Having heart valve replacement later in the day was tied to fewer complications.
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Wednesday, November 1, 2017
Disfiguring a PoMo Icon
On Monday Snøhetta released renderings of their proposed renovation of 550 Madison Avenue, better known as the AT&T Building, designed by Philip Johnson and John Burgee and completed in 1984. The main rendering reveals that a section of the pink-granite base facing Madison would be removed in favor of a wavy glass wall exposing the innards of the lower floors, including diagonal steel bracing located just behind the facade.
[Rendering: DBOX, courtesy of Snøhetta]
The main argument for what is effectively a disfigurement of a Postmodern icon is, in the words of Snøhetta, that "the recognizable top of the tower will remain a fixture of the New York City skyline." Even though the oft-called Chippendale top of the AT&T Building is its most recognizable feature, it is not a separate entity from the base. Base and top are two parts of a total composition, one that emphasized weight and aperture at a time when glass and skin were the norm.
To reacquaint myself with Johnson's building, which I walk by a fair deal but don't actively engage with very much, during my lunch hour today I walked around the building, snapping these photos with my phone. Rounding the corner at 55th Street and Madison Avenue, I was surprised to see a sidewalk shed wrapping the base. Did work on the Snøhetta plan start already?
Perusing the NYC BIS (Building Information System) for 550 Madison Avenue, I could see a bunch of permits pulled for interior work (sprinklers, non-bearing partitions, etc.) as well as one for Local Law 11 facade repairs, but I didn't see anything for work to be done on the base. The early-August permit for Local Law 11, which is required every five years to ensure pedestrian safety, is most likely the culprit, especially since the sidewalk shed permit was pulled one week later. Setting aside the sidewalk shed, it's worth comparing the base of the building today with it as originally built. Here is a photo by Mary Ann Sullivan that shows the arcade that faced Madison Avenue and wrapped around the building to the POPS (privately owned public space) and annex on the west side of the tower.
The change from arcade to enclosure happened when AT&T sold the building to Sony, who hired Charles Gwathmey's firm "to transform the structure into the world headquarters of its music entertainment division and motion picture group." The changes, completed in 1993, included "enclosing the soaring, 60-foot-high arcades flanking the north and south sides of the original building with aluminum-framed bay windows [to] recast the previously open spaces as two entertainment retail stores." Here is a model of Johnson's scheme from around 1979 showing the arcade wrapping around 55th Street toward the open POPS on the west side of the tower.
Instead of arcades, there are now narrow walkways with banners signaling the POPS:
And instead of open, the POPS is capped by glass walls at the ends:
How did this happen? Per Jerold Kayden at APOPS, "[In 1992] Sony proposed to eliminate 10,560 square feet of arcade ... and to replace it with 6,050 square feet of indoor retail space, much of it along the Madison Avenue frontage. ... [Sony also offered to] enlarge its covered pedestrian space, located at the rear of the building and connecting East 55th and 56th Streets ... and to render it climate controlled. ... Sony also proposed to ... replace the AT&T Infoquest Center with its own exhibit center, called SonyWonder Technology Lab, in the annex."
In other words, Sony moved around some of its legally required public space and conditioned some of it to gain city approval, which they obviously got. But Sony sold the building in 2013 and therefore removed its Wonder lab, so the once-crowded POPS is now a pretty abysmal space, even during a weekday lunch hour:
All of this backstory is to bring a couple things to the fore:
Ultimately, the biggest argument used by people opposing Snøhetta's renovation plan is that base and top are wed together (the above photo tries to show that) and that the wavy glass skin would obliterate that relationship. But since the building is not a NYC landmark, the changes by Snøhetta for Olayan and Chelsfield are not subject to public review. Nevertheless, one preservationist "has submitted a formal request for evaluation to the city’s Landmarks Preservation Commission for both the building’s exterior and interior lobby" (Gwathmey did not touch the latter). Furthermore, there are a petition and protest (Friday, November 1 at 1pm) aimed at derailing Snøhetta's plans. Too bad opposition to Sony's plan, if any, didn't achieve the same back in 1993.
from A Daily Dose of Architecture http://ift.tt/2zYMdjE
[Rendering: DBOX, courtesy of Snøhetta]
The main argument for what is effectively a disfigurement of a Postmodern icon is, in the words of Snøhetta, that "the recognizable top of the tower will remain a fixture of the New York City skyline." Even though the oft-called Chippendale top of the AT&T Building is its most recognizable feature, it is not a separate entity from the base. Base and top are two parts of a total composition, one that emphasized weight and aperture at a time when glass and skin were the norm.
To reacquaint myself with Johnson's building, which I walk by a fair deal but don't actively engage with very much, during my lunch hour today I walked around the building, snapping these photos with my phone. Rounding the corner at 55th Street and Madison Avenue, I was surprised to see a sidewalk shed wrapping the base. Did work on the Snøhetta plan start already?
Perusing the NYC BIS (Building Information System) for 550 Madison Avenue, I could see a bunch of permits pulled for interior work (sprinklers, non-bearing partitions, etc.) as well as one for Local Law 11 facade repairs, but I didn't see anything for work to be done on the base. The early-August permit for Local Law 11, which is required every five years to ensure pedestrian safety, is most likely the culprit, especially since the sidewalk shed permit was pulled one week later. Setting aside the sidewalk shed, it's worth comparing the base of the building today with it as originally built. Here is a photo by Mary Ann Sullivan that shows the arcade that faced Madison Avenue and wrapped around the building to the POPS (privately owned public space) and annex on the west side of the tower.
The change from arcade to enclosure happened when AT&T sold the building to Sony, who hired Charles Gwathmey's firm "to transform the structure into the world headquarters of its music entertainment division and motion picture group." The changes, completed in 1993, included "enclosing the soaring, 60-foot-high arcades flanking the north and south sides of the original building with aluminum-framed bay windows [to] recast the previously open spaces as two entertainment retail stores." Here is a model of Johnson's scheme from around 1979 showing the arcade wrapping around 55th Street toward the open POPS on the west side of the tower.
Instead of arcades, there are now narrow walkways with banners signaling the POPS:
And instead of open, the POPS is capped by glass walls at the ends:
How did this happen? Per Jerold Kayden at APOPS, "[In 1992] Sony proposed to eliminate 10,560 square feet of arcade ... and to replace it with 6,050 square feet of indoor retail space, much of it along the Madison Avenue frontage. ... [Sony also offered to] enlarge its covered pedestrian space, located at the rear of the building and connecting East 55th and 56th Streets ... and to render it climate controlled. ... Sony also proposed to ... replace the AT&T Infoquest Center with its own exhibit center, called SonyWonder Technology Lab, in the annex."
In other words, Sony moved around some of its legally required public space and conditioned some of it to gain city approval, which they obviously got. But Sony sold the building in 2013 and therefore removed its Wonder lab, so the once-crowded POPS is now a pretty abysmal space, even during a weekday lunch hour:
All of this backstory is to bring a couple things to the fore:
- Charles Gwathmey was the first architect to disfigure the AT&T Building, doing it when the building was not even ten years old.
- The character of the building that Snøhetta is responding to in its attempt to "transform the base into an inviting street front" is more Gwathmey's doing than it is Johnson's original.
Ultimately, the biggest argument used by people opposing Snøhetta's renovation plan is that base and top are wed together (the above photo tries to show that) and that the wavy glass skin would obliterate that relationship. But since the building is not a NYC landmark, the changes by Snøhetta for Olayan and Chelsfield are not subject to public review. Nevertheless, one preservationist "has submitted a formal request for evaluation to the city’s Landmarks Preservation Commission for both the building’s exterior and interior lobby" (Gwathmey did not touch the latter). Furthermore, there are a petition and protest (Friday, November 1 at 1pm) aimed at derailing Snøhetta's plans. Too bad opposition to Sony's plan, if any, didn't achieve the same back in 1993.
from A Daily Dose of Architecture http://ift.tt/2zYMdjE
Renowned golf instructor Fred Griffin teams up with Upstep to help develop the next generation of custom orthotics for golfers
November 1, 2017 – Renowned golf instructor Fred Griffin is teaming up with Upstep (www.upstep.com) to help develop and promote custom orthotics for golfers. An early adopter of the product, Griffin – a Golf Magazine top 100 teacher – will be involved in the development and testing of the next generation of Upstep’s unique custom golf orthotics. The company introduced a first of a kind product specifically for golfers in June.
“A great golf swing is built from the ground up with Upstep Custom Golf Orthotics which assure solid support and stabilization of the foot for your best game,” said Griffin, who has been serving as the director of instruction at the Grand Cypress Academy of Golf (formerly the Jack Nicklaus Academy of Golf) in Orlando, Florida, since it opened in 1986. After using Upstep’s custom golf orthotics for a year now Griffin noted that “the improved performance, comfort and stability on the range and on the golf course is significant.”
The Upstep custom golf orthotics allow golfers to avoid foot pain while enhancing their energy, supporting natural movement, stabilizing posture, and improving their dynamics and enjoyment of the game. Designed by world-class podiatrists, the online service for golfers is the latest segment of the market Upstep has entered with prices that represent a 30%-50% savings over the direct purchase from podiatrists.
Griffin will be joining Oren Geri, Upstep’s golf market director. Geri is a former Israeli golf champion and a familiar face to the American public due to his participation in two seasons of the reality show Big Break.
Oren Geri, Upstep’s golf market director, said: “We wanted to work with someone who is an experienced innovator in golf and will also give us the proper feedback on the product. Fred was my first choice. He liked the idea and concept immediately, but indeed took his time with extensive trial and research before giving the product his nod and endorsement. Now he can’t wait to innovate more. Golfers are a special elite target audience and these are the qualities they appreciate when seeking product recommendation.”
Upstep was founded by Limor Katz, Aviad Raz, and Oren Raz, all siblings. The company lets customers anywhere in the U.S. get fitted with top of the line custom orthotics. Delivery is quick and the service guarantees full customer satisfaction.
Through the Upstep service, orders are made on two available platforms. On the online platform, customers order the orthotics online and receive the footprint kit at home. The customer then follows the simple instructions to make a foot imprint and sends it back to the company, prepaid. Upstep uses 3D technology to scan the footprint. The orthotics are custom designed by a top podiatrist, based on each customer’s unique specifications. The technology also offers a platform that takes various work or athletic factors into account in order to meet the individual customer’s needs. All the process is done from the comfort of the golfer’s home.
The second purchasing platform utilizes golf pros and retailers. The golf retail platform enables a “hands on” fitting process, where the golf coach, pro or fitter are involved and aid with their input and their student’s foot impression. The orthotics, produced by advanced manufacturing methods with innovative materials, are sent directly to the customer’s home. The standard price of Upstep custom golf orthotics is $239.
from Golf News Wire http://ift.tt/2gT2cs0
Golf Pride Unveils Plans for New Purpose-Built Facility at Pinehurst Resort
Golf Pride Unveils Plans for New Purpose-Built Facility at Pinehurst Resort to Accelerate Product Innovation and Drive Global Operations
SOUTHERN PINES, N.C. … Eaton announced today that its Golf Pride Grips Division plans to develop an exciting new purpose-built facility in Pinehurst, N.C. – America’s Home of Golf. The new facility will create a unique space to accelerate new product development and manage the global fulfillment of product around the world. In addition to its global management and professional teams, the site will include an R&D lab with rapid prototyping capabilities, as well as a new consumer grip fitting studio. Golf Pride plans to move to this new facility in early 2019.
As a proud business partner of North Carolina since 1969, Golf Pride’s new home will be located within the Pinehurst Resort, next to the Tom Fazio-designed, and highly-acclaimed, Pinehurst No. 8 course. Golf Pride looked at several sites, but chose Pinehurst Resort because it was a great location and a great brand partnership as well. The new facility, which will be located within the gates of No. 8, will give Golf Pride a great platform to test new product ideas with a steady stream of golfers visiting Pinehurst Resort from around the world.
Golf Pride has a rich 70-year history and has been the grip choice for generations of golfers. With this new facility, the brand believes it will enable it to be the grip of choice for decades of golfers to come. The new facility will put the grip fitting experience front and center to reinforce Golf Pride’s connection with golfers in product development. This exclusive grip fitting studio will replicate the services available to professional golfers on Tour. It will be an appointment-only experience that offers an “inside the ropes” personalized concierge-quality service that all avid golfers will want to enjoy. Golf Pride also plans to use the fitting studio to test new product concepts and expedite the process of translating consumer insight into new products that provide golfers the confidence to play their best golf.
In designing the new building, Golf Pride felt strongly that it needed to respect the heritage and tradition of the Pinehurst area, while also creating a space that features Golf Pride’s innovation efforts that have been instrumental in it becoming one of the top brands in golf. The exterior of the building
features more traditional design elements and materials specifically inspired by the local Pinehurst area, while the interior of the facility will open up to a modern work environment that fits a global brand and the needs of its talented employees. This new facility will leverage the latest in work space design to help Golf Pride employees do their best work and to encourage even better cross-functional collaboration. The site will feature a plethora of different work and meeting spaces to fit a variety of different activities.
“Golf Pride is committed to delivering a steady stream of exciting new grip technologies to the market,” said James Ledford, president of Golf Pride. “Externally, the market reaction to our new products has been great. Internally, our employees are incredibly excited about the new products as well. That said, we have also seen the need for a new purpose-built facility that helps us streamline and accelerate our innovation efforts even more. We want to make innovation easier and faster. We are thrilled about this opportunity to create an ideal site right next to Pinehurst No. 8. As golfers, we genuinely appreciate the Pinehurst Resort experience and we respect the work they have done recently to innovate their own world-class facilities. We have big expectations for our new home and we see it as a once in a generation move to set us up for future success.”
“Golf Pride is a brand with a rich place in the history of golf, one that has continuously demonstrated an appreciation for the game, so we are excited to align ourselves with them as they continue to grow,” said Tom Pashley, president of Pinehurst Resort. “We are confident that Golf Pride will bring new and exciting experiences to our members and resort guests as well, while helping us preserve the tradition and heritage for which Pinehurst Resort and the Village are known.”
The development process will start with Pinehurst Resort making a proposal to the Village of Pinehurst to rezone the land. If that proposal is approved, The Kuester Companies, who is signing a build-to-suit lease with Golf Pride, will submit a permit application with the goal of breaking ground as early as December 2017. Golf Pride plans to move into the new facility in early 2019.
Eaton’s Golf Pride Grips Division is the world’s largest manufacturer of golf grips, with manufacturing, sales and distribution facilities on six continents. The division’s Golf Pride brand is recognized globally as the number one choice in grips among TOUR and recreational players, competitive amateur golfers, club manufacturers and club repairmen. For more information, visit www.golfpride.com.
Eaton is a power management company with 2016 sales of $19.7 billion. Eaton provides energy-efficient solutions that help our customers effectively manage electrical, hydraulic and mechanical power more efficiently, safely and sustainably. Eaton has approximately 95,000 employees and sells products to customers in more than 175 countries. For more information, visit www.eaton.com.
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From Hurricanes to Protest Movements, Food Is a Way In
More often than not, food offers a powerful, surprising and sometimes uplifting path through difficult news events.
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Tapping Into Dementia Patients’ Memories Through Vaudeville
Performers offer songs, jokes and magic tricks that rely on familiar touchstones.
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Brand Identity for Cienne by Lotta Nieminen“Cienne is a New...
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
Brand Identity for Cienne by Lotta Nieminen
“Cienne is a New York-based women’s ready-to-wear collection. The brand is socially and environmentally conscious, with an elevated aesthetic. A Cienne woman is strong and fun, sophisticated but adventurous. To embody these qualities, the identity relies heavily upon a vibrant, bold color palette, pulled from the stripes of a fabric used in the very first collection. As the brand’s versatile silhouettes, the brand colors are designed to be layered or stand alone, and last longer than just a season.”
Lotta Nieminen Studio is an award-winning graphic design, art direction and illustration studio, creating holistic visual solutions for clients across discpilines. Passionate about finding the best tools to execute content-driven visuals, the studio works as a creative partner in all aspects branding, bringing visual identities to life through thoughtfully crafted printed and digital implementations.
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