"One day, after getting overwhelmed by the negativity of Hostile Architecture, I started a subreddit to collect all of the good things," Honor says. "I posted a picture of a picnic table designed with an overhang on one side, made to accommodate a person in a wheelchair. The table encourages everyone to sit together. It doesn't stop behaviors, it starts them."

"Slowly people found the sub from my posts as a mod on Hostile Architecture. I think that other people needed a chaser after seeing some of the awful, mean design in the world. I separated the posts into categories of thought and catalogued things that are accessible, social, promote sharing and coexisting with nature, provide shelter, food/water, rest, information, sanitation, or are about saving lives. I also included architecture for Pure Fun."

"It's been amazing seeing it grow and seeing others bring in Friendly Architecture from their world into the sub," Honor told Bored Panda. "It can be hard to find Friendly Architecture, but when I do, I feel so good about the world."

More:
50 Times Architects Outdid Themselves And Came Up With Something So Thoughtful That It Could Only Be Labeled As 'Friendly Architecture' - Bored Panda

Nestled like a red question mark in the hills of rural Japan, the Kamikatsu Zero Waste Centre is a recycling facility like no other. A chunky frame of unprocessed cedar logs from the nearby forest supports a long snaking canopy, sheltering walls made of a patchwork quilt of 700 old windows and doors, reclaimed from buildings in the village. Inside, rows of shiitake mushroom crates donated by a local farm serve as shelving units, while the floors are covered with cast terrazzo made from broken pottery, waste floor tiles and bits of recycled glass, forming a polished nougat of trash.

It is a fitting form for what is something of a temple to recycling. In 2003, Kamikatsu became the first place in Japan to pass a zero-waste declaration, after the municipality was forced to close its polluting waste incinerator. Since then, the remote village (with a population of 1,500, one hours drive from the nearest city) has become an unlikely leader in the battle against landfill and incineration. Residents now sort their rubbish into 45 different categories separating white paper from newspapers, aluminium coated paper from cardboard tubes and bottles from their caps leading to a recycling rate of 80%, compared with Japans national average of 20%. Villagers typically visit the centre once or twice a week, which has been designed with public spaces and meeting rooms, making it a social hub for the dispersed town. It even has its own recycling-themed boutique hotel attached, called WHY which might well be your first response when someone suggests staying next to a trash depot.

The question mark shape can be perceived only from high up in the sky, says the buildings architect, Hiroshi Nakamura. But we instil our hope that this town questions our lifestyles anew on a global scale and that out-of-town visitors will start to question aspects of their lifestyles after returning home.

The project is one of many such poetic places featured in Building for Change, a new book about the architecture of creative reuse. Written by the architect and teacher Ruth Lang, it takes in a global sweep of recent projects that make the most of what is already there, whether breathing life into outmoded structures, creating new buildings from salvaged components or designing with eventual dismantling in mind. The timing couldnt be more urgent. As Lang notes, 80% of the buildings projected to exist in 2050, the year of the UNs net zero carbon emissions target, have already been built. The critical onus on architects and developers, therefore, is to retrofit, reuse and reimagine our existing building stock, making use of the embodied carbon that has already been expended, rather than contributing to escalating emissions with further demolition and new construction.

While the urgency of the issue has been occupying the industry for some time the Architects Journal leading the way with its RetroFirst campaign the topic recently made national headlines when Michael Gove, then communities secretary, ordered a public inquiry into the proposed demolition of the 1929 Marks & Spencer flagship store on Oxford Street. Whereas heritage conservation would once have been the primary reason to retain such a building, the conservation of the planet has now taken centre stage. Campaigners argue the development proposals would release 40,000 tonnes of CO2 into the atmosphere, whereas a low-carbon deep retrofit is eminently possible instead. They point to examples such as the former Debenhams in Manchester, a 1930s building which is being refurbished and extended. To put the scale of the emissions in context, Westminster city council is currently spending 13m to retrofit all of its buildings, to save 1,700 tonnes of carbon every year; the M&S demolition proposal alone would effectively undo 23 years of the councils carbon savings.

The retailers bosses might do well to thumb through Langs book for some inspiration, and see how creative reuse is not just crucial for the planet, but can be even more alluring than the promise of a shiny new-build. Along with office and retail refurbs, the projects include a rusting steel factory in Shanghai reborn as a striking exhibition centre, a water tower in Norfolk that was cleverly converted into a panoramic house in the clouds, and a childrens community centre in a converted warehouse, complete with a vertiginous new landscape that ripples its way around the building.

The strategies on show range from the ad-hoc to the forensically planned. One German architect, Arno Brandlhuber, invited friends to bash out holes in the concrete walls of a former underwear factory near Potsdam using a sledgehammer, to create the windows of his gritty new weekend home wherever they saw fit. In Barcelona, meanwhile, architects Flores & Prats spent three months meticulously cataloguing every single door frame, mosaic tile and wall moulding of a 1920s workers co-operative, creating an inventory of components to reuse in their conversion of the building into a theatre. The duo compare their process to altering secondhand clothes: You have to unstitch and so recognise the pattern used before, cut on one side to add on another, they write. We may have to sew some pockets, and so on, until the garment responds and identifies with the new user. It is an exercise, they add, that requires confidence and time until you get to feel it as your own.

The resulting Sala Beckett is a spellbinding place, encrusted with the traces of its previous lives, creating a series of richly layered spaces that would have been impossible to make from scratch. It brims with one of retrofits chief free gifts, which so many new buildings struggle to conjure: character. Over the years, the co-op had hosted shops, a cafe, cinema and gym, and echoes of these functions are kept on in a kind of bricolage of fragments.

The 44 doors and 35 windows retrieved from the project were carefully restored, repainted and relocated to different rooms, arranged in enlarged openings and in new combinations, as if choreographed in a dance around the new building, Lang writes. The architects term their approach situational architecture, allowing the space to surprise and guide its development, suggesting alternative uses and evolving into its new form. While other architects had proposed to demolish the building and start afresh, Flores & Prats saw the social value in retaining the structure, beyond the environmental benefits alone. You inherit it, Ricard Flores said in an interview, you use it because you like what you see and you think there is a treasure there. And not only as regards the material qualities. The social inheritance was as important as the physical inheritance.

Similar principles guide the approach of French couple Lacaton & Vassal, the Pritzker prize-winning architects who work under the rallying cry: Never demolish, never remove or replace, always add, transform, and reuse! Their rehabilitation of postwar housing blocks in Paris and Bordeaux has set a new bar for low-energy retrofit, improving the thermal performance of the buildings while, crucially, allowing the existing residents to live there while the works are carried out.

From social housing to art centres, the pair always begin with a fastidious assessment of the existing fabric, asking how it could be improved with the bare minimum of resources. In the early 00s, when the French state was allocating 167,000 for the demolition and rebuilding of each apartment, they argued that it was possible to redesign, expand and upgrade three flats of the same size for that amount. They proved it, working with Frdric Druot to transform the 1960s Tour Bois-le-Prtre, by removing the old precast concrete cladding and wrapping the flats in a three-metre-deep layer of winter gardens, providing additional amenity space and a thermal buffer to the living spaces. As Anne Lacaton puts it: Demolishing is a decision of easiness and short-term. It is a waste of many things a waste of energy, a waste of material and a waste of history. Moreover, it has a very negative social impact. For us, it is an act of violence.

It is a light-touch philosophy that can also be found in the work of London studio DK-CM, particularly in their masterplan for Harrow Arts Centre, set in a Victorian school campus, which features in the book. Rather than decant the existing uses into temporary structures at vast expense, to enable the creation of new arts facilities, the architects carefully reorchestrated the site and developed a phased approach over six years. Architectural decisions were made according to how they would reduce overheads and minimise the environmental impact of construction and future maintenance, with a programme of strategic repairs and lightweight insertions a design process with more in common with surgery than construction, says Lang.

The momentum for retention and reuse is catching on. No longer perceived as the last resort of economic necessity or a fringe eco-pursuit, refurbishment has become the desirable choice for progressive clients. This month, the London School of Economics unveiled the winner of its latest international competition, for a 120m last set piece addition to its campus. After a recent run of building gargantuan brick, glass, steel and concrete behemoths, designed by a roster of star architects, the LSE appointed David Chipperfield precisely because he proposed to keep as much of the sites existing 1902 building as possible. Retention should be seen not as an obligation, said Chipperfield, but as a commitment to a more resourceful and responsible approach to our future, based on intelligent use of existing material and cultural capital. Will M&S take note, and reconsider its carbon-hungry plans?

See the rest here:
Demolition is an act of violence: the architects reworking buildings instead of tearing them down - The Guardian

Aug. 18Warren C. Heylman was sure of his path in life, even as a kid growing up near Cliff Park's peak on the South Hill.

"I just wanted to draw," Heylman told The Spokesman-Review in 2016. "Ever since I was a little boy, that's all I wanted to do."

From that pencil came the designs for iconic structures of Spokane's skyline. The Parkade parking structure, the Riverfalls Tower on downtown's west end and the Burlington Northern rail bridge over Hangman Creek all owe their design to Heylman.

Heylman, a bow tie-wearing architect who went from designing Frank Lloyd Wright-inspired homes on the South Hill to massive public projects and affordable housing during the boom years of Spokane architecture, died Aug. 10. He was 98.

His career in Spokane coincided with a group of new, young architects that arrived in the post-World War II years and reshaped the look of the city, said Aaron Bragg, a copywriter who helped curate a Northwest Museum of Arts and Culture exhibit on the city's architecture during that time.

"There's a handful of architects who you can say truly shaped the city's landscape," Bragg said. "You can't imagine it without Warren Heylman's stamp on it."

Born Sept. 23, 1923, Heylman was the son of Jane and Harry Heylman. His father owned a Packard dealership he'd started after returning from World War I.

Warren Heylman went on to serve in World War II, and again in the Korean War, in the U.S. Navy after graduating from Lewis and Clark High School, where he ran track. That love of running lasted all his life and prompted him to compete in 40 consecutive Bloomsday races, said his daughter, Ann Martin.

"He ran the very first, up until he was 90 years old," Martin said. "He was very proud of that."

Always drawing plans, Heylman incorporated the features of the ships he was stationed on in the Navy into the design for the home he built for himself and his family in western Spokane, with windows intended to mimic portholes.

He opened his own one-man firm in 1952, placing ads in the newspaper that got him work designing homes. His early work showed the influence of Wright, the prolific American architect who pioneered open floor plans and efficient building methods, said Glenn Davis, a local architect and architectural historian who worked with Heylman briefly in the early 1990s.

"He was a very cost-conscious architect," Davis said. "Architects like Warren, and some of his fellow architects from that period, I think they were dealing with how to come up with aesthetics that dealt with lower construction costs, and a different attitude toward labor."

Some of those early homes still stand; others have been swept away by development and progress. One of Davis' favorites of Heylman's early homes was one built for the architect's childhood friend, John G.F. Hieber, in 1953. It was bought by a developer in 2012 who later demolished the house after trying to renovate it.

Among Heylman's first public projects were the Liberty Lake Golf Course clubhouse built in 1959, with its signature sloping roof. That design feature would also find its way into the plans for the Spokane International Airport, a collaboration with fellow architect William H. Trogdon.

"I think the plan does something important," Heylman told the Spokane Daily Chronicle in May 1965. "It brings passengers closer to the airplanes."

Later, architect Bob Wills who worked for Heylman for 19 years during a period that included work for Expo '74 would be tasked with updating that airport, expanding ticketing and baggage areas as travelers continued to flock to the Inland Northwest.

"We simply replicated the original design," Wills said of those expansions. "You couldn't do any better than that."

The airport opened in 1965. Within two years, Heylman saw perhaps his most iconic structure, the downtown Parkade parking garage, built to accommodate the legion of shoppers and downtown commuters Spokane boosters hoped to attract.

Heylman said he visited parking structures in 20 cities before designing the Parkade, with its signature sign proclaiming open stalls 10 stories above Spokane's downtown. His partner in the project was Hieber, who was doing his own work renovating the downtown Bennett Block.

"It also will be a beacon for motorists," Heylman said of the central tower in the Parkade, upon its opening in March 1967, "and serve as a landmark for drivers seeking parking space."

Heylman later opened an office on the ground floor of the Parkade, where he practiced architecture along with his daughter, Martin, for 35 years. The family also ran together downtown, in Bloomsdays and during work days.

Dennis Hession, the former mayor of Spokane, met Heylman through Martin.

"He was very much a visible figure," Hession said. "You would run into him, downtown. He was always around."

During the 1960s, 1970s and 1980s, Heylman continued to receive recognition for his work from the American Institute of Architects, and was elected president of the Spokane chapter of the group in 1982.

Hession said Heylman was a man driven by principles, and that could be seen in his design work especially the lukewarm reception to the offices of what was then the Spokane County Health District, today the Spokane Regional Health District.

Heylman, in 2016, defended the work as "one of the best things I've done." But others disagreed.

Wills was part of the original drafting team that put together plans for the four-story, $5 million (in 1976 dollars) building. He built a scale model of the building in an effort, he said, to convince Heylman to reconsider the design. They even drove to Browne's Addition and put the model on the hood of a car, to simulate what the finished product would look like on the north bank of the Spokane River, Wills said.

"It totally backfired," Wills said.

Heylman stuck to his design, and in the ensuing years several regional architects, both identified and anonymous, publicly criticized the building's design.

"People have a reaction to his work, even if they don't know who did it," Bragg said. "You can't not have a reaction to a Heylman design."

"It's part of his strong personality, but it's also about conviction, the confidence in yourself as a designer," Hession said.

That confidence led Heylman to offer his advice, even when unsolicited. In the early 1970s, he wrote to Burlington Northern Railroad to criticize its plans for a rail bridge over Hangman Creek to replace their downtown line displaced by the world's fair. Heylman's simpler design was eventually built.

Heylman was also responsible for more than 1,000 units of affordable housing for the elderly throughout the region. His work includes the O'Malley Apartments near Gonzaga University.

He spent the final years of his life at Riverfalls, the modern apartment tower he designed overlooking Peaceful Valley that opened in 1973. He lived there with his wife, Kathryn, whom he called "Zeek." Kathryn Heylman died in March.

"My dad's world was centered on my mom," Martin said, adding that Kathryn Heylman sewed all his bow ties.

In November, Riverfalls became the first of Heylman's properties in Spokane to be listed on the Spokane Register of Historic Places. Buildings are not generally considered for inclusion on the list until they're at least 50 years old, said Megan Duvall, historic preservation officer for the city and county.

"I anticipate that we will see other Heylman buildings considered for the Register in the future," Duvall wrote in an email.

Martin's favorite building of her father's also has the distinction of being on the national register of historic places. It's another of his early works, the Colfax branch of the Whitman County Library, finished in 1960.

"It stands today as originally designed in the late '50s and early '60s," Martin said. "Prime example of Warren Heylman."

The family is planning a private graveside service. A celebration of life this fall has not been planned.

(c)2022 The Spokesman-Review (Spokane, Wash.)

Visit The Spokesman-Review (Spokane, Wash.) at http://www.spokesman.com

Distributed by Tribune Content Agency, LLC.

Read more from the original source:
Warren Heylman, architect behind Parkade, airport and other iconic Spokane designs, dies at 98 - Yakima Herald-Republic

Architects of Archinect, is there an open architecture knowledge database? | Forum | Archinect '); }, imageUploadError: function(json, xhr) { alert(json.message); } }}); /*$(el).ckeditor(function() {}, {//removePlugins: 'elementspath,scayt,menubutton,contextmenu',removePlugins: 'liststyle,tabletools,contextmenu',//plugins:'a11yhelp,basicstyles,bidi,blockquote,button,clipboard,colorbutton,colordialog,dialogadvtab,div,enterkey,entities,filebrowser,find,flash,font,format,forms,horizontalrule,htmldataprocessor,iframe,image,indent,justify,keystrokes,link,list,maximize,newpage,pagebreak,pastefromword,pastetext,popup,preview,print,removeformat,resize,save,smiley,showblocks,showborders,sourcearea,stylescombo,table,specialchar,tab,templates,toolbar,undo,wysiwygarea,wsc,vimeo,youtube',//toolbar: [['Bold', 'Italic', 'BulletedList', 'Link', 'Image', 'Youtube', 'Vimeo' ]],plugins:'a11yhelp,basicstyles,bidi,blockquote,button,clipboard,colorbutton,colordialog,dialogadvtab,div,enterkey,entities,filebrowser,find,flash,font,format,forms,horizontalrule,htmldataprocessor,iframe,image,indent,justify,keystrokes,link,list,maximize,newpage,pagebreak,pastefromword,pastetext,popup,preview,print,removeformat,resize,save,smiley,showblocks,showborders,sourcearea,stylescombo,table,specialchar,tab,templates,toolbar,undo,wysiwygarea,wsc,archinect',toolbar: [['Bold', 'Italic', 'BulletedList','NumberedList', 'Link', 'Image']],resize_dir: 'vertical',resize_enabled: false,//disableObjectResizing: true,forcePasteAsPlainText: true,disableNativeSpellChecker: false,scayt_autoStartup: false,skin: 'v2',height: 300,linkShowAdvancedTab: false,linkShowTargetTab: false,language: 'en',customConfig : '',toolbarCanCollapse: false });*/ }function arc_editor_feature(el) { $(el).redactor({minHeight: 300,pasteBlockTags: ['ul', 'ol', 'li', 'p'],pasteInlineTags: ['strong', 'br', 'b', 'em', 'i'],imageUpload: '/redactor/upload',plugins: ['source', 'imagemanager'],buttons: ['html', 'format', 'bold', 'italic', 'underline', 'lists', 'link', 'image'],formatting: ['p'],formattingAdd: {"figcaption": {title: 'Caption',args: ['p', 'class', 'figcaption', 'toggle']},"subheading": {title: 'Subheading',args: ['h3', 'class', 'subheading', 'toggle']},"pullquote-left": {title: 'Quote Left',args: ['blockquote', 'class', 'pullquote-left', 'toggle']},"pullquote-centered": {title: 'Quote Centered',args: ['blockquote', 'class', 'pullquote-center', 'toggle']},"pullquote-right": {title: 'Quote Right',args: ['blockquote', 'class', 'pullquote-right', 'toggle']},"chat-question": {title: 'Chat Question',args: ['p', 'class', 'chat-question', 'toggle']}, "chat-answer": {title: 'Chat Answer',args: ['p', 'class', 'chat-answer', 'toggle']}, },callbacks:{ imageUpload: function(image, json) { $(image).replaceWith('

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Architects of Archinect, is there an open architecture knowledge database? - Archinect

Expectations of future workloads by architects working in the private housing sector hit their lowest point in more than two years last month as soaring inflation and rising mortgage interest costs take their toll on the market.

Architects now expect no growth in orders for private residential projects over the next three months, according to RIBAs latest Future Trends survey.

Respondents returned an index figure of zero for expectations of future workloads in the sector in July, down five points from Junes survey. Any figure above zero signifies that architects expect workloads to increase over the next three months.

The index for private housing, which in recent years has consistently been the best performing sector covered by the survey, had been in positive territory since June 2020 in the middle of the first covid lockdown.

It comes following the weakest growth in house prices for a year, with values rising by just 0.1% in July. Lloyds, the UKs biggest mortgage lender, forecast in June that house prices will grow just 1.8% this year and fall by 1.4% in 2023.

Burgeoning concerns about the future of the UK economy are now weighing down on clients and architects alike, RIBA said.

Architects, even those with a full order book now, are increasingly concerned about workloads in three to six months.

Inflation continues to push up construction costs, reduce the available funds for client investment, and so limit potential new commissions.

Optimism about workloads for public sector projects also slumped again in Julys survey, dropping by five index points to -6, while the outlook for the community sector fell by two points to -8.

The commercial sector, which has typically had low workload expectations in recent years, edged up by three points to +1.

But optimism in London and the South of England, the largest markets for commercial schemes, fell last month with workload expectations across all sectors in the capital slipping by four points to -6 and by 7 points in the South of England to -3.

The picture was brighter in other regions, with the Midlands and East Anglia returning a figure of +10, the North of England +13 and Wales and the West +15.

Read more:
Architects brace themselves for housing market stagnation | News - Housing Today

A quick search for leading architects in contemporary Ukraine will inevitably bring you to Oleg Drozdov, the principal architect of Drozdov&Partners (formed in 1997) and a co-founder of Kharkiv School of Architecture (KHSA), the first and only private architecture school in Ukraine, in operation since 2017. Both entities were started in Kharkiv, the second biggest city in the country after its capital, Kyiv. In March I talked to the architect about the school and his vision for Ukraine after the war, and this month we discussed the move of his practice and school to Lviv, the intentions behind some of his projects, the current state of Ukrainian architecture, and who are the countrys most influential architects. A portion of our conversation follows a short introduction.

Oleg Drozdov was born in 1966 in Volgodonsk, Russia, less than 250 kilometres east of the Ukrainian border. He studied architecture at Civil Engineering Institute in Kharkiv, and graduated in 1990, following military service in the Russian Far East. Upon his graduation, Drozdov went to Sumy in northeastern Ukraine to practice architecture for two years before leaving for Prague where he attempted to pursue an artistic career as a painter, experimenting with rusted surfaces in a sort of dialogue with nature. He returned to Kharkiv several years later to restart his career as an architect.

In his earlier architectural projects, Drozdov experimented with gesso, playing with two opposing ideas uncompromising contemporaneity and patina of time. These mostly interior design commissions included fashion boutiques and restaurants that were the first in Ukraine to incorporate frameless glazing. These strikingly modern spaces pushed the idea of transparency, openness, and exhibitionism. Eventually, his work transitioned from celebrating new and bright surfaces to what would be more agreeable with the passing of time. He continued to experiment with blurring boundaries between the house and garden, interior and exterior, and finding commonalities between private and public, commercial and public spaces. His current focus is on returning architecture to its essence by underlining buildings' tectonics.

The architect's most well-known projects include VG Horse Club, several commercial centres, and apartment buildings all in Kharkiv as well as houses across Ukraine and Caf Trs in Montreux, Switzerland. Since the Russian invasion, the office collaborated with Lviv studio Replus Bureau and Ponomarenko Bureau from Kharkiv on designing and building 17 shelters within schools and sports facilities, serving at least 15,000 people. The architect's theatre Teatr na Podoli in Kyiv turned Drozdov into a public persona in the country due to a huge amount of discussions about this building's appropriateness in the city's historical heart. It became a certain Rubicon of Ukrainian architecture, attracting intense debates. This engagement of Ukrainian citizens in scrutinising the quality of the built environment will surely be critical in the upcoming massive rebuilding process.

Vladimir Belogolovsky: Before the war, you were based in Kharkiv, the city that you had to flee. Now that you are in Lviv, could you talk about your current situation?

Oleg Drozdov: Both our office and school, moved to Lviv, 1,000 kilometres to the west, within the first week after the war started. We set up the new office and returned to work two weeks later. The school was also operational within weeks. I knew that there were going to be lots of refugees in this part of the country. So, we contacted the mayor's office here about setting up shelters. Parallel to that, we organised fundraising campaigns. Our architects, students, and their parents all volunteered on these projects.

VB: Where are you operating from in Lviv, both your office and the school?

OD: The school initially moved to a rent-free space at the Ukrainian Catholic University here. And now we found a more permanent home at the Lviv Academy of Arts. We are organising fundraisings to get money for renovating these spaces. We will start our much-anticipated school year in September. Already one month after the war started, at least half of our students and professors, moved to Lviv and we started having our classes half online and half in-person. And our office was initially hosted by a local firm, AVR Development. Recently we moved to our own new space, which was rented to us at half market price.

VB: What projects are you currently working on at the office and how many of you are now in Lviv?

OD: We now have 15 people here. Before the war, there were 27 of us. Three people left the country. A few others had to stay with their families in Kharkiv and other cities. And several people took a break due to the incredibly high level of emotional stress these days. And some architects are working remotely.

Among the first projects that we returned to work on were our commissions in Switzerland a city villa and an apartment building. There are also a couple of projects in Dnipro a museum for the municipality and a city art gallery called Dnipro Center for Contemporary Culture or DCCC, a new major cultural hub with public recreation zone and committed to maintaining free access. Then there is an educational campus in the Carpathian Mountains in western Ukraine. And there are co-housing and co-working projects in Lviv and the medical campus in Kharkiv.

In addition to these commercial commissions, we are working on research projects, including reconsidering municipal rental models and collaborating with factories on developing new materials and building types. We explore ideas for using prefabricated concrete panels and other elements in these projects, particularly in those buildings that were damaged during the war. And we explore ideas for utilising materials that come from demolished buildings and how to revive the typical Soviet microraion or micro-district model by increasing density but lowering the number of floors, improving insulation to better reflect climate change, and inserting new public functions.

While we are doing all this work, we put on hold our normal salaries and profits and live and work as a sort of commune. We share apartments, responsibilities, and profits. In short, we dont treat working on our projects as a business.

VB: Anti Patio is your own house. How would you formulate its main concept?

OD: It is a container for living. It is a vessel that contains many incredible plots. It changed my life by letting me live many lives that I could not predict. The first days that I moved there, almost all my time was spent staring at things with my mouth open. I learned so much. I started paying very close attention to every detail in the garden. I should point out that being in every room you are entirely surrounded by the garden and the views that go on for many kilometres. So, the house is like an endless plot or film. It is open to a very fulfilling experience. Many of my friends were provoked by the house as far as their change of behaviour or mood. This place keeps accumulating many important meetings and conversations that took place there. And it is a whole other world for my friends' children.

VB: And what can you say about your Horse Club?

OD: There we wanted to marry the vernacular architecture and the industrial architecture. The projects tight budget led to the idea of a very unusual faade. This was our second project for this client, after designing his villa. Thats how we knew that he owned a forest where he had been collecting fallen trees. So, I asked if we could utilise them as a display of trunks at the buildings front. This forest is very decorative, and the client protects it dearly. The challenge was to use these elements not as dcor but as an integral part of the construction. So, these trunks, in fact, carry the weight of the front wall, although their mere presence evokes the classical order of architecture with certain Post-Modernist connotations. But for me whats important is that it tells a story. This story is about integrating the material and the legacy of the site and making it a part of the new project and how old materials are used in new ways.

The other interesting particularity about this project is that it is all designed around the physiology of the horse because just about every dimension door openings, corridor widths, temperature mode, ventilation, pavement materials, not to mention such details as washing and massage equipment everything is catered to these wonderful animals.

VB: I would like you to elaborate on some of your quotes. The first one: To be, not seem to be.

OD: To that, I would add to live, not to own. This means that whats important is not to own a representation of something but to enjoy life itself. Architecture should help us do that in the most direct and provoking ways, not just package our dreams in fancy materials. I like when architecture is not merely a space for the accumulation of stuff but a tool to learn and enjoy life. I try to separate the essence from mere make-up.

VB: I dont see any boundaries between Artist, architecture, art, and life.

OD: It is true. I see the world both as an artist and an architect. Of course, there are works of architecture that have nothing to do with art. [Laughs.]

VB: We want to change our cities for the better.

OD: This slogan is key for our school. The idea of the school is to form a community with common values and the need for honest and deep discourses, and it is the community that will form our cities. Our cities cannot change simply by adding singular, even good-looking buildings. We all must be agents of change.

VB: Architecture must declare its position to the environment, place, and time. Buildings evoking grandiose funerals of the construction materials are to be avoided.

OD: It is all about creating buildings responsibly. And I think some of the most celebrated buildings with their dubious experimentality from the late 1990s and early 2000s are now incredibly outdated. While some earlier projects, such as those by Marcel Breuer, only become more relevant. I think he has become the most contemporary architect whose buildings are about eternity, proximity to nature, performance, depth, and tectonics qualities that contemporary architecture has lost.

VB: Even though the war is still in a very active phase, architects are already discussing the future of the countrys reconstruction. Some foreign architects rushed to take part in the rebuilding efforts. Any thoughts on that?

OD: As we progress in this process it is important for us, not simply to transition from being a colonial state under Russia to becoming another colonial state of the West. I was one of the initiators of the Ro3kvit urban coalition, which engaged in a collaboration with western specialists in three areas: research, education, and public programs. Any progress must be done collaboratively with local authorities, the population, and, of course, local architects. These relations should be established before any architectural objects will be designed. Already we established our ongoing conversations with local municipalities, community activists, and foreign architects as consultants. The situation presents a chance for Ukraine to accumulate huge global knowledge about the most successful urban projects and integrate it into our context. New projects should not fall from the sky drawn up by an established foreign architect.

VB: Is there such a notion as contemporary Ukrainian architecture?

OD: Our architecture is going through a unique transformation. I am particularly interested in the work that started after 2014, the year the war between Russia and Ukraine first broke out. In the last three years, I have been serving as the Mies van der Rohe Award expert, nominating buildings in Ukraine. 2014 brought a certain agenda that has been forming architecture. Before that, it was entirely driven by consumption and profits. Since 2014, there is a new community awareness and a new social agenda. The beginning of the war signalled the moment when Ukrainian society started to form. After the war architecture will change dramatically but even between 2014 and now it has matured significantly because our society is undergoing an incredibly dynamic transformation. Our architecture will reflect that. There is a kind of hipster urbanism that has become quite central in our cities.

VB: Which buildings built in Ukraine since the turn of the century would you identify as the most important?

OD: I would pick a temporary open-air stage structure called Stage, the main venue of the 2018 cultural festival Construction in Dnipro. It was a collectively designed, ground sourced and ground funded public space. The design was led by architect Tomasz wietlik and urban designer and researcher Kuba Snopek, both from Poland. Another project that I also nominated for the Mies Award is the Center of Andrey Sheptytsky, a cultural centre, and library at the Ukrainian Catholic University in Lviv, designed by Behnisch Architekten and built-in 2017. Its architecture may be excessive and redundantly polyphonic, but its social impact is quite phenomenal. It is extremely active. They constantly organise all kinds of public events.

The third project I would include here is the Memorial of the Heroes of the Heavenly Hundred by Guess Line Architects in Lviv which opened in 2019. It is a very appropriate statement and testimony that established new relationships with the city the way it works with tragedy, memory, public space, and the park. Finally, I would mention the Renovation of the Spassky Bastion and Church in Kyiv by AER Architects completed in 2018. All four projects are more about a new social model than architecture in a narrow sense. This is what Ukrainian architecture was missing before. Only speaking of social qualities, we can really discuss contemporary architecture.

I would also say that Ukrainian architecture is quite regional with Dnipro being a strong leader, while Lviv is a close second. This has a lot to do with the work of Alexander Dolnik [1954-2013], the late Dnipro architect. In his buildings, you can recognise numerous quotations from 20th century architects, but he surely found his own language. He was the leading architect in the country in recent times, leaving a very powerful legacy.

VB: In your opinion who is the leading architect in Ukraine today?

OD: I would rather name some of our most influential architects. And I would stress that their influence comes more not from what they built but rather from what they preach. For that reason, I would name Viktor Zotov, an important figure on the architectural stage; he is the founder of ZOTOV&CO in Kyiv and of an institution called CANactions, a popular educational platform, festival, and publishing company. I would also name Slava Balbek and his Balbek Burau in Kyiv as one of the influential architects with an emphasis on creating contemporary interiors. Then there is an influential architect and journalist Julian Chaplinsky with his popular Chaplinsky Blog. The contemporary architecture here is still being formed. Our architects are ready to work with the people to create not just elegant buildings but buildings that can fulfil the needs of our society in the making. What is great about our architecture is that it is being formed right now. And we also need to rethink our heritage, which is rich, and inspirational, and if we do it critically, a lot can be learned from it.

See the article here:
Ukrainian architect Oleg Drozdov talks about building at the time of war - STIRworld

Houses We Love: Every day we feature a remarkable space submitted by our community of architects, designers, builders, and homeowners. Project Details:

Location:Lincoln, Massachusetts

Architect:Earl R. Flansburgh

Footprint:2,382 square feet

From the Homeowner:"Earl Flansburgh was a modernist architect in the Boston area for nearly half a century. Throughout his career, he advocated for his profession, serving as the president of Boston Society of Architects in the early 80s.

"Flansburgh + Associates primarily designed institutional buildings, such as the Boston College Library (1997) and the subterranean Cornell University Campus Store (1971). Mr. Flansburgh rarely took on residential clients, however in 1963 he designed a home for his own family which came to be known as the Flansburgh House.

"Built in Lincoln, Massachusetts, within a wooded area, the home features a courtyard surrounded by interior windows which beckon the outdoors into every area of the house. Today, the all-white structure is highlighted by striking yellow bands that run along the vertical side of the windows.

"The homes floor plan was featured in a 1966 issue of Better Homes & Gardens, offering a glimpse into Flansburghs architectural approach: He placed bedrooms and bathrooms on one side of the home, and living areas and the kitchen on the other. Connecting the two is the homes entrance, courtyard, as well as a playroom area for he and his wife Pollys two young children.

"Inside, the home features architectural curiosities that still resonate today: An accordion wall can transform the open entryway into a private space with courtyard views. Another stand-out design element is a curved wall that contains a hidden closet. The most surprising architectural detail, however, is the homes underground tunnel leading to the garage, which was added in 1967.

"Although Flansburgh died in 2009, Polly subsequently secured an easement that ensures the house cannot be demolished or significantly altered."

Read this article:
A Massachusetts Architects 1963 Family Home Still Feels Ahead of Its Time - Dwell

Continuing their work on curved-roof atriums, exemplified by the Jewel at Singapores Changi Airport, Safdie Architects has emulated the feeling of a tree canopy in So Paulos Albert Einstein Education and Research Center (AEERC). With state-of-the-art medical research facilities, the project connects to an existing hospital in the citys Morumbi district.

The building will serve the needs of over 2,000 medical and nursing students, containing 40 classroomswith programmatic flexibilityan auditorium, laboratories, and facilities to simulate examination and operating rooms. The building is organized around a tiered central atrium that houses a garden-like space, while also connecting the four primary floors of the building. The central court is shaded by a vaulted glass ceiling, with three structural domes spanning its length. Around the atrium, facilities are grouped in two wings, with the buildings structure embracing the sloping landscape of the 12,000-square-meter (129,167-square-foot) site.

The 3,800-square-meter (40,900-square-foot) ceiling was constructed from 1,854 glass panels, with minimal structural steel in order to reduce weight. The glass is barely reflective, as the architects did not want strong reflections to impact the surrounding environment. It was designed with extensive digital modeling. As Safdie Architects partner Sean Scensor and senior associate Isaac Safdie explained, the aim was to simulate the effect of being outdoors, under the canopy of trees, on a beautiful day with a clear view of the sky above.

Working between offices in So Paulo, London, and Boston, and collaborating with mechanical and environmental engineers, horticulturalists, and landscape architects, the team at Safdie led the modeling of environmental factors that led to the final design and material decisions. Shading was a delicate balance; as Safdie and Scensor explained, they needed to provide enough light for the plants, while limiting the glare of direct sunlight and also keeping electricity usage to a minimum.

In order to sustain the garden, the model tracked optimum light levels20,000 lux for 1,200 hours per yearevapotranspiration rates of the plants, and determined a maximum temperature of 24 degrees celsius (75 degrees fahrenheit) and a maximum relative humidity of 50 percent. With climate data from So Paulo, the team used ray tracing software to model the full range of daylight conditions. Based on this data, the architects selected insulated laminated glass with low emissivity solar coating, high visible light transmittance, and a neutral color. The team also used computational fluid dynamic modeling to map heat and humidity in the space over time maintaining comfort for both people and plants, said Safdie and Scensor.

Safdie and Scensor further explained that the model presented a challenge in that it could not fully model the beneficial effect of the tree canopyrequiring special interpolation and interpretation of the results. The final design of the roof was formed of an outer layer of fritted glass, attached to a steel structure, and an inner layer of a printed acoustic membrane. The outer layer of fritter glass was fabricated with a pattern of translucent ceramic dots, which act as a solar shading mechanism. The inner membrane layer was micro-perforated to absorb sound, and also printed with a pattern of translucent dots for solar shading, though these dots also glow in sunlight. The dots were arranged to be denser as they approached the east and west ends of the building, effectively shading the sun at low angles. The dual layers of dots filter the dappled light, giving the intended effect of the tree canopy.

Sun shading was also a primary consideration on the faces of the building, most of which contain floor-to-ceiling glass. The building is tiered on alternating floors, with the floors that are set back shaded by the overhanging floor above. The floors that are not shaded by the overhang were wrapped in a polymer resin brise-soleil, shading them while still allowing for views of the neighborhood. As Safdie and Scensor explained, the design team primarily used passive solar design principles, placing 40 percent of the program below street level in addition to the daylight from the atrium, which reaches lower levels. The architects opted for triple silver-coated glass, maximizing shading performance and reducing the need for electricity usage during the day.

Using digital modeling, scaled physical models, and full-size mock ups, the design team studied the louvers of the brise-soleil to optimize shading. By spacing the louvers 37 centimeters (14 inches) apart, and tilting them 45 degrees, they were able to optimize shading without blocking views of the exterior. The diagonal louvers were installed on the east- and west-facing facades to shade morning and afternoon sunlight, while the louvers on the north were left horizontal to shade direct sunlight midday.

The louvers were fabricated with polymer resin over concrete, metal, and fiberglass options, for its light weight, tensile strength, and precise tolerances. The pine wood color of the resin was customized to minimize cleaning, but also establishes visual continuity with wood used in the interior. The shape was also customized, which Safdie and Scensor described as winglike, diffusing light by bouncing it between louvers. Rooms are also equipped with operable solar and blackout shades, allowing for adjustment based on occupant needs.

While the design attempted to control environmental needs as much as possible, So Paulos climate did pose challenges during the construction process. The rainy season prolonged the site excavation, but the design team was able to assemble full-scale mock ups on a nearby lot. Representing each significant component of the building, including a full-size classroom, materials and design features were demonstrated to the client. Collaborative work with tradespersons, particularly in custom assembly, was key to saving time and improving quality control.

Refining the exposed concrete was a complex process that required the design team to work with a number of subcontractors to evaluate the formwork, mix, curing time, and sealers that were locally available. Safdie worked with Perkins&Wills So Paulo officethe Architect of Record on the joband the contractor, Racional, to specify domestic suppliers and manufacturers on a range of materials, saving costs by reducing the quantity of imported materials.

The design team worked closely with Seele on the structural design, fabrication, and installation supervision of the glass ceiling. Safdie previously worked with the firm on the United States Institute of Peace (USIP), and encouraged the client to bring on Seele during early phases of the design process, streamlining materials selection, cost, and constructability. The contractors and client were able to tour both the USIP and the Jewel to understand the need for long-term maintenance of the skylight, and to learn from the past construction processes.

Link:
Albert Einstein Education and Research Center emulates a tree canopy - The Architect's Newspaper

The period between 1850 and 1920 was full of colorful neer-do-wells.

Career criminals like Jesse James, John Dillinger, and Butch Cassidy gained infamy for their brazen bank heists. These rebels and rule-breakers were an unsavory byproduct of American individualism, plundering their way to financial success by nefarious means.

But one oft-forgotten man was more productive than them all.

George Leonidas Leslie led a double life: By day, he was a distinguished architect who hobnobbed with New York Citys elite denizens; by night, he was one of historys most prolific bank robbers.

Unlike other heisters of his time, Leslies approach was academic rather than brutish. He studied the anatomy of locks, drafted up blueprints of banks, and invented mechanical safe-breaking devices.

During his career, authorities estimated that his exploits accounted for 80% of all bank robberies in the entire US during his active years of 1869-78.

Altogether, he stole at least $7m ($200m in todays money), much of it pilfered from the bank vaults of Americas wealthiest titans.

The final bank heist he orchestrated is still, to this day, the largest in US history an astounding $81m haul, adjusted for inflation.

But a mysterious murder would prevent him from ever seeing it play out.

Born in 1842 to relative wealth, Leslie enjoyed a much different upbringing than most outlaws of his time, according to biographer J. North Conway, who explored Leslies life in the book The King of Heists.

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When the Civil War broke out, Leslies father, a successful brewery owner in Toledo, Ohio, paid a sum of $300 (~$10.7k today) to relieve his son of his military obligation.

Instead, Leslie enrolled at the University of Cincinnati, graduated with high honors from the architecture program, and opened his own successful firm.

No known photographs of Leslie exist, so heres Cincinnati, his college city, in the 1840s (NYPL Digital Collections; John Caspar Wild, Henry Robinson)

By all accounts, Leslie was a bright, upstanding businessman with a promising future in legitimate enterprises.

But after his parents died, he had a sudden change of heart.

In 1869, he sold the family home and his architecture firm and set off for New York City. Before leaving town, Leslie explained his motive to friends: He wanted to pursue easy money.

Once in New York, Leslie wasted no time falling in with an impressive cast of characters.

He took up residence at the prestigious Fifth Avenue Hotel a gathering place for the ultra-elite of the Gilded Age, including shipping and railroad tycoon Cornelius Vanderbilt and then-president Ulysses S. Grant.

Though he wasnt a millionaire himself, Leslie ingratiated himself into the high-status world, donning the finest suits, attending theater openings, and collecting rare books.

His apparent wealth and pedigree gained him the friendship of robber barons like Jim Fisk (a millionaire who cornered the gold market and orchestrated Black Friday), Jay Gould (a railroad magnate), and Boss Tweed (a corrupt politician who embezzled millions from taxpayers).

These men, and other members of high society, saw Leslie as a bon vivant of the highest order and accepted him with open arms.

Jim Fisk (left) and Jay Gould (right) were robbers of their own kind, amassing extraordinary wealth by sometimes ruthless means (National Portrait Gallery, Smithsonian Institution, Library of Congress)

But Leslie had an ulterior motive.

As Conway wrote, the 27-year-old gentleman was secretly obsessed with pulp Western novels and the hijinks of outlaws like Jesse James.

Hed come to New York City not to hobnob with pin-stripe bankers, but to rob the very banks where they were housing their riches.

And before long, he began to seek out a second, much different social group one that could bring his vision to life.

Leslie, of course, faced a problem.

Robbing banks wasnt exactly the kind of profession one could learn from books. It required a strong connection to the criminal underworld. And he found just that in a woman named Fredericka Marm Mandelbaum.

Mandelbaum was New Yorks greatest fencer.

Working with an expansive band of criminals and pickpockets across the city, she housed and resold millions of dollars of stolen goods largely with impunity. Like Leslie, she was in with the elites, whom she hosted at extravagant parties in a home appointed with ill-gotten luxuries.

Introduced through Fisk, Leslie and Mandelbaum hit it off in grand fashion.

Top left: Marm Mandelbuam(Sins of New York: As Exposed by the Police Gazette; Edward Van Every); Top right: Mandelbaums residence; Bottom: A depiction of a typical Mandelbaum dinner party (Recollections of a New York Chief of Police, George Washington Walling; 1877)

At the time, modern bank vault locks were thought to be unbreakable. Most bank robbers relied on explosives to break into vaults a loud and messy affair. A few others tried, mostly without success, to crack safes by listening to tiny clinks in the lock with a stethoscope.

Leslie had a different proposal that intrigued Mandelbaum:

After a few months of feeling out the newcomer, Mandelbaum decided to give Leslie a shot at his first bank robbery.

She assigned him a crew of accomplices, including Tom Shang Draper, a con artist and lifelong crook; Red Leary, a towering, redheaded enforcer; and Johnny Dobbs, a notorious safecracker.

Leslie selected his first target Ocean National Bank in New York City and began a laborious, three-month-long planning process.

His preparations entailed the following:

A typical bank vault in the late 1800s (Recollections of a New York Chief of Police, George Washington Walling; 1877)

His men were not happy with the slow process. They just wanted to blow stuff up.

But Leslie instructed them to do nightly rehearsals for weeks using his replica, playing out various scenarios in a dark warehouse.

In June 1869, Leslie made his move.

First, the planted employee let him in at night, after the guards had gone, and he installed his little joker device, a tiny tin wheel with a metal wire around it that went behind the combination knob of the vaults lock.

When the tellers used the vault the next day, the little joker, hidden behind the dial, would get etched with deep cuts where the three numbers of the code were, limiting the combination to just a few possibilities.

Several nights later, Leslie and his crew entered the bank again, removed the little joker, and used the etches to crack the lock.

This only gained them entry through the first door: The safe had three of them, each built of thick iron. And inside the vault the safes had to be opened, too.

For this, the crew relied on a bevy of ingenious tools jimmies, wedges, sledges, nippers, and drills.

Tools of the bank robber trade, as coiled by a police chief (Recollections of a New York Chief of Police, George Washington Walling; 1877)

The following morning, bank officials arrived at a chaotic scene: floors strewn with coins, bank notes, and drill bits. But the main door to the vault was intact, which stumped investigating police officers.

The New York Herald declared it a masterful bank job pulled off by one very special bank robber. A report in The New York Times remarked that a robbery of this type was a thing never heard of before.

In sum, Leslie and his crew made off with $768,879.74 (~$27.5m today) a record-setting sum.

And that was just the beginning.

Over the following years, Leslie employed similar tactics in a torrent of robberies across the East Coast.

At a time when the average annual wage in New York was <$1k/year, Leslies heists often pulled in five- or six-figure sums in one night:

Leslie began to gain recognition in criminal circles around the country and was soon enlisted as a bank robbery consultant, charging a fee of $20k (~$500k) to look over other outfits plans and make suggestions.

In the meantime, he continued to charade as an upstanding member of society, socializing with well-respected members of the gentry class.

He married a woman in Philadelphia, under the auspices that he was an IRS detective. The couple moved into a 10-room, $100k ($2.5m) house in New York, which he furnished with a grand piano, a library, croquet grounds, and imported carpets.

Leslies biggest bank heists were yet to come (various newspaper clippings from the 1870s)

In 1876, Leslie chose his next big strike: Northampton Bank, situated in a quiet town in upstate New York.

Several years earlier, the bank had decided to install a supposedly invincible new lock that required both a key and a combination.

Leslie had a trick up his sleeve.

He tracked down the lock salesman whod installed the new system and bribed him with a cut of the action. The employee, William Edson, made a copy of the keys and gave them to the banks cashier.

After weeks of staking out the location, Leslies men kidnapped the cashier and forced him to relinquish the key and the combination.

The robbers made off with $1.6m ($39m) in loot but there was a serious problem. Most of the haul was in nonnegotiable bonds, which could only be cashed in by the person whose name was on the slip; only $12k was cash.

The heist ended up being mostly a bust and led to the arrests of several of Leslies henchmen.

Two years later, Leslie hit another snag: A similar botched bank robbery in Dexter, Maine, left an uncompromising cashier dead.

Beyond the failed robberies, things were beginning to turn sour between Leslie and his fellow delinquents particularly, Shang Draper.

Draper didnt like that Leslie took 50% of the cut for himself and delegated the other 50% to the rest of the group. He also began to grow suspicious that Leslie was having an affair with his wife.

But Leslie was singularly focused on one thing: the biggest bank heist hed ever planned.

For three years, hed been meticulously mapping out a hit on the Manhattan Savings Institution, the largest and most formidable bank in the city.

It was, by all accounts, a ponderous labyrinth of bolts, locks, and seemingly impregnable doors, wrote Conway in King of Heists.

Top: A depiction of the formidable Manhattan Savings Institution (Recollections of a New York Chief of Police, George Washington Walling; 1877); Bottom: A diagram of the banks second story (The Hustle, via news archives)

Leslie had done all of his regular due diligence:

Except this time, he had a different plan: Hed turn his back on his gang at the last minute and work with another gang on the crime. After this one, he planned to bow out of the robbery game and resettle in another city.

The bank Premises were as accurately surveyed by Leslie as they would have been had a professional architect been employed, New York police chief George Walling wrote later.

Everything was in place. But Leslie never got a chance to pull it off.

In October 1878, Leslies gang used the architects plans to break into the Manhattan Savings Institution.

The crew made off with $2,747,700, ~$81m in todays money an inflation-adjusted figure never matched even today.

Zachary Crockett / The Hustle

New York reports at the time dubbed the heist the most sensational in the history of bank robberies in this country.

But its mastermind a man who police say was involved with more than 100 bank robberies through his nine-year career wasnt there to see it happen.

On June 4, 1878, several months earlier, Leslies decomposing body had been discovered near Yonkers along the Hudson River.

Hed been shot dead at the age of 36.

While the murder was never solved, there was a strong suspicion that Leslies colleague Draper was the culprit.

Leslies funeral was a curious affair. A mishmash of crime lords, cops, and financiers, it was the perfect manifestation of his dual existence.

In obituaries, he was at once described as a man of refinement and culture, a skillful mechanic, and someone whose aid and advice was secured in every one of the larger robberies that have been committed for the past 10 or 12 years.

The nations most notorious bank robber was buried in an unmarked grave under his real name, George Howard a fitting conclusion to the life of a man who lived in the shadows.

Note: For more on Leslies life and heists, check out King Of Heists (J. North Conway), A Burglars Guide to the City (Geoff Manaugh), and this incredible 1887 memoir from a NYC police chief.

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Original post:
The architect who became the king of bank robberies - The Hustle

On late Tuesday, Patrick Reed filed a defamation case against Golf Channel and analyst Brandel Chamblee, alleging that theyhave conspired as joint tortfeasors for and with the PGA Tour, its executives and its Commissioner Jay Monahan, to engage in a pattern and practice of defaming Mr Reed. misreporting information with falsity and/or reckless disregard for the truth.

The lawsuit, filed by attorney Larry Klayman, is looking for more than $750 million in damages.

Amongst the court documents, it is claimed thatChamblee and Golf Channel have indeed engaged in a longstanding pattern and practice of maliciously defaming Mr. Reed.

The document cites examples where Chamblee has accused the former Masters champ of cheating at the 2019 Hero and quotes from the analyst suggesting that Reed has engaged in improper and misconduct in his past college days, to which both examples Reeds camp call false and malicious.

The lawsuit claims that the defendants, acting in concert with the PGA Tour and DP World Tour and their commissioners, have created a hostile work environment for Reed and that the abuse has harmed his performance at tournaments.

Per the document, the personal attacks at events include but are not limited to:

You suck!, You f____ng suck!, You jackass!, You coward!, Shovel!, Why dont you dig a grave and bury yourself in it!, You piece of sh_t!, No one likes you!, Everyone hates you Reed, Good look digging yourself out of this one!, Where are your parents coward!, You cheater!, Cheat!, Everyone hates you cheater!, Youre going to miss this you cheater!, You cheat in college and on Tour and youre a piece of sh_t!, Beat the cheaters ass!, Sorry Webb for having to play with the cheat! Who did you pi_s off!?, Why dont you introduce your children to their grandparents you ungrateful bit_h!

The suit accuses Chamblee of not heading a cease and desist letter sent previously. Its also claimed that due to Chamblee and Golf Channelsbizarre fixationwith destroying Reeds character by fabricating the story that he is somehow a cheater', the family have been victims of abuse, with even their kids being tormented and bullied.

The court documents also get personal, with Chamblee called a disciple of the Skip Bayless school of sports analysis, where it is more important to be loud than it is to be correct.

The lawsuit claims that Chamblee has fabricated a feud with an athlete at the top of their game, first with Tiger Woods and then Patrick Reed, in order to leach attention, notoriety, and fame from those who were able to achieve far more than he ever did as a golfer, which is probably the driving force behind his bitter personal animus and bias leveled against Mr. Reed.

Its another dramatic twist in the LIV-PGA Tour saga. Last week a federal judge denied LIV Golf players Talor Gooch, Hudson Swafford and Matt Jones a temporary restraining order to play the PGA Tours FedEx Cup Playoffs.

Following that result, Chamblee tweetedGolf won today. Murderers lost., a comment which Reeds lawsuit claims viciously defamed Patrick Reed as a murderer simply because he now plays on the LIV Golf Tour.

Next fall will likely see the larger antitrust lawsuit filed by 10 LIV players against the Tour.

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'I don't think that makes any sense' Patrick Cantlay calls out golf course architects - GolfWRX