat isn’t really lived in, and that’s on purpose, the “emptiness does not really exist for emptiness’ sake. He keeps the things that bring him joy. He pours his soul into things he cares about – his plants, his art, his car, his “antique” answering machine – because he needs more breathing space after enduring hell, but he’s not inattentive. 

Even within these spaces, like in the Bentley, he has even more pockets of joy beyond the item itself. For example, it’s confirmed that he has a tin of cookies in his car for Aziraphale to munch on, and he keeps an unkempt pile of CD’s of his favorite bands (and Queen).  

If we extend our review of lighting, we can also see that while not nearly as “warm” as Aziraphale’s home -- it is steeped in deep blues and greens where Aziraphale is steeped in gold -- but it’s not “dark” in the same way Hell is. It’s bright enough to see even his most sour expression (despite no obvious light source), and despite being a creature with a black-based wardrobe, he balances it well with his “off-white” walls. 

Not Holy, Not Damned, But a Hybrid: Human

Further, you can see how the two are doing MORE than rebelling. They’re not only pushing against the prescriptive styles they are expected to have. Instead, they’re creating hybrid spaces that don’t just reflect themselves, but where they can BE themselves in their environment. 

There’s a whole lot of trauma and recovery motivating the shift. Neither Heaven nor Hell could do anything at this point that would make either space an appealing option to model themselves after.  What has been done -- 6000+ year abuse remember -- leaves both trying to cope with how their respective sides treat them as “misfits”. 

It’s easier (and healthier) for them to piece together their own interpretation of existence, together. No strings attached. 

A Nightengale Sang in Berkley Square

Which brings me to my actual analysis. If (and by if I mean 100% when) Aziraphel stayed over at Crowley’s after the Armageddon’t, then he would witness the vastly different stylistic choices in Crowley’s home and perhaps be uncomfortable with the similarities to the emptiness of Heaven. 

However, I wager, he would recognize that Crowley’s home is not, like heaven, actually empty. For one thing, Crowley has walls, but for another, he puts his heart into spaces that he can feel vulnerable in (again see his car, his home, AND the bookshop for evidence). If Aziraphel wasn’t feeling the palpitations of love in Crowley’s apartment, I think he might need a system’s check. BUT in this point of the narrative, Crowley would not know what heaven looks like (at least not the contemporary headquarters that they keep post-fall). He would not know that the collector tendencies that AZ. displays is likely a response to not having an individual personality in heaven. Similarly, Aziraphale wouldn’t know exactly how unkempt and crowded Hell is, and that it’s a big deal that Crowley feels comfortable if not SAFE in HIS cluttered bookstore.

Then, the swap happens, and layers of understanding are added to the ways the two react to their landscape. We can talk at length about how Aziraphel (disguised as Crowley) is in shock at the physical abuse going on. And we could talk about how Crowley (disguised) almost breaks character a series of times as he’s being emotionally or verbally abused by Gabriel on behalf of his angel. But both are unprepared for the kinds of spaces they’re entering when they’re kidnapped by their “side”. The fundamental problem with how Heaven AND Hell function is that both are cold, abusive, and really, aren’t functional spaces. Like I mean that literally. Scroll back up and evaluate Heaven’s emptiness. Nothing can get done reasonably in Heaven, it’s simply devoid of any personality and character. It’s not bland, it’s much more insidious than that. Rather, it’s false transparency, a “nothing to see here” while they are enabled to continuously belittle and attack Angels who question their motives. They are more than willing to use that space for hellfire torture for Aziraphale, but being left alone in that space is intimidating by itself. Under the guise of “good” or “righteous” is cold-blooded indifference to the health and wellbeing of the angels under their watch.  

Hell is also insidious, but for more obvious and in your face kind of reasons. Granted, of the 2 Hell does actually offer a trial, but the depths of abuse and uncomfortably close quarters probably shocked Aziraphale, as Hell’s landscape shocked Crowley. The takeaway being that neither place represented either of them nor their needs. But, that they can come together and create new spaces – spaces that are inclusive to different experiences – that will help them cope with their own abuse and make it so a deep-down good demon, and just enough of a bastard angel, can have space together.

TLDR: Their “chosen spaces” are much more important and healthy than their “assigned” spaces. 

Thanks for coming to my TedTalk.

[itsmycolouredmind]

Artist Research 

Berkley Henri Matisse: I didn’t know much about Matisse until my junior year of high school. My art class was able to to the SFMoMA on a field trip that year, and both Matisse and Diebenkorn were being exhibited. I didn’t know much about them beforehand, but after seeing their work, I loved their style- especially Matisse. I love how he explores color. He was one of the artists at the turn of the century that led the way of exploring color and contrast. He was a leader in the Fauvism movement. Fauvism, a not well-known art movement, known for being the revolution of color. Fauvism uses strong colors and a painterly style instead of the realistic qualities of the impressionists. While many of his paintings and prints are of the human figure or still lifes, he also incorporates lots of nature into his works. For instance, in the noted painting above (Plum Blossoms, Green Background), he not only paints the blossoms and fruit on the table but in the background, where the eye is not drawn to as much, the wallpaper also has a leaf design. 

Richard Diebenkorn: Another artist I was able to see at the SFMoMA, Diebenkorn also has an affinity for nature. Though, through his expressionist style of painting, he paints within a certain color scheme, exploring the different colors in those settings. He has many different collections, most based off of locations. He has collections titled Ocean Park, Albuquerque,  Landscape with (fill in the blank), Berkley and many more. 

Judy Pfaff: an artist big in the 70′s, she often uses steel, paper, fiberglass, and foam and salvaged materials to make landscapes. The focal content of most of her work includes nature. In the mixed media mentioned above, she uses floral designs and flower shapes as to emulate nature. Pfaff grew up in post-war London. As a young girl, she played among the rubble of the ruined buildings. I think that her art may be a reaction to the way she grew up. She grew up in bleak times where there were remnants of destruction, so in response, she creates installations and paintings that depict nature. 

[architectnews]

Eli and Edythe Broad Art Museum Building

Eli and Edythe Broad Art Museum, Zaha Hadid Michigan Architecture, Architect Design Photos

Eli and Edythe Broad Art Museum

New Michigan Building in East Lansing, USA design by Zaha Hadid Architects

May 1, 2021

Eli and Edythe Broad Art Museum Co-Founder Dies

Eli Broad, Whose Generous Patronage Transformed the Cultural Landscape of Los Angeles and Brought the Arts to Many, Dies at the Age of 87

Eli Broad: photograph : Ryan Miller © Capture Imaging

Philanthropist and entrepreneur Eli Broad, who is the only person to found two Fortune 500 companies in different industries and who co-founded with his wife Edye the contemporary art museum, The Broad, died at the age of 87, The Eli and Edythe Broad Foundation announced April 30th, 2021.

In 1991, the Broads endowed The Eli Broad College of Business and The Eli Broad Graduate School of Management at Michigan State University (MSU), where Broad graduated cum laude in 1954.

In June 2007, the Broads announced a $26 million gift to create the Eli and Edythe Broad Art Museum at MSU, which was designed by acclaimed architect Zaha Hadid, and they gave another $2 million to the project in January 2010.

Nov 14, 2012

Broad Art Museum Building

Broad Art Museum at MSU Opens

Location: East Lansing, Michigan, USA

Design: Zaha Hadid Architects

Photographs © 2012, Eli Broad

Eli and Edythe Broad Art Museum at Michigan State University Opens

The Eli and Edythe Broad Art Museum at Michigan State University opened this past Saturday at a dedication ceremony attended by 2,000 people, including Eli and Edythe Broad, MSU President Lou Anna Simon, Architect Zaha Hadid and Michigan Gov. Rick Snyder.

Designed by Pritzker Prize-winner Hadid, the 46,000-square-foot Broad Art Museum at MSU features a striking façade of pleated stainless steel and glass, distinguishing the building from MSU’s traditional Collegiate Gothic north campus.

The museum will present contemporary art within a historical context through its study collection of more than 7,500 objects, ranging from the Greek and Roman periods to modern art. The building features galleries for special exhibitions, modern and contemporary art, new media, photography and works on paper.

The facility also includes an education wing, a works-on-paper study center, shop and café. Adjacent to the museum is an expansive outdoor sculpture garden and a large pedestrian plaza. Eli and Edythe Broad contributed the lead gift of $28 million toward the $40 million museum and donated 18 artworks.

A study released last week found that the museum is expected to pump nearly $6 million a year into the local economy.

Eli and Edythe Broad Art Museum images / information from Eli and Edythe Broad Art Museum

Jan 5, 2010

Eli and Edythe Broad Art Museum Building News

Eli and Edythe Broad Art Museum Groundbreaking

Groundbreaking took place on 16 Mar 2010 with Zaha Hadid and donors Edythe Broad and Eli Broad wielding shovels.

Eli and Edythe Broad Art Museum News

Work due to start on 16 Mar 2010 on the Broad Art Museum building, designed to contain the Michigan State University collection of modern art. This is the second building by Zaha Hadid in the USA (if you discount the Millennium Pavilion in Chicago) after the Cincinnati museum in Ohio. Feb 2010

New building in East Lansing images from Zaha Hadid Architects 050110

Previously:

Eli and Edythe Broad Art Museum Architect – Competition Winner

Zaha Hadid Architects has been selected as the winner in the design competition for the Eli and Edythe Broad Art Museum at Michigan State University. Zaha Hadid joined the Broads at two public events today where MSU President Lou Anna K. Simon announced the winner.

“I am absolutely delighted to be building the Eli and Edythe Broad Art Museum at Michigan State University. Art Museums are centres for the exchange of ideas, showcasing the art that feeds the cultural life of the community. I believe we can create buildings that evoke original experiences, inspire people, and make them excited about new ideas. The sculptural folds of the Eli and Edythe Broad Art Museum’s design and enigmatic qualities of its steel and glass surface follow a coherent formal logic, offering a sense of unlimited possibilities.”

Zaha Hadid

Eli and Edythe Broad Art Museum – Project Description

Introduction

The location of the art museum at the northern Edge of the Michigan State University Campus is influenced by a set of movements adjacent to and across it. The vital street life on the northern side of Grand River Avenue and the historic heart of the university campus at the south side generate a network of paths and visual connections.

This highly frequented interface between city and campus has an additional layer, the traffic along the Grand River Avenue in east-west-direction. The zebra crossings and the street life on the northern side of the street as well as the bus-stops introduce a traversal movement layer in this part of the Grand River Avenue, slowing down the traffic and creating a focus on the structures along this stretch.

Landscape Carpet Concept

The initial momentum for Zaha Hadid Architect’s Design is generated by developing a landscape carpet picking up these loose ends of the urban fabric and interweaving them with the different movement directions across and along the site. This landscape layout develops from an urban end at the western side of the plot.

From this Western end, where the plot of the museum is neighboured by the large Berkey Hall, the new square exposes the western edge of the site by allowing for a deep insight from west to east along Grand River Avenue.The second main transversal crossing over the plot is a modifi cation of the existing pedestrian connection between the corner of Bailey Street / Grand River Avenue and the East Circle Drive on the campus.

This path is used as an entry to the eastern end of the plot, the Landscape-Side, at the interface of Museum to sculpture garden. Between these two North-South Axis linking Campus and City, a pattern of linear movements picking up directions of the surrounding structures is woven forming the base for a landscape carpet, introducing different zones and surfaces to the plot and being the base for folding up the volume of this new East Lansing building.

The Building

The Eli and Edythe Broad Art Museum building’s appearance embraces the idea of being folded out of the different movements intersecting on the site. The light structure of the outer envelope is a sharp and directed body, a composition of patches on directional pleats, reflecting the landscape carpet’s geometry. It underlines both the movements in and around the site as well as the development from the ‘urban’ western end to the landscape side of the plot facing east. Each patch of the facade picks up a different direction of the composition of the landscape carpet, depicting its origin both at the inside and at the outside of the building.

The elongated sculpture of the museum building leans against the west in a dramatic gesture, a direct counter movement towards the approaching traffic, forming a raised head with a 40 feet tall front face towards the urban plaza and the volume of the Berkley Hall.

Elevations:

From there the volume undertakes a linear and continuous shift in scale to the east side which faces the sculpture garden, where it blends into the landscape at 27 feet height, signifi cantly below the tree tops, mediating between the scales of the large structures and the garden in the east. The east is sculpted by a positive-negative play of building volume and landscape patches, forming a three-sided courtyard with an open inner facade, staging a floating space between galleries and landscape.

The outer skin of the new building, a structure of stainless steel with a gradual perforation and glass, picks up the play of different directions and orientations by giving each face of a pleat either an opaque or transparent character. It gives the building an ever changing appearance whilst moving past it, at the same time it is used to filter and direct the daylight depending on each gallery’s purpose and orientation.

Interior Materials & Ambience The stainless steel skin on the outside of the building is mirrored in a white ceiling, conveying the pleated profile of each facade patch to the inside of the galleries and providing them with guided and diffused daylight (primarily north-light) through the open faced of the pleats.

The choice of materials reflects the building’s clear-cut volume and form and creates a harmonious and clear background ensemble in plaster walls, concrete floor and wooden flooring on the first floor. The abstract white walls let the artwork speak for itself; the slightly changing light directions indicate subtle changes in atmosphere when moving from room to room to form a spatial background.

Plans:

Eli and Edythe Broad Art Museum – Building Information

Eli and Edythe Broad Art Museum, East Lansing, Michigan, USA 2007 – tbc

PROGRAM: Museum space for Michigan State University campus CLIENT: Michigan State University ARCHITECT: Design: Zaha Hadid with Patrik Schumacher Project Director: Nils Fischer Project Architects: Britta Knobel, Fulvio Wirz Project Team: Daniel Widrig, Melike Altinisik, Mariagrazia Lanza, Rojia Forouhar

CONSULTANTS: Structural: AKT Adams Kara Taylor, London – Hanif Kara Environmental/M&E: Max Fordham,London – Henry Luker Lighting: Isometrics Light Consultants, London / New York – Gerardo Olvera

Eli and Edythe Broad Art Museum images / information from Zaha Hadid Architects

Eli & Edythe Broad Art Museum design : Zaha Hadid

Location: Michigan State University, USA

Architecture in Michigan

Michigan Buildings

Michigan Architecture Designs

Edward J. Minskoff Pavilion Design: LMN Architects photograph : Adam Hunter/LMN Architects Edward J. Minskoff Pavilion at Michigan University

Biological Sciences Building, University of Michigan Design: Ennead Architects / SmithGroup photograph : Bruce Damonte courtesy of Ennead Architects University of Michigan Biological Sciences Building

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Chicago Architecture Tours – city walks by e-architect

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Website: Eli and Edythe Broad Art Museum in East Lansing, Michigan

American Architects

American Architecture

Eli Broad, 76, and MSU alumnus, made his name by running a real estate company (now known as KB Home) and the financial giant SunAmerica.

Comments / photos for the Eli and Edythe Broad Art Museum Architecture design by Zaha Hadid Architects in East Lansing, Michigan, USA page welcome

The post Eli and Edythe Broad Art Museum Building appeared first on e-architect.

[pharmaphorumuk]

Towards patient centricity: Pfizer

In a new series Amanda Barrell looks at how different companies are turning patient centricity into a reality. This week she speaks to Pfizer’s Dr Berkeley Phillips about streamlining processes and increasing patient consultation.

Dr Berkeley Phillips

Patient centricity has become something of a buzzword in recent years, as the healthcare system places ever more importance on empowering people and working together.

But what does it mean in practice, and how is the movement shaping the pharmaceutical industry of the future?

In the first of our new Towards Patient Centricity series, we speak to Dr Berkeley Phillips, medical director at Pfizer UK, about the challenges and opportunities embedding the patient voice into the company’s everyday work.

Seizing a unique opportunity

Now is a truly unique time for industry, the NHS and the wider healthcare community, as rapid medical and technological advances generate new, innovative, game-changing treatments.

Partnership working is the only way to ensure these new therapies and medicines get to the people who need them, in the way they need them, as efficiently as possible, says Berkeley.

“As a healthcare company, we exist to find breakthroughs that will change patients’ lives and, to do that, it is critical that we are a patient-centred organisation,” he says.

“That means ensuring patients are at the heart of our decision making, that we seek to understand their opinions and needs and that we engage with and involve patients to explore ideas and co-create solutions so that we can enhance their experience and outcomes through our treatment innovations.”

There are huge benefits to working with patients at every step of the drug development pathway, from clinical trials to providing post-launch support, he adds.

In R&D, for example, patient involvement helps researchers design better trials. That includes using endpoints that are meaningful to the people who will end up using new medications, and structuring studies in a way that boosts recruitment and retention.

“We want people to stay in the trial because they have a positive experience and it is not overly burdensome for them,” says Berkeley, adding that the patient voice was becoming a crucial consideration for regulators and policy makers.

“It’s so important to involve patients and understand their experience of their disease and their treatment. When we do, we can incorporate their feedback and preferred outcomes in the development programme and understand their preferences for and assessments of new medicines and treatments.”

All this information is “vital” during the regulatory pathway and during the licensing of a new medicine, as well as health technology assessment (HTA) value assessment and subsequent market access, he says.

Co-creating policy

Involving the patient community in shaping UK health policy is “critical” and the patient voice “needs to be heard more”, says Berkeley.

“As those of us in the healthcare community seek to find new medicines, vaccines and treatments, we must hear the patient voice more in the policy landscape.  It is the policy framework that enables these treatments to get through to the patients and the health service in the right way at the right time.”

The partnership between pharma and patient doesn’t stop with market access, and, like many pharma and life sciences companies, Pfizer works with patients to provide information on its medicines and healthcare solutions.

Doing this well isn’t without its challenges, but industry is aware of its responsibilities, Berkley explains.

“Of course, we are not permitted to advertise medicines to patients in the UK.  But it is both legitimate and appropriate that we provide high-quality information so patients understand their medicines, can take them safely and achieve the best possible experience and outcomes from them,” he says.

“We want people to stay in the trial because they have a positive experience and it is not overly burdensome for them”

Meaningful consultation

As reported by pharmaphorum last month, Pfizer has introduced a mandatory period of patient and public consultation ahead of all its clinical trials. But it’s not the only way the company is moving the dial on patient centricity.

Patient advisory boards and focus groups have been set up to ensure clinical trial endpoints are relevant, and influence the development of patient information documents, study recruitment plans and regulatory and HTA strategies.

Grant review committees now have patient representation and disease awareness information, patient support programmes and digital health interventions are co-created.

Navigating processes

One of the often-cited challenges around putting patient centricity into action has been concerns over whether initiatives are compliant with the Association of the British Pharmaceutical Industry’s (ABPI) Code of Practice.

But while the internal processes of some pharma companies have become very restrictive over the years, the ABPI told us back in April that there was nothing in the code that ruled out working with patients. The trick, they said, was simply to see things from the patients’ point of view.

Insisting on 60- or 90-day expense reimbursement terms, or using complex contracts originally designed for healthcare professionals, for example, are huge barriers to patient involvement.

Berkeley explained how his company had attempted to overcome these hurdles.

“We’ve worked to simplify the compliance processes and contractual agreements for interactions with patients and patient organisations. This is ongoing but we are making great progress by working closely with our legal and compliance colleagues.”

His advice to other companies planning to boost patient involvement levels is to think big and start early.

“I’d say engage as early as possible with the patient community, but at a strategic rather than individual project level,” he says, adding the patient centricity movement wasn’t going away any time soon.

“In fact, I think it will accelerate as we move towards person-centred, patient-centred healthcare.

“Individuals will become more aware of their health through real-time monitoring with wearables and smartphone apps and become more responsible for their health data and self-management of their condition.”

And as important stakeholders in the healthcare system, industry has a lot to gain from being part of this acceleration – not least engaged, compliant patients who are willing to share insights that could shape successful drug development.

How has your company been working to embed the patient voice into its everyday work? Email george.underwood@pharmaphorum.com to take part in pharmaphorum’s Towards Patient Centricity series.

The post Towards patient centricity: Pfizer appeared first on Pharmaphorum.

from Pharmaphorum https://pharmaphorum.com/views-and-analysis/towards-patient-centricity-pfizer/

[nightmare-afton-cosplay]

Terrific Twofer! Buy 2 Architectural Masterpieces for the Price of 1

realtor.com

It’s rare to find an architectural masterpiece available for an accessible price, and rarer still to find two masterpieces on the same lot for one low price.

But it’s a current reality at the hillside property known as the J.J. Mulvihill house, now on the market for $1.59 million.

The property includes a main residence designed by midcentury architect Harwell Hamilton Harris and a design studio built by award-winning regenerative architect John T. Lyle.

The terrific twofer is nestled in the foothills of the San Gabriel Mountains just outside of Pasadena, CA, in a quiet community called Sierra Madre.

How quiet is it? “It’s up in the hills, quiet, serene, where you can enjoy the beauty surrounding you, and even make friends with your bear neighbors,” says Matthew Berkley of Deasy/Penner & Partners, who is co-listing the property with Judy Webb-Martin of Podley Properties.

Yes, he said bear neighbors.

Homeowner Harriett Lyle, the widow of the aforementioned John T. Lyle, frequently observes bears in the yard, drinking from the koi pond, but oddly enough, not eating the fish. The bears leave the premises with little more than a stern command, she reports.

The J.J. Mulvihill residence in Sierra Madre

realtor.com

Koi pond

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Harris, who worked for and was mentored by Richard Neutra, created the main house in 1949.

Real estate agent Barbara Lamprecht, who’s also a writer and teacher in architectural history, described it as “an ocean liner poised on a promontory … a powerful horizontal form against its mountainous backdrop. Its prow of glass, grey-green painted redwood, and red brick sails into space high above its hillside landscape and the unending carpet known as greater Los Angeles.”

The back of the home

realtor.com

The 2,002-square-foot, three-level main residence has three bedrooms and four baths. Original features include wood-beamed ceilings, brick fireplaces, built-in book cases and shelving, and walls of glass to take in the views.

Living room

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Bedroom

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Dining area

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It also features what could be considered one of the original indoor-outdoor “California rooms,” which Harris dubbed a “summer living room.”

The room is sheltered on top, but is open to breezes on two sides. It has a concrete floor and brick fireplace ideal for entertaining guests al fresco. Above it is an enclosed living room intended for use in the winter.

“Summer living room”

realtor.com

The building designed by Lyle in 1986 is located to the side of the house and oriented with the windows facing south into the oak woodland. It was last used as an architect’s design studio, but would be ideal for a painter, sculptor, musician, or guest. It has a bathroom and a bedroom.

Studio or guesthouse

realtor.com

Upstairs bedroom

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Lyle also designed the award-winning landscaping, adding paths that call to mind a river winding its way downhill, and native plants and trees. The gnarled Engelmann oak was already there.

Regenerative landscaping

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Little is known about original owner J.J. Mulvihill, but Harris, who died in 1990, was known for his work assimilating European and American design influences. After working for Neutra, the architect started his own practice, and served as the dean for the School of Architecture of the University of Texas and a professor at North Carolina State University.

Lyle, who died in 1998, was a professor and designer of landscape architecture at Cal Poly Pomona. He was known for his regenerative style, and the Lyle Center for Regenerative Studies at Cal Poly Pomona is named after him.

If this double dip interests you, you’ll have to act fast. According to Berkley, the property has been shown multiple times a day since it went on the market earlier this month.

The seller is “very concerned about maintaining the legacy of the property,” he adds. Ideally, the new owner will be “someone who will want the property because of what it is.”

The post Terrific Twofer! Buy 2 Architectural Masterpieces for the Price of 1 appeared first on Real Estate News & Insights | realtor.com®.

from https://www.realtor.com/news/unique-homes/two-architectural-masterpieces-for-the-price-of-one/

[atomicjellyfishdelusion]

Atomic Magnetometers   Market to Register Stable Expansion During (2017-2026)

According to Stratistics MRC, the Global Atomic Magnetometers Market is growing at a CAGR of 6.9% from 2017 to 2026. Some of the key factors influencing the market growth are high sensitivity to weak magnetic fields, low initial cost, low maintenance cost. However, design issues faced by engineers and necessity to heat sensor vapor cell before operation may hamper the market growth.

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Atomic magnetometers are the devices, which are used for high sensitivity detection of magnetic fields in a large number of applications such as locating unexploded underground structures to detecting biomagnetic fields associated with heart and brain. Atomic magnetometers also enable accurate prediction of studies related to drug delivery for pharmaceutical development. By Product, the Spin-Exchange Relaxation-Free (SERF) Magnetometer segment is growing significantly to during the forecast period due to their high sensitivity per unit volume towards biomagnetic fields. The sensitivity of SERF magnetometers improves upon traditional atomic magnetometers by eliminating the dominant cause of atomic spin decoherence caused by spin-exchange collisions among the alkali metal atoms. By geography, Asia Pacific has the highest market growth during the forecast period attributed to the consumer electronics industry coupled with rapid industrialization in countries including China, Japan, and India. Some of the key players of Atomic Magnetometers Market include Sinclair Research Center, Inc., Lawrence Berkley National Laboratory, Sandia National Laboratories, Varian Associates, Intel Corporation, The Charles Stark Draper Laboratory, Inc., Southwest Sciences, Inc., Lawrence Berkley National Laboratory, Georgia Tech Research Corporation and Singer Company. Products Covered: • Spin-Exchange Relaxation-Free (SERF) Magnetometer • Cold Atomic Magnetometry Channels Covered: • Distributor • Direct Sales End Users Covered: • Biological • Medical • Other End Users Applications Covered: • Magnetic Resonance Imaging • Nuclear Magnetic Resonance Regions Covered: • North America o US o Canada o Mexico • Europe o Germany o UK o Italy o France o Spain o Rest of Europe • Asia Pacific o Japan         o China         o India         o Australia   o New Zealand       o South Korea       o Rest of Asia Pacific     • South America o Argentina o Brazil o Chile o Rest of South America • Middle East & Africa o Saudi Arabia o UAE o Qatar o South Africa o Rest of Middle East & Africa

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[media-and-me]

Capturing The Majesty of Yosemite With ZEISS Batis

There is no greater valley full of spectacles on Earth. Yosemite is a mecca for climbers, adventure seekers and those searching for that Ansel Adams moment.

In 2018 I had the pleasure of traveling across the world to visit one of the most incredible places; Yosemite. Accompanying me on this journey was two great friends; Adam and Ferne, a pair of boots and a backpack full of photography and filming gear.

After using the ZEISS Milvus lenses on a Manfrotto campaign earlier in the year (read the ZEISS article here and the BTS here), using the Batis prime lenses was the next step forward for capturing the landscapes in the Yosemite Valley. At the time, the ZEISS Batis 2/40 was just announced, so I was extremely lucky to have one of the few lenses on the planet with me.

Why ZEISS Batis?

As a Sony mirrorless shooter, using native E-mount lenses is the ideal combination for filming and photography. The quality of the optics is unparalled, combined with ultra-fast auto focus is a winning combination.

ZEISS kindly lent me the 2.8/18, 2/40 and 1.8/85 for this trip, it was my first time using the lenses and the light weight construction gave me confidence as I would be carrying them while hiking and traveling around the valley. Some of those hikes would be over a thousand feet elevation, so keeping the kit compact and light was paramount.

I was shooting with the Sony a7S II and Sony a6500, which gave me a wide range of perspectives and angles of view with the Batis lenses. The 2.8/18 was the widest angle I could shoot, with the 1.8/85 on the a6500 equalling nearly 135mm. This would come to my advantage when shooting the granite monolith Half Dome from Olmsted Point; compressing the landscape.

Filming and Auto Focus

Much of the filming I was doing was static (on the Manfrotto BeFree Live CF) or on the Zhiyun Crane Plus gimbal. Every day I would update the vlog with the a6500 and Batis 2.8/18, some of these were on the go, and the AF kept up with my walking and traversing across the landscapes. Tracking shots were a breeze, locking focus onto subjects that then moving forwards, sideways or orienting around them.

For more tele shots, making use of that 130mm equivalent on the a6500 was impressive. The stabilized sensor in the camera really helped with the micro jitters.

The video is in post, a continuing work in progress.

Ansel Adams. Not Quite

Yosemite Village hosts the Ansel Adams gallery, and after first discovering his photography in a postcard book I picked up years ago, being in Yosemite Valley made me appreciate the history he made in capturing the iconic views like Tunnel View.

The incredible work that Jimmy Chin has captured, not only in Yosemite but across the world also spurred myself to “be in the moment” in this trip. Capturing film and photos was only part of the experience.

We visited Yosemite in October, so much of the melted snow and ice had dissipated. Yosemite Falls were completely dry, and the Mist Trail and Vernal Falls were more of a trickle.

From researching, watching and admiring so many photographers and filmmakers take on Yosemite, it was important for me to have my own take on this. The iconic views or ‘Instagram worthy’ shots went out the window when I was there; the trip needed to mean more than that.

It was the moments spent at camp relaxing, the off track shots, or times when I just pointed the camera and created a memory. The ZEISS Batis lenses allowed me to do just that; pick up the camera and shoot. The magical ZEISS pop was prevalent in a number of the shots that I took, and the flexibility across focal lengths gave me so much choice when shooting.

I felt that the Batis 2/40 gave the ideal angle of view for the landscape shots, as it is so similar to how we see as humans. We were doing a lot of moving, every day a new location, hike or drive, so from wide angles to the glowing sunsets, the AF kept up with that speed which was often point and shoot style.

A lot of the landscape shots were taken with a narrow aperture of F/11 +, but in lower light I was able to open the aperture right up to F/2.8 or wider and still achieve crystal sharp shots.

What has capturing Yosemite meant to me?

As a personal project, standing on top of Taft Point at sunset overlooking the valley and El Capitan has put the scale of the world into perspective. Without the help of ZEISS, and my travel friends Adam and Ferne (who put up with numerous stops along the way and many requests for BTS photos (photo credits to them both respectively)), I couldn’t have captured this adventure.

Thank you.

"Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space."  -- Ansel Adams

Equipment Used

Sony a7S II

Sony a6500

ZEISS Batis 2.8/18, 2/40, 1.8/85

Sigma 18-35

Manfrotto Befree Live CF

Zhiyun Crane Plus

GoPro Fusion (now replaced by the GoPro MAX)

Sennheiser Memory Mic and AMBEO Smart Headset

Manfrotto Off Road Backpack

Peak Design Leash

Interested in traveling to Yosemite?

We flew with BA to San Fransisco and stayed in an AirBnB in Oakland for two nights. The camping kit we hired was from Sports Basement (Berkley), I 100% recommend them for your hires, and the store is incredible.

Our Ford Edge was hired through Hertz, and we travelled over 1000 miles in it.

Our first five nights was spent at Lower Pines Campground, with our sixth night at Upper Pines. We had planned to camp at May Lake but the campground was closed due to weather warnings. Make sure you book 6 months in advance when the booking system opens!

Yosemite Village Store has everything you’ll need for a weeks stay food wise, and there is always great pizza and beer available at Camp Curry (was Half Dome Village).

San Francisco

We also had a number of days in San Francisco before heading home, so of course we saw the sights of Pier 37, Mission and the magnificent Golden Gate Bridge.

Want to learn more?

Please do get in touch if you want to learn more about the trip, the kit, the filming and photography. You can connect with me on Twitter, Instagram and on Facebook. I look forward to it.

For production or commisioning enquiries, visit the contact page to get in touch.

[josephborrello]

Magnitude and Direction, Issue #36 | 28 Jun 2019

Hardware, Prototyping, and Fabrication

↩ This issue's hardware section is a special feature on flexures: moving, mechanical components and devices that are comprised of only one piece. How do you achieve this? By varying material cross-sectional area dramatically from one region to another, thereby creating regions of high compliance. The result are the "8 P's" of flexures and compliant mechanisms: 1. Part count (reduced by having flexible parts instead of springs, hinges) 2. Productions processes (many, new, different enabled by compliant designs) 3. Price (reduced by fewer parts and different production processes) 4. Precise Motion (no backlash, less wear, friction) 5. Performance (no outgassing, doesn't require lubricant) 6. Proportions (reduced through different production processes) 7. Portability (lightweight due to simpler, reduced part count designs) 8. Predictability (devices are reliable over a long period of time) What does that look like, exactly? Check out this video that gives a breakdown of the kinds of things you can do with flexures. Once you've done that, check out this repository of designs for compliant mechanisms, free to download and use (3D printer required for at least some designs). For this week's Moment of Inertia, I'll be talking more about flexures as well as the larger category of materials of which they are a part: mechanical metamaterials - objects of great personal fascination, as well as a crucial component of my PhD research.

Software and Programming

Steven Spielberg is writing a horror series that you can only watch at night - courtesy of the time and location data gathered from your device. Adobe Research and UC Berkley have unveiled a tool that can detect photoshopped faces with 99% accuracy, leveraging the very same kind of machine learning approaches that made the faked faces in the first place. "If GPS stopped working, it would cost the US economy $1 billion a day." Now consider how easily GPS can stop working: you don't even need a cyber attack, human negligence is more than enough.

Science, Engineering, and Biomedicine

⚗ People frequently like to throw around the term "chemical" when they really mean something more like "toxin". On the Mirra skincare blog, M&D regular (and CEO of See Thru) Lisa Guerrera breaks down how we got to this place as a society and how it impacts essentially every vertical of the beauty and wellness industry. ⚗ Turns out Google's been dedicating millions of dollars into cold fusion research over the past several years. As you might guess, the research has only returned negative results (which are still very important!) as well as some promising new materials science developments. (To my readers who aren't in academia, sorry the full article is paywalled. I'm kind of surprised Google wasn't generous enough to pay the extra money for an open access publication.) Did you know that since the early 2000s we've known the average color of the universe? Did you know that it's an incredibly bland color called "Cosmic Latte"? Isn't that a special drink at Dunkin' Donuts right now?? Researchers at Brown University taught a robot to write in Japanese. Then, the robot looked at a bunch of other languages and figured out how to write in those two, all on its own. If you left a modern building in an earthquake zone for over 1000 years, the odds are pretty good that it would collapse at some point due to an earthquake. The Colosseum, while it has been shaken up a few times due to earthquakes during its almost 2000-year life, is doing pretty well as far as buildings in earthquake zones go. This longevity may be due to the way its foundation was constructed, which has acted as a seismic "invisibility cloak", shielding it from the greatest dangers. ☠ From reader Adam Casson of Inscope Medical: Direct to Consumer startups abound these days and, in the pure consumer space, there have been several successes already. The same can't necessarily be said for healthcare. This article from AngelMD breaks down some reasons why.

Mapping, History, and Data Science

Two very interesting articles from The Verge in this edition of M&D about some industry-specific transformations being wrought by tech. The first: the prevalence of music streaming (and the business model that comes with it) is impacting the length of songs (and I don't mean post-recording edits). Up next: Hollywood is starting to turn to AI/ML to help make movie casting and production decisions. Given the many egregious examples of algorithmic bias in the world of contemporary AI, I'm inclined to say this is not a good decision. Check out the oldest recorded footage of a total solar eclipse, captured all the way back in 1900! You might think New York has bad traffic but on TomTom's 2018 congestion report we didn't even make the top 40.

Events and Opportunities

Plenty of NYC's STEM-related meetups and get-togethers are still going strong...

Tuesday, 7/2 NYDesigns holds a special pre-July 4th edition of its Women in Tech after work happy hour. As always, Individuals who identify as female and men are welcome to attend, too.

DUE Monday, 7/8 Apply to The Bridge is a cross-disciplinary, collaborative, virtual residency program run by the SciArt group for artists, scientists, technologists, and creative professionals.

Tuesday, 7/9 The Life Sciences NYC meetup group hosts Michael J. Flanagan, PhD, Executive Director of Genspace for a discussion on community labs and their place in the wider biotech innovation landscape.

Tuesday, 7/9 The New York BioPharma Networking Group (aka NYPBNG) is back and holding their next meetup at Tir Na Nog.

Wednesday, 7/10 A bunch of groups I help run are getting together for Health Tech Connect's next meetup, which is being co-hosted by the Mount Sinai Innovators Group. It promises to be a great evening of networking and brainstorming.

Thursday, 7/11 The Nanotech NYC meetup gathers at Houston Hall for their next social event - always a great place to meet other people interested in or working with nanotechnology, plus a variety of other technical fields.

Some other upcoming events to keep on your radar...

Wednesday, 7/17 The Society for the Advancement of Social Studies has returned after a long hiatus (they were still involved in the Art History Happy Hours at the Brooklyn Museum, to be fair) and is back in a new home and with three great talks about Manhattan-themed history.

Map of the Month

➕➕➡ How many US counties does it take to get one NYC? Find out with this map.

Odds & Ends

MS Paint may be no more, but someone made a javascript app that replicates the interface and experience. I give you JS Paint.

[coolluminaryland-blog1]

Surgical Face Mask Market to Reflect Impressive Growth Rate by 2025

Surgical face masks are worn by health care professionals during surgery or while tending to patients in order to avoid contact with bacteria shed in the form of liquid droplets and aerosols from the mouth and nose or infectious blood and body fluids. Surgical face masks are used as a protective barrier to prevent cross-contamination among patients and surgeons. They are made mostly from non-woven fabric and are available in the two-layer and three- layer form. 

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The layers are ultrasonically welded for efficient bacterial filtration. Bacterial filtration efficiency (BFE) is the effectiveness of the surgical mask material to filter bacteria of a specified particle size. Particle filtration efficiency (PFE) is the effectiveness of a material to filter aerosol particles. Both BFE and PFE are expressed as a percentage of a quantity that does not pass through the material of the surgical mask.

Surgical face masks are used in operation theatres and every area of health care that requires patient inspection. Rise in awareness regarding airborne infections has led to an increase in usage of surgical face masks in not only large health care facilities but also smaller ones across the world. The usage of surgical face masks has increased among the general public owing to the rise in outbreaks of airborne diseases in recent times. The inevitable use of surgical face masks and lower threat of their substitutes are expected to propel the global surgical face masks market during the forecast period. However, surgical face masks do not protect the wearer from inhaling airborne bacteria or viruses and are less effective than respirators. Respirators provide better protection than surgical face masks due to their design and tight sealing over the face. Substitution by respirators is estimated to restrain the global surgical face mask market during the forecast period.

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The global surgical face mask market can be segmented based on distribution channel, end- user, and region. Healthcare professionals or the general public are the end users of surgical face masks. Surgical face masks are widely available through all distribution channels, and owing to the rise in number of outbreaks, the usage of surgical masks is expected to increase considerably in the near future. In terms of distribution channel, the global surgical face mask market can be segregated into independent pharmacies, online sales, hospital pharmacies, retail stores, and others.

Based on region, the global surgical face mask market can be segmented into North America, Europe, Asia Pacific, Latin America, and Middle East & Africa. North America, Europe, and Asia Pacific accounted for more than half the share of the global surgical face mask market in 2016. Asia Pacific is expected to account for a prominent share of the market in terms of volume during the forecast period, due to higher population, large number of airborne diseases, and awareness regarding postoperative surgical site infections in the region. 

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The surgical face mask market in Latin America and Middle East & Africa is anticipated to expand at a significant pace during the forecast period. Due to rise in requirement for cutting down health care costs, several health care professionals have begun to evaluate traditional methods of infection control, the prominent one of them being the usage of surgical face masks.

The global surgical face mask market is fragmented, with several local players holding potentially stronger positions in different regions. Key players in the surgical face mask market include DYNAREX, Henry Schein, Inc., 3M, Cardinal Health, Mölnlycke Health Care, Fisher Scientific, Medline Industries, Inc., Berkley Surgical Company, Halyard Health, Inc., Sterimed, CREATIVE CONTRACT (M) SDN BHD, and Key Surgical.

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Transparency Market Research (TMR) is a U.S.-based provider of syndicated research, customized research, and consulting services. TMR’s global and regional market intelligence coverage includes industries such as pharmaceutical, chemicals and materials, technology and media, food and beverages, and consumer goods, among others. Each TMR research report provides clients with a 360-degree view of the market with statistical forecasts, competitive landscape, detailed segmentation, key trends, and strategic recommendations.

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Terrific Twofer! Buy 2 Architectural Masterpieces for the Price of 1

realtor.com

It’s rare to find an architectural masterpiece available for an accessible price, and rarer still to find two masterpieces on the same lot for one low price.

But it’s a current reality at the hillside property known as the J.J. Mulvihill house, now on the market for $1.59 million.

The property includes a main residence designed by midcentury architect Harwell Hamilton Harris and a design studio built by award-winning regenerative architect John T. Lyle.

The terrific twofer is nestled in the foothills of the San Gabriel Mountains just outside of Pasadena, CA, in a quiet community called Sierra Madre.

How quiet is it? “It’s up in the hills, quiet, serene, where you can enjoy the beauty surrounding you, and even make friends with your bear neighbors,” says Matthew Berkley of Deasy/Penner & Partners, who is co-listing the property with Judy Webb-Martin of Podley Properties.

Yes, he said bear neighbors.

Homeowner Harriett Lyle, the widow of the aforementioned John T. Lyle, frequently observes bears in the yard, drinking from the koi pond, but oddly enough, not eating the fish. The bears leave the premises with little more than a stern command, she reports.

The J.J. Mulvihill residence in Sierra Madre

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Koi pond

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Harris, who worked for and was mentored by Richard Neutra, created the main house in 1949.

Real estate agent Barbara Lamprecht, who’s also a writer and teacher in architectural history, described it as “an ocean liner poised on a promontory … a powerful horizontal form against its mountainous backdrop. Its prow of glass, grey-green painted redwood, and red brick sails into space high above its hillside landscape and the unending carpet known as greater Los Angeles.”

The back of the home

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The 2,002-square-foot, three-level main residence has three bedrooms and four baths. Original features include wood-beamed ceilings, brick fireplaces, built-in book cases and shelving, and walls of glass to take in the views.

Living room

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Bedroom

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Dining area

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It also features what could be considered one of the original indoor-outdoor “California rooms,” which Harris dubbed a “summer living room.”

The room is sheltered on top, but is open to breezes on two sides. It has a concrete floor and brick fireplace ideal for entertaining guests al fresco. Above it is an enclosed living room intended for use in the winter.

“Summer living room”

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The building designed by Lyle in 1986 is located to the side of the house and oriented with the windows facing south into the oak woodland. It was last used as an architect’s design studio, but would be ideal for a painter, sculptor, musician, or guest. It has a bathroom and a bedroom.

Studio or guesthouse

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Upstairs bedroom

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Lyle also designed the award-winning landscaping, adding paths that call to mind a river winding its way downhill, and native plants and trees. The gnarled Engelmann oak was already there.

Regenerative landscaping

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Little is known about original owner J.J. Mulvihill, but Harris, who died in 1990, was known for his work assimilating European and American design influences. After working for Neutra, the architect started his own practice, and served as the dean for the School of Architecture of the University of Texas and a professor at North Carolina State University.

Lyle, who died in 1998, was a professor and designer of landscape architecture at Cal Poly Pomona. He was known for his regenerative style, and the Lyle Center for Regenerative Studies at Cal Poly Pomona is named after him.

If this double dip interests you, you’ll have to act fast. According to Berkley, the property has been shown multiple times a day since it went on the market earlier this month.

The seller is “very concerned about maintaining the legacy of the property,” he adds. Ideally, the new owner will be “someone who will want the property because of what it is.”

The post Terrific Twofer! Buy 2 Architectural Masterpieces for the Price of 1 appeared first on Real Estate News & Insights | realtor.com®.

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Story Of A Landscape: Dallas Museum Of Art Entrance Plaza Gets Renovation

When the Dallas Museum of Art unveiled its renovated north entrance in the spring of 2016, many dubbed it one of the hottest spots in this sizzling community.

For Southern Botanical, Inc., its role in bringing the entrance and newly rechristened Eagle Family Plaza to fruition was simply one more opportunity to shine, as the landscape contractor earned a Silver Award for Commercial Installation over $100,000 from the Texas Nursery and Landscape Association.

Photo: Southern Botanical, Inc.

The expanded plaza, funded by donations from Jennifer and John Eagle and the estate of Nancy B. Hamon, smooths out the flow of both pedestrian and vehicle traffic and opens the museum’s café to the exterior, expands seating and dining options and provides space for an outdoor food pavilion.

Additionally, the renovation features an expansive new lawn area at the north entrance which includes an outdoor exhibition space.

Photo: Southern Botanical, Inc.

Although Southern Botanical had done previous work for both the museum and the Eagles, Jason Craven, the company’s president, says it earned the right to do perform the work as part of an involved bid process through the general contractor, Byrne Construction Services of Fort Worth, Texas.

“We were honored to be chosen to execute the work,” he says.

Photo: Southern Botanical, Inc.

The design for the renovation is a collaboration between two Dallas-based firms, Hocker Design Group and Studio Outside, and the Eagle family. However, Craven says there’s no question they expected top quality in the specimen materials used, as well as craftsmanship in the installation.

To make sure its products were up to standard, Craven adds that his crew tagged every tree and sought the landscape architects’ approval on every piece of material installed.

Photo: Southern Botanical, Inc.

The plant palette included 10-inch caliper cedar elms in 72-inch boxes and eight-foot saucer magnolias, as well as limelight hydrangea and dwarf palmetto palms, with Berkley sedge as the ground cover. The company also installed approximately 7,500 square feet of turf.

“We were working many late nights and weekends,” Craven says. “Still, we had daily walk-throughs with the landscape architects, the contractor and the museum’s representative to make sure quality standards were met.”

Photo: Southern Botanical, Inc.

However, he says this isn’t out of the ordinary on projects the company installs, so it was easily handled by the Southern Botanical team, which varied in size from 10-40 people during the project.

Along with the emphasis on quality, Craven says the site remained open to museum-goers during the construction, requiring a focus on safety and the overall appearance of the job site.

Photo: Southern Botanical, Inc.

“We kept flaggers occupied to control traffic, and we kept the site very clean during installation,” he says.

As if that wouldn’t be challenging enough for the company, Craven says the job had some other aspects that made it memorable. One run-of-the-mill facet regarded timing of the project. As with so many other large projects, the landscape contractor was among the last to get on the site, leaving Southern Botanical approximately 90 days before the grand opening.

Photo: Southern Botanical, Inc.

“The project had a very hard deadline by which it had to be completed,” he says. “Our window to install the landscape was very tight, but we have a fantastic team and we were able to complete the project within that window.”

Still another issue tied to the location of the job: the expansive new lawn area includes an outdoor exhibition space at the north entrance. A specially commissioned work for the space entitled “Pas de Deux” or “Plaza Monument” is a 14-foot tall sculpture by Rebecca Warren. The piece is her first work to be commissioned by a U.S. museum and is very site-specific.

Photo: Southern Botanical, Inc.

“We had to install around some very high-end hardscape (both Indiana limestone and colored and sandblasted concrete), as well as the artwork,” says Craven. “We had to take great care to protect those assets.”

However, he says the biggest challenge for his crew was a green gabion wall planted with purple winter creeper. Not only is it the first such wall Southern Botanical has ever installed, but adding to the difficulty was an unanticipated electrical duct bank buried at the site of the installation which had to be engineered around.

Photo: Southern Botanical, Inc.

“The gabions are essentially large wire baskets filled with large rock, soil bags and drip irrigation,” Craven explains. “Installing them at the perfect angle, keeping them perfectly level and keeping crisp edges while lacing in the drip system and not having leaks was a challenge. Fortunately, our crew quickly got the hang of it.”

The gabion wall certainly provided Craven and his crew with a learning experience, as well.

Photo: Southern Botanical, Inc.

“With special projects such as the gabion wall, we learned that looking for unknown underground obstacles early on is key,” he says.

Even with that little blip, Craven is justifiably proud of the project, which came in on time and on budget and brought the company an on-going maintenance contract, as well.

“Completing the project named for our long-term client was one of the best aspects of the job,” he concludes. “We’re also proud that this is a public space that everyone gets to enjoy. Every day, buses full of school children are welcomed to the museum through the Eagle Family Plaza.”

Photo: Southern Botanical, Inc.

The post Story Of A Landscape: Dallas Museum Of Art Entrance Plaza Gets Renovation appeared first on Turf.

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Peter Walker Partners

We had the opportunity to speak with Monica and Eustacia with Peter Walker Partners. Monica has a background as a graphic designer and Eustacia in Hollywood set design for movies. They explained to us that PWP only has one office located in Berkley. Monica explained that this allows everyone to work side-by-side. There are 25-30 Landscape Architects alone and there will be 10-25 projects with 7-10 being “truly active.” They primarily work with high profile and global projects including the 9/11 Memorial, Constitution Garden and Barangaroo Reserve. They have also designed several college campus renovations, as well. Monica explained that the scale of projects sets PWP apart from other firms 

The Barangaroo Reserve project took seven years to complete and forty-six trips for Peter Walker alone before the reserve was finished. It was designed in a way that tells the Aboriginal story and recreates the historical headland that used to be there. Eustacia stated that there will be an estimated three hundred events a year in the space. 

Both Monica and Eustacia shared with us their thoughts on the selection process and presenting projects. They explained that it is rare to get asked to design a project and that competitions are becoming the norm.  Monica shared that firms can spend a lot of money and time on projects that may never get built and that PWP wants to build relationships with customers and potential customers to help avoid competitions. She went on to explain that the probability of a competition paying off is around one percent. Eustacia also stated that we should not take an initial “No” lying down. While on this topic both ladies shared with us that when looking for a job or internship that a really passionate/articulate cover letter can make a great impression. Also, when putting a portfolio together to always start with your best projects and include interests & activities.