Home Builder Developer - Interior Renovation and Design

Here, in a photo staged by Brunk Auctions at Bankshaven, two Federal chairs flank the swivel-top card table possibly made by Phyfe, 1815-1820. Above hangs the 1856 oil on canvas Beacon Rock, Newport by John Frederick Kensett.

By Laura Beach

ASHEVILLE, N.C. William N. Banks Jr, who died last November at age 95, was the model of a scholar collector, his work as a regular contributor to The Magazine Antiques dovetailing with his passion for preserving historic homes of his own in Georgia and New Hampshire. Banks appointed each residence with a sympathetic mix of Federal and Classical American furniture and Nineteenth Century American paintings. He filled his library with antiquarian volumes bespeaking his passion for architecture, landscape and travel.

In a much-anticipated addition to the fall arts calendar, Brunk Auctions will sell the contents of Bankshaven, the collectors carefully tended property in Newnan, Ga., on September 12. The single-owner sale consisting of roughly 300 lots will be accompanied by a print catalog designed both as a well-documented reference and an enduring tribute.

Visitors to what Banks himself referred to interchangeably as Bankshaven and the Gordon-Banks house, the latter acknowledging the propertys first owner, were uniformly impressed. I know of no more comfortably authentic, untouched, all original house in America, Morrison H. Heckscher, former chairman of the American Wing at the Metropolitan Museum of Art, wrote his host after a stay. Cultural observer Brendan Gill averred, In architecture I can think of few more delightful examples of cultural cross-fertilization than the country house in Coweta County, Georgia belonging to the writer, historian and collector William Nathaniel Banks.

Skillful as a host and steeped in the rituals of gracious entertaining, Banks was a Southern gentleman of the old school. He was stylish, elegant, polite and cultured. It was always a delight to see him. A Charmed Life, his loosely autobiographical account published in Antiques May/June 2015 issue, captures him well, says auction house president Andrew Brunk, who recently visited Bankshaven while inventorying the collection. Being there and seeing how he lived the collections, sculpture, gardens and fountains transported us to another time. The house is an architectural gem. We saw the vestiges of a remarkably wonderful life.

Born in Newnan in 1924 to a successful investor and his wife, Banks left Dartmouth College to serve in the US Army infantry during World War II, completing a degree in drama at Yale University in 1948. In addition to his writing on historic art and architecture, Banks, a playwright, was a four-time fellow at the MacDowell Colony in Peterborough, N.H. He was a long-serving member of its board, as well as that of the High Museum of Art in Atlanta.

Grecian sofa, New York, 1815-20, tiger maple with gilt and verd antique decoration.

He wrote for Antiques for more than 40 years, always with the historians attention to detail and the playwrights flair for character and sense of time and place. Nobody else ever did it quite the way he did. He never mastered email or a computer, or even, really, a cell phone, but he dug deeply into every subject he covered for the magazine, from historic houses and towns to individual artists and artisans, and readers always loved his stories, Antiques consulting editor Eleanor H. Gustafson wrote in an email earlier this year.

Karma seems to have led Banks to his Georgia residence. He had already acquired a Federal house in Temple, N.H., the birthplace of Daniel Pratt (1799-1873), an architect-builder who migrated to Georgia, where in the 1820s he built a house near Milledgeville for planter John W. Gordon (1797-1868). A local college professor, L.C. Lindsley, saved the Gordon house, by then all but derelict, in the 1940s.

Banks writes, In 1959, having seen photographs taken for the Historic American Buildings Survey in the 1930s, I contacted Lindsley, and he graciously gave me a tour of the property. I was awestruck by a unique house that had remained virtually unaltered for more than a century; and, I confess, I fell in love. Banks persuaded his recently widowed mother to buy the building in 1968. Under the supervision of architect Robert Raley, it was reassembled in Newnan, 40 miles southwest of Atlanta, amidst gardens begun by Banks parents in the late 1920s. The family razed their existing Tudor-style home to accommodate the structure.

Finding himself with an empty house, Banks began collecting for it. Beginning in the late 1960s, he bought at auction in New York, where he kept an apartment, and from leading dealers, among them Vose, Spanierman and Hirschl & Adler Galleries, where in 1972 he paid $150,000 for Franconia Range from the South with Village of South Woodstock, New Hampshire, an important work of 1857 by Asher B. Durand and a highlight of the upcoming sale, and a Raphaelle Peale still life. The collection includes other New Hampshire views by Cropsey, Gifford and Shapleigh.

I met William in the early 1980s when I was working at Alexander Gallery, says Brunk Auctions general manager and fine arts specialist Nan Zander, who spent 35 years in the New York art world before moving to Asheville. One of the first important paintings I sold, the 1856 Beacon Rock, Newport by John F. Kensett, was to William. Its now hanging in my office. I feel Ive come full circle. William bought the best of the best that was appropriate for his home.

Mt Washington from the Saco River by Sanford Robinson Gifford, 1856, oil on canvas.

He became very interested in his wonderful collection of paintings and was very knowledgeable, says Banks longtime friend James Landon, a retired attorney asked by Brunk to write the catalogs introduction. He had more than one Raphaelle Peale. Every time I entered his dining room, I marveled at his still lifes, all little jewels, each lighted exactly right. It was the most beautiful thing. The landscapes were in the drawing room. It really was like going to a gallery.

There are some exciting pieces of furniture, some thought to have Southern histories, says Andrew Brunk, summoning to mind a tiger-maple Grecian sofa with a caned back and sides and verd antique and gilt feet. Among other furniture highlights is a set of six lyre-back klismos chairs with Middleton family history that are attributed to Duncan Phyfe, circa 1815; a Classical marble top pier table attributed to J.&J.W. Meeks, circa 1830; and a marble top center table attributed to Anthony Quervelle, circa 1829. A New York caryatid card table previously attributed to Charles-Honor Lannuier but now thought possibly to be by Phyfe, 1815-20, came from Banks cousin, Olive Pringle Brown, who inherited it from her family, said to be former owners of Charlestons Pringle house.

Pulling brown-paper lining from the last drawer of a sideboard, Brunk found a signature, the date July 3rd, 1817, and the words Keene, New Hampshire. As anyone in this business knows, its great fun to chase down details when youre looking at good quality things, says the auctioneer, whose team is in the midst of cataloging the sale.

In Antiques, Banks wrote of his fascination with Humphry Repton (1752-1818) and speculated on the English landscape designers possible influence on William C. Pauley (1893-1985), the American designer who worked with Banks father to create at Bankshaven what the collector called a pleasing landscape in the English style.

William had a genuine passion for architecture and gardens and collected some wonderful, early books on the subject by Alexander Jackson Davis and others, says Brunk, who looks forward to selling two rare Repton volumes. Where possible, the collectors research relating to specific paintings and objects will accompany sold lots to their new owners.

Brunk Auctions is pulling out all the stops for the Banks sale. Andrew Brunk says, We are thrilled and honored to offer this collection. Its a great fit for our company. That, and an eagerly anticipated prelude to the season ahead.

Consistent with public health directives, the collection of William Banks will be available for viewing by appointment at Brunk Auctions Asheville gallery at 117 Tunnel Road. For information, 828-254-6846 or http://www.brunkauctions.com.

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Brunk To Celebrate The 'Charmed Life' Of William N. Banks With September 12 Sale - Antiques and the Arts Online

Imagine a castle and it will be made of stone or bricksthat is how old bricks are! Red and rustic, bricks have come back in fashion with the brutal or raw architectural trend that has gripped modern architecture. And we have to agree, they provide a jarring contrast to the sleek glass towers, standing like gentle giants or wise kings of the old in the modern cityscape. Using bricks to give a modern-day look, all the designs featured here are futuristic yet preserve the heritage aesthetics that add value or character to your building!

Brick being a traditionally tough material, it is difficult to envision this material for creating a curved surface. But that is exactly what Studio Olafur Eliasson has done with their very first construction in Denmark. Named the Fjord House, the project is commissioned by KIRK Capital to showcase the buildings relationship to the harbor. I am very thankful for the trust shown by the Kirk Johansen family in inviting me, with my studio, to conceive Fjordenhus, Eliasson says. This allowed us to turn years of research on perception, physical movement, light, nature, and the experience of space into a building that is at once a total work of art and a fully functional architectural structure. In the design team, we experimented from early on with how to create an organic building that would respond to the ebb and flow of the tides, to the shimmering surface of the water, changing at different times of the day and of the year. The curving walls of the building transform our perception of it as we move through its spaces. I hope the residents of Vejle will embrace Fjordenhus and identify with it as a new landmark for the harbor and their city.

MVRDV continues to awe, astonish, and wow us with this transparent brick store created for Herms, situated in Amsterdam. Using glass bricks, the studio created the jewel-like sparkling exterior to merge the high-end luxury aesthetics necessary for Herms with the historical brick facade that has been iconic to the Amsterdam landscape.

Tadao Ando, a Japanese architect had transformed a Chicago based building into an architecture exhibition center, using raw concrete and glass to create a wealth of contrast along with balancing the feel of old and new. This exhibition center, named Wrightwood 659 is a four-storey structure with a concrete staircase that wraps around one pillar while being highlighted with rectangular windows that provide ample natural lighting. Looking ta this, it looks like Tadao tried to highlight all the essential building blocks to great architecture brick, concrete, glass which is fitting for an architectural exhibit.

Its always interesting when architects design and create their own homes. It is a chance for them to unleash their creativity as they see fit, build that dream design they always wanted to build and that is exactly what Dutch architects Gwendolyn Huisman and Marijn Boterman did when creating this skinny black brick building that is their home. The house, while looking opulent in black bricks from outside houses hidden windows and a huge indoor hammock to add fun to the place!

The Muse Yves Saint Laurent Marrakech (mYSLm) stands tall with a two-toned brick facade that pays homage to the natural environment found in Marrakesh. The museum houses important selection from the fondation Pierre berge Yves Saint Laurents impressive collection, which includes 5,000 items of clothing, 15,000 haute couture accessories, along with tens of thousands of sketches and assorted objects. Designed by the French Studio KO, the building is made up of cubic forms, that come to form a pattern that resembles interwoven threads.

With sweeping arches made of brick and an abundance of natural lighting, this residential complex by Muhamad Samiei is the perfect example of how modern architecture can adopt brick surfaces. In an attempt at changing the traditional tower design, this design uses the flow of the structure to create separate spaces within the enclosure, resulting in a harmonious balance of space-saving and utilizing space whereas the use of bricks pays homage to the past while looking futuristic in the same design.

India is known for its vibrant colors and it is those colors that the Surat-based studio Design Work Group has brought to life in this rippling brick facade. The Location of the building, being on a crossroads inspired the architects to have some fun with it, by using two different materials concrete and brick to create a unique look on each road-facing side of the structure.

When a building is named Cuckoo House, you know you are in for a fun treat! This unusually shaped residence is by the architectural firm Tropical Space in Vietnam and sits above a coffee shop. The entrance to this home starts with an elevated terrace with more smaller terraces created to add ventilation and natural light inside the home. Given the local climate, the house is designed to make complete use of the indoors as well as the outdoors on warm balmy days.

CTA | creative architects have designed the Wall House in Vietnam, named for the use of unique breathing walls designed by the STudio for this house. After realizing that indoor air pollution was a major health hazard in Vietnam, the team decided to build a protective layer of hollow bricks around the house to facilitate the growth of greenery in the walls with ease. This technique creates an all-natural purification system that works on its own!

A drama theater built with some more drama, that is what Drozdov & Partners have created when they redesigned the Teatr na Podoli, a drama theater in Ukraine. What is the drama you ask? Its the use of recycled bricks made up of titanium and zinc that clad the higher levels of this theater, balancing the old school aesthetics with the beige brick-work in contrast to the modern metallic bricks that highlight the top.

Think concrete is the better choice of materials rather than brick? Check these concrete-based designs that show why concrete may be the futuristic material of choice!

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Brick Architectural Designs that pay homage to the past while inspiring the future! - Yanko Design

The Initiatives for Development of Armenia (IDeA) Foundation launches an open international competition for the development of architectural solutions for the recreational infrastructure of Gyumri Friendship Park. Applications are open on July 1-29, 2020.

The competition makes part of the integrated development and restoration of Gyumri within Armenia 2020 Initiative. The renovated park will not only become a new public venue for the Gyumri people and guests of the city but also a symbol of friendship and gratitude to the countries that have supported the citys rehabilitation after the devastating earthquake in 1988.

The competition is aimed at selecting the best architectural and planning solutions reflecting the citys identity and conveying the idea of international collaboration. The design of the recreational infrastructure elements will help talented architects from across the globe to co-create the modern public venue and diversify the territory of the city.

The competition will be held in 2 rounds. Based on the results of the first round, the jury will shortlist 20 participants for the development of architectural solutions. The participants will get technical task containing the necessary information about the parks design project and the terms of reference for the development of the objectives. Following the second round, the jury will select the finalists of the competition in 3 nominations.

In October 2020, the winners will be announced and the parks final design project will be presented. The finalists will have the opportunity to realize their architectural designs in the new public space in Gyumri.

The jury is comprised of renowned experts, including Andrei Ivanov, architect and researcher, Nune Petrosyan, Deputy Chair for the Urban Development Committee of Armenia, Udo Dagenbach, Landscape architect and Founder of Glaer und Dagenbach GBR office, Fedor Rashevsky, Chief Architect and Partner of OFFCON Bureau, Emma Baghdasaryan, Aide to the Head of Shirak Regional Administration.

The park is located in the northern part of the city, between the historical center and residential and industrial areas. The central street links all the main sights and public spaces of Gyumri. The renovated park will become the first modern green area in the city center on this itinerary, popular among locals and tourists.

The restoration of the Friendship Park is very important for the people of Gyumri. It will become a unique project, fostering the development of the tourism and the citys infrastructure. We are glad that the people of Gyumri have accepted the project and embraced its significance. This project brought people together and this truly will be a park of friendship and gratitude, says Ruben Vardanyan, Co-Founder of IDeA Foundation.

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Competition for the development of Gyumri Friendship Park architectural solutions kicks off in Armenia - Public Radio of Armenia

The archive of the renowned American architect Paul Revere Williams has been jointly acquired by the USC School of Architecture and Getty Research Institute.

The USC alumnus is considered the most significant Black architect of the 20th century, with especially strong ties to Southern California and the city of Los Angeles.

Paul Williams led by example and instilled in his children and grandchildren the importance of excellence, an attention to detail and, above all, family. The collaboration of two such esteemed institutions, the University of Southern California and Getty Research Institute, to preserve and further his legacy would make our grandfather extremely proud, said his granddaughter, Karen Elyse Hudson, who has cared for the archive and published extensively on her grandfathers work.

As the family historian, my journey has been one of awe and encouragement, she added. Never once did I believe my work was my gift to him, for it has been and will always be his gift to us. To others, he is often referred to as the architect to the stars. To his grandchildren, he was simply the best grandfather ever.

Williams started his career doing residential commissions during Los Angeles housing boom of the 1920s, like the 10800 Ambazac Way House in Bel Air, shown in this 1982 photograph. (Photo/Julius Shulman, J. Paul Getty Trust. Getty Research Institute, Los Angeles [2004.R.10])

Although many of Williams business records were lost in a 1992 fire, most of his extensive archive was in a different location and is in excellent condition.

We are honored to accept this archive and synthesize his legacy with the forward-looking vision of the school to produce impactful design and scholarship on the historical and contemporary evolution of the modern city, said Milton S. F. Curry, dean of the USC School of Architecture.

The work contained in this archive tells many stories, he added. It contains the creative expressions of an architect working across many different constituencies in a socially complicated time. It also contains evidence of stunning aesthetic innovations that reimagined the space and program of public housing, hotels and residential design and civic space. Paul R. Williams was an architect who believed that architecture could advance social progress. His work and life as captured in this archive will quickly become an invaluable resource for like-minded students, faculty and the greater public.

Williams was hired to remodel the El Mirador Hotel in Palm Springs from 1952-53. (Photo/Julius Shulman, J. Paul Getty Trust. Getty Research Institute, Los Angeles [2004.R.10])

At theGetty Research Institute, the archive will be a cornerstone of its African American Art History Initiative, launched in 2018.

Paul Williams was a trailblazing architect whose long career helped shape Los Angeles and Southern California. His archive essentially tells the story of how the modern Southland was built, said Getty Research Institute Director Mary Miller. Its importance as an aesthetic and educational resource cannot be overstated, and we are pleased to be working with the USC School of Architecture to preserve and share it.

A native Angeleno who was orphaned by the age of 4, Williams contributed greatly to the cultural landscape and design of Los Angeles. Always acutely aware of being African American in a profession that rarely welcomed those of color, he was the first African American member of the American Institute of Architects, its first African American Fellow and ultimately its first African American Gold Medalist.

Segregation often framed the context in which Williams worked. He learned to draw upside down in order to sketch for clients from across the table for the benefit of any white clients who might have been uneasy sitting next to a Black person. He toured construction sites with hands clasped behind his back because he was not sure every person would want to shake a Black mans hand.

During a period of de jure segregation, Paul R. Williams mastered architecture, a public art form, and was as prolific as he was persistent. His legacy is therefore as much about the character of the man himself as it is the scale, variety and ambitions within a professional practice wed to realizations of perpetual excellence, said LeRonn P. Brooks, associate curator for modern and contemporary collections at the Getty Research Institute. His career and life invite new histories to be written by the countless scholars who will have unprecedented access to this tremendously important archive.

Williams designed the Lucille Ball and Desi Arnaz House in Palm Springs (photographed in 1954-55. (Photo/Julius Shulman, J. Paul Getty Trust. Getty Research Institute, Los Angeles [2004.R.10])

His early work was primarily residential, designing legendary homes for leaders in business and entertainment such as Lucille Ball and Desi Arnaz, Bill (Bojangles) Robinson, Frank Sinatra, the E. L. Cord and Paley families, and Cary Grant. Though his later career included commercial, institutional and public building projects, residential design was a perennial element of his work.

Williams worked on a large number of national and international projects, which notably included the design and construction of the Hotel Nutibara in Medelln, Colombia, the United Nations Building in Paris and Langston Terrace in Washington D.C., the first federally sponsored public housing in the country. However, Southern California was always his chief building ground.

The Los Angeles cityscape is a testament to Paul R. Williams lasting impact on Southern California and modern architecture in general, said Maristella Casciato, senior curator of architecture at the Getty Research Institute. This rich, comprehensive archive is one of the most significant acquisitions of 20th-century architecture that Getty has worked on.

Williams worked on an addition to The Beverly Hills Hotel in 1949-50. (Photo/Julius Shulman, J. Paul Getty Trust. Getty Research Institute, Los Angeles [2004.R.10])

Williams also was the chief architect for the Pueblo del Rio neighborhood at 52nd Street and Long Beach Avenue in South Los Angeles, which was built to house Black defense industry workers in 1940.

Williams retired in 1973 having received numerous accolades, including AIAs Award of Merit for the MCA Building and the NAACPs Spingarn Medal for his outstanding contributions as an architect and work with Los Angeless Black community. In 2017, he was posthumously awarded the USC School of Architectures Distinguished Alumni Award. He died in 1980 at 85.

The USC School of Architecture and the Getty Research Institute are co-owners of the archive and will work together to extend the legacy of Williams through research and scholarship as well as exhibitions and programming. The archive will be housed at Getty, which will oversee the processing and conservation of the materials. An extensive digitization effort will take several years and ultimately make most of the archive accessible to scholars and others.

More stories about: Architecture, History

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Paul Revere Williams' archive acquired by USC, Getty Research Institute - USC News

This green retreat brings the Australian beach house to California

A Californian beach house, inspired by Australian seaside retreats and infused with a contemporary aesthetic and an environmentally friendlyapproach, is the latest residential completion by the US architecture studio of Alec Petros

Perched on the Solana Beach hillsidein the regionscoastal landscape, the Seaside Reef House is defined by a subtle combination of elegance, conviviality, and domestic comfort. Designed by American Alec Petros, this Californian home serves as a shaded, versatileretreat for both leisure and day-to-day activities.

Inspired by the Australian beach house vernacular, the residence offers great flexibilityof space;it comprises an oak wood floor lined, openplan living space framed by oversizeddoors, allowing for cross-ventilation to be implemented while unveiling outstanding ocean views. The development of deep roof overhangs (7ft each) that cantilever out over terraces below adds to this concept, and aclever floor-to-ceiling door system blursthe separation between indoors and outdoors.

Dissolving boundaries that typically separate spaces helped tremendously in gaining the flexibility that we wanted, says Petros. This idea initially emerged from the architects desire to include a covered porch in the design.A wrap-around porch has such a nostalgic feel that connects people with the outdoors, and their neighbourhood, he adds.

Located within walking distance from expansive beaches, the Seaside Reef House also features a series of sustainable systems, creating a green and long-lasting habitat for its occupants. Made of FSC-certified cedar boards, the externalcladding is connected to a sleeper wall andenabling air to effectively pass through, while creating a filtering process that prevents the regions high temperatures from affecting the interiors.

Using this passive energy technique allows the home to reduce its energy demand, especially in warmer seasons, says Petros. On the plus side, the wood that constitutes the exterior skinis a durable material that will age gracefully in this humid-coastal environment.

With Seaside Reef House, Alec Petros - with the help of Nielsen Builders -has brought a stylish, convenient and eco-friendly design to the residential neighbourhood of Solana Beach.

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This green retreat brings the Australian beach house to California - Wallpaper*

BRECKSVILLE, OHIO-- Perched in the middle of the Cuyahoga River in his 80,000-pound excavator, Andy Bennett, a machinery operator with Kokosing Construction, plucks pieces of the Pinery Dam from the river with surgical precision. The large timbers that made up the dam have been submerged under the swirling waters of the Cuyahoga River for 193 years, and he takes care to preserve as many as possible for purposes of historical documentation. He cant really see what hes picking up, as the water flows all around him impeding his view, so he must feel the river through the giant arm and bucket of the excavator.

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Piece by piece, he moves the black, sediment-saturated beams to the shore where they are measured and cataloged by Scott Heberling, who is in charge of documenting the Pinery Dam.

Andy Bennett, a machinery operator with Kokosing Construction, places a piece of the Pinery Dam, constructed in 1827, on the shore of Cuyahoga River for measurement.Joshua Gunter, cleveland.com

Heberling, a historical archaeologist and historian with Heberling Associates, Inc., measures each beam and sketches on paper what the Pinery Dam looked like. As each piece comes ashore, his drawing takes shape.

Scott Heberling, a historical archaeologist and historian with Heberling Associates, Inc., measures beams from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Wednesday marks the final day of dam removal from the river, a project that began just over a month earlier with the removal of the concrete Brecksville Dam. The Brecksville Dam was built in the 1950s, but served no purpose since the 1990s. It also posed hazards for recreational users and negatively impacted water quality and the wildlife habitat up stream. Another week or so of cleanup is needed to remove steel rebar and concrete along the shore.

You can read more about the Brecksville dam removal effort here.

Scott Heberling, a historical archaeologist and historian with Heberling Associates, Inc., shows what the Pinery Dam, constructed in 1827, looked like based on the beams recovered. Joshua Gunter, cleveland.com

Phil Rhodes, who operates Rhode2Compliance, LLC., is working with Friends of the Crooked River to oversee the removal process.

He explained that the goal is to get rid of dam pools where stagnant, low-oxygen water has accumulated with a lot of sediment. The dams also restrict fish movement up and down the river.

Youre getting improved water quality and youre restoring the stream to where the fish can move without the impediment, Rhodes said. So its a win-win for the environment.

The Cuyahoga River was not meeting water quality standards above the dam.

Phil Rhodes, with Rhode2Compliance, LLC.,watches Andy Bennett, a machinery operator with Kokosing Construction, remove the Pinery Dam from the Cuyahoga River.Joshua Gunter, cleveland.com

Also working on the removal process, alongside Friends of the Crooked River, is the Ohio Environmental Protection Agency, the U.S. Environmental Protection Agency, Cuyahoga Valley National Park and the Northeast Ohio Four County Regional Planning and Development Organization.

It takes years of planning to remove a dam like this.

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Kim Norley, a National Park Service landscape architect, said, Its an exciting project. Weve been trying to get the river flowing for years, and allow for a free-flowing river through the 82 corridor. Its a great day for the Cuyahoga.

She noted theres still a low-head dam in Peninsula, so its not yet completely free-flowing through the park.

To read more about what went into the Brecksville and Pinery Dam removals, and for more history on the dams, visit the National Park Service website.

Continue scrolling to see more photos of the Pinery Dam removal process.

The Pinery Dam, constructed in 1827, is removed from the Cuyahoga River.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Detail of steel spike and beam from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Scott Heberling, a historical archaeologist and historian with Heberling Associates, Inc., measures beams from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Scott Heberling, a historical archaeologist and historian with Heberling Associates, Inc., measures beams from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Detail of a beam from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Scott Heberling, a historical archaeologist and historian with Heberling Associates, Inc., and Phil Rhodes, with Rhode2Compliance, LLC., study beams from the Pinery Dam, constructed in 1827.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, places a piece of the Pinery Dam, constructed in 1827, on the shore of Cuyahoga River for measurement.Joshua Gunter, cleveland.com

Andy Bennett, a machinery operator with Kokosing Construction, removes the Pinery Dam, constructed in 1827, from the Cuyahoga River.Joshua Gunter, cleveland.com

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Pinery Dam removed from Cuyahoga River after standing 193 years - cleveland.com

Symbiosis of Room and Nature: Solarlux

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With its moveable glass facades, German family-owned company Solarlux is blurring the lines between outside and in seamlessly merging the outdoors with indoor living spaces.

As far back as Roman times, windows have been used as an architectural design element and light source. Over the course of time and due to the evolution of technology, small panes of glass have given way to the desire for larger, movable glass facades. It stands to reason that the greater the proportion of glass, the more daylight can enter the interior. This is most desirable due to how natural light increases the feeling of wellbeing within the home and provides both positive physical and psychological effects. So, its no surprise that the illumination of rooms using daylight is a fundamental element of new buildings and renovations.

The surrounding external space becomes part of the interior - shaping and creating a seamless link between architecture and nature.

Bright rooms are not only healthier, visually they also appear larger. This is because large area window and facade solutions remove spatial boundaries between inside and outside. So the surrounding external space becomes part of the interior and helps to shape it creating a link between architecture and nature. This effect is further enhanced by movable glass elements, which offer not only boundless views, but also open up space across broad areas.

Dr Peter Kuczia is an architect who, in many of his projects, creates a connection between inside and outside using movable glass facades. A perfect example of his work is the Wormhouse a detached house in Zablocie, Poland, for which he won the German Design Award. The avant-garde exterior of the building opens up completely to nature. The environment outside enters the interior, thus visually expanding the living space. This was made possible by the folding glass wall from Solarlux.

The flexible, bi-folding door can be unfolded across the entire width of the room, with the connected glass elements stowed away neatly and narrowly on the side. Even with the glazing in a closed position, spatial conventions are dissolved, creating extraordinary, almost limitless spatial impressions. This is because the filigree aluminium profiles with a face width of only 99 mm offer maximum transparency.

As an architect, it is fascinating to see how a room changes, whose glass wall can be simply folded away completely without frames or posts.

Peter Kuczia: With Solarlux, you simply have great technical parameters from sound insulation and burglary protection to very good energy efficiency. But as an architect, it is fascinating to see how a room changes, whose glass wall can be simply folded away completely without frames or posts. The effect is huge, even for me as a professional. The landscape, the forest are brought into the house.

Solarluxs wide range of movable window and facade solutions has also convinced other well-known international architects such as Foster + Partners. They designed the new Ocean Terminal in Hong Kong a glazed extension to a shipping terminal that also attracts people due to the unique views of the city it offers visitors. The architectural concept allows visitors to experience the unique atmosphere of the surroundings inside the building itself. The interior-exterior relationship was implemented with the aid of the large sliding window cero. Extremely narrow profile views of only 34 millimetres, a daylight component of 98 per cent and elements up to six metres high create maximum transparency and make for generous views.

Glass facades and energy efficiency need not be a contradiction in terms. With well-thought-out technology, they can be highly thermally efficient all the way up to passive house level such as the bi-folding door and the sliding window cero. And they can even serve to optimise the energy efficiency of a building. For example, Solarlux balcony and facade glazings full-length transparency makes room boundaries disappear, but also acts as an additional outer shell and thus as a heat buffer.

Internationally active and based in Melle, Lower Saxony, Solarlux have been pursuing their mission for over 35 years. All products are developed in-house, manufactured with passion and precision, and meet the Made in Germany quality standard. As a partner in the planning and implementation of construction projects, this German, family-owned company specialises in providing comprehensive support to architects. Care and inventiveness are skilfully combined always with the aim of developing the optimum solution for every project, no matter how demanding.

Read more about Solarlux on Architonic.

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Symbiosis of Room and Nature: Solarlux - ArchDaily

For about the past year and a half, the Rothko Chapel has been closed for a $16 million restoration ahead of its fiftieth anniversary, in 2021. Those involved with the project are careful to call it a restoration, not a renovation, because the goal is to realize painter Mark Rothkos original intentions for the space, which were never properly executed.

Completed in 1971 and located on a tree-lined block in Houstons Montrose neighborhood, the Rothko Chapel is a modernist icon that is on the short list of any tour of must-see art or architecture in Houston. But describing the structure itself is oddly difficult. Its a stand-alone octagonal building whose one room houses a permanent collection of paintings created specifically for the space. But its not exactly a chapel, a gallery, or a museum, although its partly all of those things.

So why all the fuss? To its devotees, the chapel is sublime: a darkened cosmos that facilitates powerful spiritual experiences. The space, which features fourteen dark paintings by Rothko, is famous for being dim and moody. Its a sensory deprivation chamber that also functions as a theological deprivation chamber. Many customary signifiers of religionstatues, altars, stained glasshave been stripped away. It is, as Houston architectural historian Stephen Fox puts it, a space that seems sacred for a post-religious world.

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Enthusiasts have long described how, if given a chance, the chapels stark minimalism can pull you out of your day-to-day mundanity and force you to turn inward. As Carol Mancusi-Ungaro, a conservator for the Whitney Museum of American Art, in New York, wrote in 2007, The Chapel . . . leaves you alone with yourself, your thoughts, your emotions, your vulnerabilities. . . . The artist did not want the paintings to come out to you; he wanted them to draw you in.

The idea underlying Rothkos art, especially the chapel, is that you sit and stare and stare and stare, and after a while you enter a heightened state ofhallucination? Soul-baring interiority? Boredom? Or all of the above, because no two single experiences of the chapel are the same. The nature of every encounter with the chapel, its supporters say, depends on what you bring to it.

But the same minimalism that some people love has also made the chapel an easy punching bag for critics. The space is dark. It has a facade only a mother could love. It offers nothing to hang on to beyond inchoate experience, which could also be said about a lot of pretentiously vacuous art made in the decades since. Texas artist Seth Alverson bluntly said of the chapel, Its a place where art and life and imagination go to die. Even New York art critic and artist Brian ODoherty, who was a great defender of Rothko, referred to it in 1973 as at worst a well-designed crematorium.

The critique often extends to the paintings themselves. Gallons of ink have been spilled about their color subtleties and their many restorations. But regardless of how perfectly lit they are or how well theyve held up over the decades, the fact remains that they are essentially black monochromes. Dominique de Menil, who, along with her husband, John, commissioned Rothko to create the chapel, reportedly said of her first impression of the paintings, Frankly, I expected color. Rothko, for his part, noted that it had taken him a year to decide what he wanted the paintings to be: something you dont want to look at.

Admittedly, it may be facile to draw a direct correlation between light colors and happiness and dark colors and sadness. But many people find the chapel to be depressing. Personally, I have visited the chapel many times since I was a child, and I have yet to be transported by it. Whats interesting is that Rothko himself probably would have been unhappy with the way the chapel has looked all these years. Although he envisioned the space as muted and meditative and made paintings to achieve that effect, it has never looked as he imagined it.

The chapel interior restoration in progress, including its new skylight.

Photograph by Arturo Olmos

In the sixties, Houston art patrons John and Dominique de Menil offered the New Yorkbased Rothko the opportunity to design a chapel for the citys University of St. Thomas, a private Catholic college. A Russian Jew by birth, Rothko did not practice religion in any conventional sense. But he jumped at the chance to design a Catholic chapel with modernist sensibilitiesnot another church filled with crucifixes, as his son Christopher says, but something that would speak to a contemporary mind and a contemporary spirit.

The project encountered difficulties from the start. The architect Philip Johnson was initially commissioned to design the chapel where Rothkos paintings would be installed. But the chapel wasnt big enough for those two colossal egos, and Johnson walked off the project early on when it became clear that Rothkos ideas for the building had no room for Johnsons. (Looking at Johnsons design now, its hard to imagine the triumphal building with its sixty-foot spire as the Rothko Chapel. Johnson wanted showy architecture, which could not be further from the low-ceilinged brick structure that Rothko envisioned.) Rothko now had total design control over the chapel, which is exceedingly rare for artists.

Rothko rented a large carriage house in New York City where he could experiment with a scale model of the room. The building had a big skylight that he loved, and he decided his chapel would have one, too. He had regarded the studio as a place to model the chapel, and he ended up modeling the chapel on the studio: it would be an octagonal space with a single large skylight, its most important architectural element and the primary source of light. His dark paintings would exist in a soft glow of natural light that would reflect the changes in season, weather, and time of day.

It was beautifulin theory. But there were practicalities to work out, and in early 1970, three years after completing the paintings but before construction of the chapel began, Rothko committed suicide. In the wake of his death, the de Menils were left to parse out his intentions: What Would Rothko Do? Dominique de Menil must have keenly felt the onus to fulfill the late artists wishes, given the monumental solemnity of the chapel, his final commission. To further complicate things, the de Menils had a falling-out with the University of St. Thomas, moved the chapel off campus, and made it nondenominational, with an interfaith mission of uniting people from different religions. (Its unclear if Rothko ever knew that the chapel would not be Catholic. After his death the de Menils stuck to his design as envisioned, which is why the chapel retains echoes of Catholicism: its fourteen paintings likely correspond to the number of the Stations of the Cross, and one of its triptychs has a raised central panel that plainly suggests an altarpiece.)

Barnett Newmans Broken Obelisk, outside of the Rothko Chapel, during renovations in Houston onMay 18, 2020.

Photograph by Arturo Olmos

Finally, construction moved forward. When the chapel was completed, however, a new problem emerged: the skylight. Rothko never visited Houston, but Philip Johnson knew Texas light, having already designed the de Menil house and other buildings in the state. Hed warned that a large skylight in Houston wouldnt achieve the soft, ambient, Upper East Side light that Rothko wanted. He was right.

People who visited the chapel when it first opened, in 1971, spoke of a column of light that blazed into the room, simultaneously damaging the paintings and obscuring them, cast as they were in relative darkness around the perimeter of the space. All the subtleties of the paintings vanished in the intense Texas sun.

And so began years of attempts to try to get the lighting right. First, the curators installed a scrim over the ceiling. This proved insufficient, and in 1976 the decision was made to install a giant baffle that blocked much of the skylight. The baffle worked, sort of, in that it successfully dimmed the light. But it also exacerbated the chapels gloominess. Most visitors have never seen the chapel without this black spaceship (as Christopher Rothko puts it) hovering above their heads. Many people dont even realize the chapel has a skylight.

The baffle didnt just lower the ceiling and darken the space excessively. It also meant that the windowless chapels single connection to the outside world, its pressure valve, in the words of Christopher Rothko, was gone. Ancient sacred buildings often had an aperture in the roof that could symbolize a connection to the transcendent (think of the Pantheon in Rome). Perhaps because we think of Rothko as a gloomy figure, we assume that he intended for the chapel to be an intensely somber space. But while he meant for it to be dark and contemplative, he surely didnt want it to feel like a cave of despair.

Blue tape outlines where Rothkos paintings will be rehung after the restoration is complete.

Photograph by Arturo Olmos

A detail of the new skylight.

Photograph by Arturo Olmos

Blue tape outlines where Rothkos paintings will be rehung after the restoration is complete.

Photograph by Arturo Olmos

A detail of the new skylight.

Photograph by Arturo Olmos

Given the skylights importance to the chapel, no effort has been spared to get it right. The new skylight was designed by the Washington, D.C., lighting firm George Sexton Associates, which has worked on prominent museums and houses of worship around the world. The skylight it created is made up of multiple layers of UV-resistant glass screened by louversessentially large venetian blindsto mitigate Houstons harsh daylight.

In addition, the spaces glass doors, added to the interior of the chapel in 2000 to ward off excessive humidity that damaged the paintings, have been removed; this restored an entry foyer that feels more spacious and elegant. Theres also a smart new visitors center across the street. In a second phase of construction (the timing of which has been thrown into uncertainty by COVID-19), a new archive building and a programming center will also be built, allowing for more events and for the memorial services, weddings, receptions, and bar and bat mitzvahs the chapel has always hosted.

Perhaps the most significant change for some visitors will not be the chapel itself but the area outside. The Houston office of the Virginia-based landscape architecture firm Nelson Byrd Woltz has taken a forgettable patch of landwho knew the Rothko Chapel had a side garden?and made it inviting, with long, pleasant alles of birch trees. Theyve also replaced the forbidding wall of bamboo around the chapels reflecting pool with a more porous and attractive border of tall Savannah holly.

Enormous thought, effort, and money have gone into this project. The chapels many fans should be pleased. But will the changes also change the hearts and minds of its critics?

I recently visited the chapel, still under construction but with the skylight installed, on an overcast afternoon. The light in the room was more even, ambient, and brighter than I remembered. It was still gloomy, but more pleasantly sopensive, rather than melancholy.

Stilland with the caveat that I have not seen it with the paintings reinstalledI remain unmoved by the chapel. While I have grown to appreciate the sincerity of Rothkos ambition, which I think was to deliver no less than the experience of a different plane of existence, two things prevent me from joining the ranks of worshippers: my personal taste and my approach to faith. To love the Rothko Chapel, you have to love modernism, a historic movement that pushed abstraction, both in art and architecture, to its logical dead end. The modernist architect Le Corbusier said that a house is a machine for living in, and I think the Rothko Chapel is a machine for worship. I have always found it to be a little too dry and puritanical, although perhaps its not the sparseness I object to so much as the zealous sanctimony it inspires in some people.

As for faith, there is the art of religion, and there is the religion of art, and the Rothko Chapel aspires to embody both. With the art of religion, you dont have to buy into the religion to love the art. By contrast, the chapel is a religion unto itselfit demands that you believe in it. Without any theology at its core, however, that belief is unfixed and open-ended.

To put it another way, all religions tell stories, and the Rothko Chapel has no stories to tell. Whether this is an asset or a flaw depends on your point of view. Like any religion, the chapel comes down to a question of faith. You either believe in it or you dont.

The Rothko Chapel is scheduled to reopen in mid-July with a limited capacity, timed tickets, and visits limited to thirty minutes. It will remain free.

This article originally appeared in the July 2020 issue of Texas Monthlywith the headline Let There Be Light. Subscribe today.

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Critics of the Rothko Chapel Say Its Too SomberWill a Pricey Restoration and Skylight Change That? - Texas Monthly

What has changed and what has Covid taught us about public realm?

It has taught us that public realm can be reconfigured quickly. In London, the GLA Streetspace initiative has rapidly and radically changed the way we use and interact with public open space. It has also taught us that this change is easy to enact and well supported when the purpose of the change is very clear; replacing the sometimes confusing jargon of the landscape architect and the town-planner with simple, clear messages like easier, safer cycling and walking, improved air quality and better public health.

Covid has also shown us that public realm does not have to be dominated by cars and other motor vehicles. Currently temporary measures to make roads shared space have captured imagination and demonstrated the possibility of more engaging, more inclusive and genuinely less polluted urban areas. There is a tension however as appetite for convenience re-asserts itself over these less easily defined benefits and we would be unwise to write the motor vehicle out of the public realm script just yet.

Covid has also taught us that it is easy to genuinely engage the community in defining what public realm it wants. It has rapidly accelerated the transformation of community engagement from a dreary and formulaic ritual, all-too-often mistrusted by communities and distained by authorities to a rich, multi-faceted relationship that jointly defines need, shapes designs and curates outcomes. There is still a long way to go on this journey but Covid has accelerated us along the way.

As well as faster change, the challenging of transportation shibboleths and better engagement, there are encouraging signs that public realm design is becoming more bold, more willing to experiment and less bound by convention. Fail Fast Fail Often is more normally associated with tech innovation than in public realm design but we are seeing promising indications that public realm can be experimental, temporary and intuitive to very rapidly changing community needs. We can expect to see public realm become progressively less monolithic and more pop-up, using richer community engagement to flex and adapt to community needs

Public realm will be a key component in a post-Covid green recovery. Even before the crisis, more and more organisations declared climate emergencies and, with them, ambitious commitments to de-carbonising our communities. Putting public realm at the heart of this is simply too good an opportunity to miss.

There are already great examples of this globally from Bostons Big-Dig (pictured) to New Yorks Dryline to Amsterdam and the Randstats focus on polycentricity; the use of imaginative public realm as part of a placemaking strategy to create a multitude of self-sustaining, 20-minute communities, rather than one urban centre, surrounded by residential dormitories. Already we are seeing an increasing appetite for zero-carbon master-planning which quantifies and codifies the net carbon position of place.

Experiences of lockdown have made communities more aware of their relationship with and reliance on public realm. More than ever, people realise that public realm done well supports their health and well-being, focuses their communities and improves their quality of life. We can expect that public realm design can no longer be a semi-detached afterthought to master planning or a stand-alone transport strategy divorced from the place it supports. We can expect to see greater integration than ever of public realm and transportation design into placemaking including in the development of the benefits-case for place.

In 1665, Sir Isaac Newton had his Year of Wonders when, isolated from all distractions on his family estate in Lincolnshire due to the plague epidemic of that year, he used the time to revolutionise humankinds understanding and application of science. Will 2020 represent a Year of Wonders for designers of public realm, with similar revolutionary advancement? The opportunity is there...

Peter Hogg is UK cities director at Arcadis UK

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Changing the face of public realm design post-Covid - LocalGov

In Magic: The Gathering, control decks are reactive and favor the long game. Here are some tips for winning with a control deck.

InMagic: The Gathering, there are several broad strategic archetypes, including aggro, midrange, tempo, combo and control. And while the lattermost of those may be the slowest, it's perhaps the strongest. Control decks are usually centered around Blue mana, which in turn is rooted in counterspells, altering time, seeing into the future, and crafting elaborate plans. This makes Blue tailor-made for control deck shells, and White and Black make for excellent support, with Red or Green sometimes joining in the fun.

Here are some tips for making the most of a control deck.

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Blue will likely be your central color, and it gives you counterspells, card draw spells and effects,as well asa few finishers. Two-mana counterspells are vital, with Mana Leak, Remand and the classic Counterspell being staples. Some three-mana counterspells might also be used, such as Dissolve (scry 1) and Render Silent, which also costs White mana but can preventopponentsfrom casting any further spells that turn. Absorb also adds White mana to Blue in its cost,allowing players togain 3 life in the process.Sideboards may contain more specific counterspells, such as Counterflux for control mirrors (it can't be countered), Spell Snare (counters 2-drop spells) and Dispel (counters any instant for just one Blue mana). Manaless counterspells like Force of Negation in Modern or Force of Will in Legacy will also work.

Removal spells for control are based on Red, Black and White. Some of those include Path to Exile/Swords to Plowshares, Fatal Push, Mortify, Lightning Bolt, Lightning Helix, Unmake and Terminate. These spells can hit most creatures and help deal with creaturesplayerswere too late to counter or didn't want to counter. Board wipes are also a great emergency option that can generate huge card advantage, since opponents may lose several cardwhile you lose just one. Wrath of God, Damnation, Fumigate and Supreme Verdict are all solid options.

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Control decks are reactive, tending to rely on counterspells and/orremoval in the first few turns. However, avoid "dead" turns where you don't end up casting any reactive spells like these. If that situation happens, you'll want some backup, non-reactive spells, such as Think Twice, to give you something to do. If you're running Blue, White and Black, you can cast Esper Charm during these dead turns to draw cards or make your opponent discard them. Snapcaster Mage is also an option, as is Sphinx's Revelation.

Black mana gives you the power of hand control, so you can see which cards your opponent has ahead of time and get rid of the most problematic ones. Thoughtseize, Inquisition of Kozilek and Duress are common options.

Finally, be sure to include finishers: Cards that are powerful and win you the game. You'll only have a few, since one or two can go a long way, and you don't want an opening hand that's packed with them. Good examples include Celestial Colonnade, Jace the Mind Sculptor, therling, Ugin, the Spirit Dragon, Batterskull and any of the two-color Niv-Mizzet creatures.

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A major aspect of playing control is discretion. You won't counter every spell or remove every creature, since you don't have the sheer card power for that. Instead, you must know what is and isn't a vital threat, saving your removal/counters for cards that you can't handle. This is why control is also known as a "permission" strategy. You may, for example, let a 2/2 creature enter the battlefield but say no to a 3/3 that shows up the next turn. This is especially important against combo decks, which can win the game out of nowhere with just the right cards. Countering just the right spell can keep your opponent on the defensive, and they won't have much to do if their combo is locked away. Patience is key, and the early game is about surviving, not establishing dominance. Instead, the goal is to keep your opponent from establishing dominance.

Meta-knowledge is also essential for playing control, since this is a reactive deck. Your spells and sideboard should be tailor-made to the local meta of your chosen format and/or local game store, since not all control-oriented card are "jack of all trades." If there's a lot of artifacts in your meta, include cards like Steel Sabotage or Stony Silence in the sideboard, and if graveyard-oriented decks are common, go for cards like Relic of Progenitus, Rest in Peace and Leyline of the Void, though bear in mind they may hurt your graveyard, too.

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I graduated high school in Kansas City in 2009, then earned my Associate's in Arts in 2011 at MCC Longview, then my BA in Creative Writing at UMKC in 2013. I have a passion for creative fiction and I've studied and practiced my craft for over ten years. Currently, I'm expanding my resume and skill set with jobs such as SEO writing and journalism.

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Magic: The Gathering - General Strategies for Playing With Control Decks - CBR - Comic Book Resources