SEARCH RESULTS

Ciao Italy — Ancona, Urbino and Rome; compliments iGuzzini, Sistemalux and Dulanski Group. Part 1: Fratelli Guzzini factory visit in Ancona Leni peers through a transparent display of Guzzini tableware Guzzini’s “Multimateriality and the culture of detail” household articles have been created since 1912 –when oxbow horn was molded  into objects. Fratelli Guzzini introduced plexiglas to the domestic landscape in 1938.  In 1940 Guzzini designers formed clear plastic tableware, in 1950 elegant and colorful plastics for the table were designed and these lines have  been recently reissued.  In 1960 they created moldable acrylic forms. In1970 melamine was invented (growing up in LA our family table was set with white melamine and Russel Wright‘s grey and brown ceramic dinnerware). In 1980 mixed materials such as porcelain and steel articles were manufactured and in the 1990s gas-assisted injection moulding techniques were used. Guzzini 2008 - Horeca happy hour line by designer Viglino Carlo Currently Guzzini is focusing on innovating and continuing to develop the company’s unique style, “suggestive furniture objects” and making acrylic tableware that is “difficult to copy”. I noticed that designers are proudly referenced at the Guzzini lines whether for tableware, bath/spa design or lighting. More to come… #design #factoryvisit #color #innovation #LinkedIn #Italy

In 2005, New Jersey’s waterside Liberty Science Center’s Great Hall building design was substantially underway. A revitalized science mission, education and exhibitry had been developed as well as a new entry lobby for the museum. Liberty Science Center’s curator and architect had a temporary site set aside for public art: a large wall over the ticket counter. They had envisioned a two-dimensional digital artwork. My response to the Liberty Science Center challenge was to “pull” the artwork location off the wall and into the spatial environment Supported by Light Projects’ staff industrial designer Courtney Hewitt and architect Ute Besenecker, my studio commenced concept brainstorming and three-dimensional virtual modeling. I envisioned an active hybrid of art, science and play—typified by Picasso’s portrait of Dora Marr, the Eames 1961 exhibit, Mathematica: A World of Numbers—especially the ping-pong balls of probability and Qubic, the 1970’s transparent dimensional checkers game (a layered set of clear Plexiglas boards upon and through which three-dimensional Tic-Tac-Toe was played). The Picasso portrait is an amalgam of various views and cubistic stacking of the subject. Analogously, we intended to expose the visitor’s figure through a fragmented pixilated display. Through random movement of objects the Eames’s probability exhibit demonstrated an expected result of probability, inspiring me to utilize probable visitor traffic patterns in our own interactive artwork. Mathematica Exhibit 1961 Ed Purver, an interactive video designer, came on board to add a rich new layer of possibility. From here, we were able to communicate our ideas of interaction, color palette and spatial form and see them come to life. Reflecting upon and reinterpreting the Liberty Science Center’s doctrine that every person’s actions affect everyone else on the planet—and conversely how global changes affect each one of us—the installation captures the movement of every visitor as they circulate throughout the Science Court. The composite of multiple visitor movements creates an ever-changing, three-dimensional “spatial portrait” suspended in the mid-space of the Court, eleven feet above the floor. From multiple positions in the Court, sensors and video cameras track visitors’ movements. Through digital processing and switching, this information is translated and transformed into the artwork.  In sections, floating from the ceiling, hangs 108 strands of eight-foot LED-light pendants—a dazzling show of light in real time, with each and every visitor contributing an element to the spatial portrait. The information displayed in the LED array consists of three different programming concepts each offering a different interpretation of the movement in the Science Court. These concepts are defined in the following ways: Dora Marr Pablo Picasso, 1941 Figurative The figurative concept marks the entry of visitors into the Science Court. Visitors’ colors, shapes and movements are captured by avideo camera at a designated area close to the main entrance. This visual information is pixilated, reassembled and fed into the LED array—and is viewable from multiple vantage points in the Court. Like a three-dimensional mirror of light, the interacting visitors and other occupants of the space may view a low-resolution depiction of their actions displayed in real-time. As they gather, perform and play—swirling a scarf, waving hands, dancing around with friends—the visitors interact with and alter their oversized representation in the spatial field. The figurative concept is the dominant program and continues to be active as long as there are people standing in the designated location interacting with the camera. Qubic Parker Brothers 1960-70’s Diagrammatic The diagrammatic concept celebrates the passing of time and movement in the Science Court. Cameras positioned around the LED array track visitors’ presence throughout the Court’s monitored area. As people move through the space, their progress is tracked—drawn into the spatial field above and represented in two preselected colors, orange and white. Through digital comparison of the crowd-circulation patterns and associated X-Y coordinates, visual data from the floor is scaled down to the smaller size of the artwork’s display field and extruded up into the sculpture. Vivid bursts of color are displayed in the LED array when people cross paths during a set period of time. The content of this colorful burst consists of processed pre-recorded video of the Hoberman Sphere cycle—a kinetic sculpture suspended nearby. Added sparkle originating in the video’s inherent fractal noise energizes the resultant visual sequence. Quiet Time Whereas the figurative program celebrates the visitors’ entry into the space and the diagrammatic program celebrates their movement throughout the space, the Quiet Time program celebrates the sculptural dialogue with the Hoberman Sphere located nearby. During the quiet moments, as the Science Court awaits its next round of visitors, the LED spatial array displays the expansion and contraction of the Hoberman Sphere. Through pre-recorded black and white video of the Sphere—shimmering with the variegated color palette—the imagery reinforces the quietness of the space by visually resonating in concert with the Sphere. #interactiveinstallation #LinkedIn #LED #artwork #publicart

The visiting agencies were very helpful with the certification forms.  Additionally, we visited with MTA/LIRR and learned about the GEC (General Engineer Contracts), which is a pre-qualified list for MTA work and discussed issues of public sector projects with other W/M/D BE business owners and contractors.  We spoke with the dynamic and enthusiastic Women Builders Council representatives. The Council provides advocacy, mentoring, capacity building, procurement opportunities and best practices. Organizing Agencies: • New York State Department of Transportation – NYSDOT • Empire State Development Corporation – ESDC • Port Authority of New York/New Jersey – PANYNJ • Federal Highway Administration – FHWA Supporting Organizations: • General Contractors Association of New York – GCA/NY • Long Island Contractors Association, Inc – LICA • The Associated General Contractors of New York State – AGC/NY • General Building Contractors of New York State – GBC/NYS • Construction Industry Council of Westchester & Hudson Valley – CIC • New York Roadway Improvement Coalition – NYRIC • American Council of Engineering Companies of New York – ACEC • Metropolitan Transportation Authority of New York – MTA • US Dept of Commerce – Minority Business Development Agency • US DOT – Office of Small & Disadvantaged Business Utilization • Regional Alliance for Small Contractors • Women Builders Council, Inc • Jamaica Business Resource Center • Conference of Minority Transportation Officials Partners: • Association of Minority Enterprises of New York • National Hispanic Business Group • Asian Women in Business • Professional Women in Construction • New York State Minority Contractors Association • Minority Contractors Association of New York #construction #DBE #NewYork #Infrastructure #publicagencies #LinkedIn #WBE

Greater New York Construction User Council Panelists: Jason Bram (economist, Federal Reserve Bank of New York), Seth Pinsky (President, New York City Economic Development Corporation – NYCEDC), Elliot Sander (Executive Director and Chief Executive Officer of the Metropolitan Transportation Authority – MTA), Christopher O. Ward (Executive Director of the Port Authority of New York and New Jersey – PANYNJ) The event was very well attended. Each panelist opened by explaining construction and budget issues during the next period. The real-estate blog GreenPearl covers these facts and figures. Mr. Sander brought along a rail marker signal; “my friend Mike”, and explained that the signal systems have to be upgraded and that they are doing so for the Number 7 line and Queen’s Plaza. In regards to technology and innovation, he said that when the engineers first removed this, the standard signal, they assumed that it was manufactured in the 1930’s, and it may have been, but it was revelatory when they looked at the engraved patent label, it said 1912! My contribution was to ask about the importance of aesthetics and innovation in infrastructure developments during the Q&A. Chris Ward cited the concept of “creative cities” and how aesthetics add value to the urban environment. He opined that “engineering and aesthetics can create new models”. And reminded the audience that Christo’s Central Park “The Gates” brought record revenues into NYC. Mr. Ward noted that it was a “balancing act” – “expense versus look and feel” of a in terms of infrastructural projects. On the question of sustainability and how the agencies were applying these principles to infrastructure, Mr. Ward’s quote is my favorite, “the sustainability prism is a screening process…” One of my new interests, Public Private Partnerships (PPP), was addressed. Mr. Ward suggested that PANYNJ is not interested in monetization in the model of tollways, but that they might be interested in money to fill a gap, with sovereign funds, for example. He indicated that the Port’s Staten Island Bridge assets were reaching the end of life and that funding that project would be challenging. MTA said that they were also open to PPP involvement and so was the City – supportive of PPP and leveraging funds. This interchange was intriguing, as PPP has not made the kind of headway that you see in UK, India, and South America. The Council announced that they will be holding an event on Public Private Partnerships in April 2009. Online Resources Can P3s boost the stimulus? (Huffington Post) PPP Bulletin Public Private News Aggregator PPP India Federal Highway/PPP National Council of Public-Private Partnerships Public Tenders Public Private Partnerships #PublicPrivatePartnerships #NewYork #creativecities #Infrastructure #publicagencies #innovation #LinkedIn #PPP

Glasgow School of Art – one of his masterpieces. Louise Lockwood, director, and I spent three hours together exploring references, experiences, history; speculating and investigating nooks, crannies and cubbies and soaring art studios together. I pointed out tiny filament reflections in the Mack’s beautiful chandelier in the Library – soon to be no more when incandescent lamps are banned, and discussed the diffuse nature of Glasgow’s muted light cast through floor-to-ceiling art studio windows as well as a walking narration of light and shadow on the beautiful varnished concrete of the grand and Gothic stairways. We walked and talked – it was eerie to recall 1998 when I stayed in the lecturer’s quarters, in the basement, which has become administrative offices! Then, it was a scary, cavernous, silent space with a tiny bed and few stray pieces of authentic furniture – designed and built by Mackintosh. The interview will be part of a documentary about the refurbishment of the building and the future “window on the Mack” – a new School of Art building to be constructed across the street, design via international competition. #televisionappearance #preservation #LinkedIn #Mackintosh #BBC #landmark

Triple Bridge Gateway unveils in Manhattan at Port Authority Bus Terminal, October 30, 2009: I had the pleasure of presenting Triple Bridge Gateway to the the LUCI General Meeting in November 2008 in the city of San Luis Potosi (Mexico), and ARUP LONDON just last week. Rogier van der Heide invited me to speak to Arups’ lighting, architectural and materials departments. They were a lively audience and had some good questions about the process of designing Triple Bridge including community outreach, technologies, and potential retrofits for the eight year old design. #NewYork #publicspeaking #LinkedIn #CitiesofLight #LUCI #terminal #Lighting