Milan Mrkusich, modernist master

<span style="font-family: Georgia, "Times New Roman", serif;">This week we had the pleasure of attending the opening of an exhibition accompanying an <a href="http://oculablack.com/art-auctions/sales/316537/">auction</a> of works (by online art dealers Ocula Black) from the collection of the great New Zealand modernist artist, Milan Mrkusich. </span><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">This isn't an auction of works from the secondary market, but paintings from Milan Mrkusich's own collection that have been selected for auction by his son, Lewis Mrkusich. Lewis has chosen five pairs of works, each pair combining a painting from early in his father's career with a more recent work. </span><br /><br /><span style="font-family: Georgia, "Times New Roman", serif;">The image below shows, at left on the end wall, 'Chromatic Primary Suite', completed in 1992, paired with (at right on end wall) 'Triptych: Homage to Rodchenko), painted in 1966. The pairings of all the works show the remarkable consistency of Mrkusich's exploration of geometry and colour throughout his career. </span><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCz7V17PTPlfM2aujKGE52vOme90kaBzAUsfPm9MUOsxtsoymuBfdLS8WOJ1wj5os7Uq8gEvwapPKiy6obKGdh9adR_tkJ1q4yniu9KiucGP2zmCw7-inR_qLyqkjivxOQp9FRz__vac/s1600/not+as+wide+view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCz7V17PTPlfM2aujKGE52vOme90kaBzAUsfPm9MUOsxtsoymuBfdLS8WOJ1wj5os7Uq8gEvwapPKiy6obKGdh9adR_tkJ1q4yniu9KiucGP2zmCw7-inR_qLyqkjivxOQp9FRz__vac/s640/not+as+wide+view.jpg" width="640" /></a></div><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">This image (below) shows 'Meta Grey Light Series No. 1' (1970) at left, and 'Meta Grey, Yellow' (1998) at right. </span><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, "Times New Roman", serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTavbtWqEAA81PCNC3zyHiBnOv9AZx1xYSOhucLLobWiissnVlSyUF5pf1nE77lMKakyRVvOFh0e9W8qTPT67oxAUE_SOj6hsTf3R_cB65-dFbwdDC8DyRUZ9GxuB8kY_FQZLN1i35o8/s1600/pic+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTavbtWqEAA81PCNC3zyHiBnOv9AZx1xYSOhucLLobWiissnVlSyUF5pf1nE77lMKakyRVvOFh0e9W8qTPT67oxAUE_SOj6hsTf3R_cB65-dFbwdDC8DyRUZ9GxuB8kY_FQZLN1i35o8/s640/pic+2.jpg" width="640" /></a></span></div><br /><span style="font-family: Georgia, "Times New Roman", serif;">Here (below), Milan Mrkusich's 'Progression II' (1985-92) is shown at left alongside 'Untitled I' (2002). </span><br /><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Georgia, "Times New Roman", serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFZjJG_ReXimkmCekDGSt-eY6Zb3fb_W-DCgX-Js1r6dvszt7CYQjTwzZp-yP58Qe49rCOwijqoN8YoJNaRDAFrbKxu8tIN3xruvrjRShQBJd76Y8LmkKACEumdUEVJK-6sVLaJm9ONE/s1600/grey+pics.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFZjJG_ReXimkmCekDGSt-eY6Zb3fb_W-DCgX-Js1r6dvszt7CYQjTwzZp-yP58Qe49rCOwijqoN8YoJNaRDAFrbKxu8tIN3xruvrjRShQBJd76Y8LmkKACEumdUEVJK-6sVLaJm9ONE/s640/grey+pics.jpg" width="640" /></a></span></div><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">At the opening, a couple of people wondered if Milan Mrkusich was still alive, as they hadn't seen any new works from him in some time. We can happily report that he is in his 80s and, although he now needs to use a walker to help him move around, he is very much alive, although he stopped painting some years ago. He didn't attend the opening but visited the gallery earlier in the day to see the works. Lewis said his father was delighted to see the paintings, and intrigued by the way they were grouped. </span><br /><br /><span style="font-family: Georgia, "Times New Roman", serif;">In the image below, Milan Mrkusich's 'Dark Painting II' (1971) hangs at left beside 'Achromatic with Cobalt Blue' (1991).</span><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWn6cXI9y1arGotnBDoYXTn0C3uoEx4b05aqGFSSCgbxwRZwPcqW6JrmPVe79-IEPo5iSVIQpqSrliQ1InPEr82pydt6vnzjlvLhIzIhxx2_Twm6dURJ-oMavFNybGvPXDLh7zYOmSGE/s1600/corner+tab+pic+pair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnWn6cXI9y1arGotnBDoYXTn0C3uoEx4b05aqGFSSCgbxwRZwPcqW6JrmPVe79-IEPo5iSVIQpqSrliQ1InPEr82pydt6vnzjlvLhIzIhxx2_Twm6dURJ-oMavFNybGvPXDLh7zYOmSGE/s640/corner+tab+pic+pair.jpg" width="640" /></a></div><br /><span style="font-family: Georgia, "Times New Roman", serif;">Not everyone knows that Mrkusich, who was born in Dargaville in 1925, began his career as a designer at the Auckland firm of Brenner Associates. He worked on a number of architectural projects and also designed the Auckland home that he still lives in, a modernist marvel that is still in terrific condition (but he is reticent about having it photographed). </span><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">Wellingtonians will also know his work from the mural of colour blocks on the Cable Street facade of Te Papa, commissioned as the museum was undergoing construction. And, of course, his paintings are in major public and private collections all over the country. </span><br /><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif;">Ocula Black's online auction of these wonderful works continues until next Tuesday, November 26. Even if you aren't going to bid on them, we recommend you take the opportunity to visit Ocula Black's Auckland gallery space (at 25 Sale Street) to see the paintings - or see more of them at the Ocula Black link at the top of this page. </span>

Milan Mrkusich, modernist master

This week we had the pleasure of attending the opening of an exhibition accompanying an auction of works (by online art dealers Ocula Black...

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Our new book: great New Zealand modernist homes

<span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;">We're so pleased with our new book, <i>Modern: New Zealand Homes from 1938 to 1977</i>, which we've created in conjunction with the kind folks at Random House publishers. It'll be in bookstores from November 1, but we wanted to tell you a bit about it here before it comes out. </span></span><br /><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;">The book's jacket features a photograph by Patrick Reynolds of a home designed by Reginald Uren in Raumati in the mid-1960s. When you get your copy, you'll see the jacket (like the rest of the book, designed by our friends at Inhouse) folds out to reveal a bigger view of the house. </span></span><br /><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVkcXiMLEH1BHek_0d8ZR1ek-DWWYJP3n9THVhWapUlVF7CouHThjsWaC7ng1-CWU9pDX7ejGppO7jOPWL2ROuAr0RMBY6JTKlixisRAEX7KJ-6JOAEGpjsOw0f0OUqpLG3tSILnhqbeY/s1600/_INH1932_jacket.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVkcXiMLEH1BHek_0d8ZR1ek-DWWYJP3n9THVhWapUlVF7CouHThjsWaC7ng1-CWU9pDX7ejGppO7jOPWL2ROuAr0RMBY6JTKlixisRAEX7KJ-6JOAEGpjsOw0f0OUqpLG3tSILnhqbeY/s640/_INH1932_jacket.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;"><br /></span></span><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;">Under the jacket lies this foxy linen cover with embossed lettering. Yum. </span></span><br /><span style="font-size: x-small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2nPCvUvqg31Qu78jyIO_fBLpfM5fLEB9I7DVYMtLHivfw7IorJhWAkNEo4qf5xoG6-DqKDkecY5f0HBA7716RiwuXStJpKPhn5v1SNnk0HjfiLoNKIqFUm6kpJroguZmvy08V60agRU/s1600/_INH1932_cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2nPCvUvqg31Qu78jyIO_fBLpfM5fLEB9I7DVYMtLHivfw7IorJhWAkNEo4qf5xoG6-DqKDkecY5f0HBA7716RiwuXStJpKPhn5v1SNnk0HjfiLoNKIqFUm6kpJroguZmvy08V60agRU/s640/_INH1932_cover.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;">The book, which has 350 pages between its gorgeous covers, is a compliation of features of our favourite mid-century homes from the magazine in the last decade or so, with the addition of some that have been newly photographed for the book. The shot below is of a spread from the book featuring the Donner House, designed by Auckland's City Architect, Tibor Donner. It was photographed by Mark Smith and styled by Katie Lockhart. </span></span><br /><span style="font-size: x-small;"><br /></span><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeuQFHYJ_bNzsT0UOZFUWIVxqzOlMxvaZDxo5-OoMDxGbxjPGDW-KgTq9TLTqznyR4cnQXMGMrchw80mwWF9WOVt7SQP5f7do_-teOBIvuXMzzh7cU5T0E952tnsZrK9Sc3hvewTi0xoE/s1600/10_pp018-019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeuQFHYJ_bNzsT0UOZFUWIVxqzOlMxvaZDxo5-OoMDxGbxjPGDW-KgTq9TLTqznyR4cnQXMGMrchw80mwWF9WOVt7SQP5f7do_-teOBIvuXMzzh7cU5T0E952tnsZrK9Sc3hvewTi0xoE/s640/10_pp018-019.jpg" width="640" /></a></span><span style="font-size: x-small;"><span style="font-family: Georgia, "Times New Roman", serif;">There are 24 homes in the book, modernist gems from Auckland, Hamilton, Thames, Whanganui, Hawke's Bay, Raumati, Wellington, Christchurch, Hokitika, Dunedin and Alexandra. All of them show mid-century New Zealand as a place of great sophistication and inventiveness. Most of the homes are still in marvellously good condition, as liveable today as they were when they were first completed - including Wellington's Halberstam House (below), designed by Henry Kulka and still occupied by Lucie Halberstam, the daughter of the original owners. This photo is by Paul McCredie.  </span></span><br /><span style="font-size: x-small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtXmuz4eII138zUBWVW_teGlNPfuHMvIeTv73PB0v3PP8rQuaQ1KfM-piwJ0VljjDZ9uoQ4zcp0y5AEpDBdZlbjnz4dJ-9OrEDu4S1ynXpav9nWDO1qsz94RHOY1pWHpTiDhMSaFkB8M/s1600/04_pp048-049.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPtXmuz4eII138zUBWVW_teGlNPfuHMvIeTv73PB0v3PP8rQuaQ1KfM-piwJ0VljjDZ9uoQ4zcp0y5AEpDBdZlbjnz4dJ-9OrEDu4S1ynXpav9nWDO1qsz94RHOY1pWHpTiDhMSaFkB8M/s640/04_pp048-049.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: x-small;">The book also features homes designed by, among others, Ernst Plischke, Bill Alington, Robin Simpson, Vladimir Cacala, John Scott, Ivan Juriss, Ted McCoy, Jon Craig, and Sir Miles Warren, whose magnificent Selby (below, photographed by Paul McCredie) near Havelock North features along with a home Sir Miles designed in Dunedin that has been shot especially for the book. </span><br /><span style="font-size: x-small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWs5n9yB5wyZDY9gakUe9M4JWcxmBxOEhxT5DxdVAoRSRmE_f3pAZzPqkjD7-XlOMi4w4WZppW37SmdeEN3cbCG9uOI_VBz1YMfPwGu3818Zw5f2cVmJVQZVmYuUo0yVGjM2AIWHg8JY/s1600/05_pp182-183.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdWs5n9yB5wyZDY9gakUe9M4JWcxmBxOEhxT5DxdVAoRSRmE_f3pAZzPqkjD7-XlOMi4w4WZppW37SmdeEN3cbCG9uOI_VBz1YMfPwGu3818Zw5f2cVmJVQZVmYuUo0yVGjM2AIWHg8JY/s640/05_pp182-183.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: x-small;">We're including the shot below just to make it clear that this isn't just a picture book. In fact, it includes the work of some of the country's best architectural writers from HOME's family of contributors, including Douglas Lloyd Jenkins, Julia Gatley, Linda Tyler, Adrienne Rewi, Lara Strongman, Andrew Barrie, Bill McKay, Michael Findlay, Alistair Luke and Claire McCall. </span><br /><span style="font-size: x-small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5syvVy3VuKU7fA9FE3oj-NxWt7GYnyPR0R583SLfD1sdDxo2POC7oL7wOVZolwyT7LtqRkbp6MSreGY_08r2ktsC9njHNVvLdgMNjM-S7X8Vn7gSkkcdrkYQyAw27RHs65tPckBnUQa4/s1600/01_pp094-095.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5syvVy3VuKU7fA9FE3oj-NxWt7GYnyPR0R583SLfD1sdDxo2POC7oL7wOVZolwyT7LtqRkbp6MSreGY_08r2ktsC9njHNVvLdgMNjM-S7X8Vn7gSkkcdrkYQyAw27RHs65tPckBnUQa4/s640/01_pp094-095.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: x-small;">There are also plans of almost every house, and helpful biographies of the architects involved. </span><br /><span style="font-size: x-small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyP1IwMnE-Z1LnagEmOnorl8rLAAxSipffjJi5DPpY7Gjno8N38jjHhRW7EGT-MRYhd6nGpJzRGjZuAfpQuurzOGUr_XNfxTf-bVK2eQwVwjilRST2EcMkhv58hBQHdGdQayhajBPcxTs/s1600/06_pp332-333.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyP1IwMnE-Z1LnagEmOnorl8rLAAxSipffjJi5DPpY7Gjno8N38jjHhRW7EGT-MRYhd6nGpJzRGjZuAfpQuurzOGUr_XNfxTf-bVK2eQwVwjilRST2EcMkhv58hBQHdGdQayhajBPcxTs/s640/06_pp332-333.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: x-small;">One of the many nice things about the book is the way it traces modernism's development in New Zealand from textbook flat-roofed homes to later experiments in combining European modernism with this country's cottage vernacular, where homes such as Jon Craig's near Wellington (below, photographed by Paul McCredie) combined pitched roofs with open-plan living rooms. </span><br /><span style="font-size: x-small;"><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAiHekl-RMW1swqPKcXdhVsPizRfn52Du2WajqJblJ3cD1sVZTOinOrXe69UvCculPvpumQxmjxlhg_38CzD68TxKZ3If_4P8LfMksWwEytL2xFsetpJjd6Hv9wLISiVSob5k3hg8Vrs/s1600/09_pp330-331.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAiHekl-RMW1swqPKcXdhVsPizRfn52Du2WajqJblJ3cD1sVZTOinOrXe69UvCculPvpumQxmjxlhg_38CzD68TxKZ3If_4P8LfMksWwEytL2xFsetpJjd6Hv9wLISiVSob5k3hg8Vrs/s640/09_pp330-331.jpg" width="640" /></a></span></div><span style="font-size: x-small;"><br /></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: small;"><span style="font-size: x-small;">We're pleased to be able to offer the book for the special price of $70 (RRP is $75) including postage, from <a href="http://www.magshop.co.nz/modern">www.magshop.co.nz/modern</a>. You can pre-order your copy there now. We really hope you enjoy it.</span> </span><br /><span style="font-size: small;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7Pr0rbB3ZyCfUugY_jWW1SU4bnnthpx2iKMvPP_5SVzeXcG1F_jrRvu832NtRdbFN0FyP0qQungwNLeGF6b2eHVv3muNB2RhD3ldCqfaSXeUAv053tZaE1TrfoK1t4VJKlfKFy6RVPE/s1600/08_pp064-065.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe7Pr0rbB3ZyCfUugY_jWW1SU4bnnthpx2iKMvPP_5SVzeXcG1F_jrRvu832NtRdbFN0FyP0qQungwNLeGF6b2eHVv3muNB2RhD3ldCqfaSXeUAv053tZaE1TrfoK1t4VJKlfKFy6RVPE/s640/08_pp064-065.jpg" width="640" /></a></span></div>

Our new book: great New Zealand modernist homes

We're so pleased with our new book, Modern: New Zealand Homes from 1938 to 1977 , which we've created in conjunction with the kind f...

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The new rules of Retail Design

<span style="font-family: "Trebuchet MS", sans-serif;">It's no secret that internet retailers have been taking market share from brick and mortar stores over the last few years.  Recent numbers suggest that half of all merchandise is purchased online now as compared to about 10% a few years ago.  With that being said, large and small stores seem to be at a crossroads:  either they rebrand themselves every few years to stay relevant or they close up.  You may be familiar with JC Penney's recent re-launch including a new logo, new store design, and a new marketing campaign flaunting incredible customer consideration.  The commercials seem well timed around the election year antics where normal people go into 'angry mob' mode and start rebelling against the establishment.  All things considered, I applaud what JC Penney is trying to do.  Unfortunately, I feel they are ignoring some very basic principles of retail design.  If you plan on opening your own shop or mega store anytime soon I suggest you review the following guidelines for retail design:</span><br /><br /><span style="font-family: Trebuchet MS;">1- Set the mood - There's a reason that stores like Anthropologie and Ralph Lauren spend alot of money on window dressing.  It creates an impression before you even walk in the door. If you don't have alot of window space you need to create a dramatic entry.  Most department stores ignore this completely.  You come in the store and you're knee deep in some department.  This is one of those bad habits that companies keep repeating.  User experience is everything in retail.  There's a reason that Abercrombie pumps that obnoxious cologne into the air right by the door.  You've got to grab people right at the gate or they're gone.</span><br /><br /><span style="font-family: Trebuchet MS;">2- Big stores are out - Sorry department stores, but your days are numbered.  You can't stock 150,000 products and expect to make money on each one.  It's not because it can't be done, it's because web sites can do it better for less money.  The most profitable brick and mortar stores are the ones that drive the most revenue in the least footprint.  You could fit 50 Apple stores in the average Macy's.  Which one do you think makes more money?  I was surprised to see that the new JC Penney store was the same size as the old one. I would have thought they would have focused on highlighting their best selling products in a fresh new (and more efficient) environment.  Instead they've just jumbled up their departments and created a bunch of new fixtures and displays.  The problem is that it's hard to make 200,000 SF look good in a store trying to compete in the budget friendly arena.  </span><br /><br /><span style="font-family: Trebuchet MS;">3- It's better to have good product than discounts - I have never gotten a coupon for 50% any drink at Starbucks.  So why are they so crowded when nothing is ever on sale?  The answer is because they spend their money on creating a good product and not giving it back in the form of a sale.  Even Wal-mart can't give you an Ipod any cheaper than the Apple store.  People will line up for something that makes them feel special but it has to be something special.  If you read the labels of the clothes at most stores, it's amazing how few of them have natural materials.  I think the Wal-mart effect has run its course and people are tired of having to replace everything they own every 6 months.  There is a movement towards quality and it's hard to do that unless you focus on a core group of products.  </span><br /><br /><span style="font-family: Trebuchet MS;">4- Invest in Design - Great retail brands have iconic images. I know it sounds like common sense but companies that invest in creating more interesting environments reap the benefits of more loyal customers who spend more per purchase.  It's no coincidence that when McDonald's created a new store design prototype featuring classic mid century inspired interiors that they launched a line of new burgers and salads that are comparably priced to a real restaurant.  Better user experience equals more money.  Time and time again, Good Design is Good Business.  </span><br /><br /><span style="font-family: Trebuchet MS;">These four guidelines are just the beginning of what it takes to build a retail empire.  Whether your business is a day spa or a cupcake bakery, keep in mind that creating a great user experience has to be in the DNA of the design from the early stages.  Without it, you will find yourself struggling to maintain a competitive edge against your competition.</span>

The new rules of Retail Design

It's no secret that internet retailers have been taking market share from brick and mortar stores over the last few years.  Recent numbe...

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What does 'modern' mean anyway?

<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">If you are one of the many people who attended a Design school of any type within the last 30 years you probably were taught to be somewhat forward thinking.  Most schools today try to best prepare their students for the world which they will enter upon graduation.  And let's face it, that world is a MODERN world.  It is a world full of technology and opportunity for those who wish to embrace it.  I don't know how many successful architects are still using a T-square and a drafting table, but I doubt it's very many (Glenn Murcutt may be the only one).  </span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">That being said, when the conversation turns to Architecture, the word 'modern' has a very negative connotation.  Modern buildings are thought to be harsh and cold, made of steel and glass and very often devoid of emotion.  Modern homes are thought to be reserved for movie stars and egomaniacs who like the idea of living in a place that looks like it's meant to be on display but not really 'lived in'.  Even the real estate industry has turned it's back on the word 'modern' by replacing it with 'contemporary' in its listings.  If no one disputes that we all live in a 'modern' world, then why are modern buildings so few and far between?  I don't see people driving around in Model T's, so why would people build their houses in the styles of by-gone eras?  I think the answer lies in the fact that no one really knows what 'modern' is.</span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Let's start with a textbook definition.  Modern is defined as 'of or relating to present or recent time'.  By that definition anything that exists today is Modern.  If you went out and built a pyramid tomorrow, it would be a modern pyramid.  This is part of the problem.  I don't really think that the definition of the word itself is applicable anymore based on how quickly our society changes.  Relatively speaking, a Sony Walkman relates to recent time.  Compared to a record player,  a Sony Walkman is modern.  It is also extinct.  </span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The next problem is that there are very few examples of great modern design.  If you open a trade publication you will find that most of the modern buildings that get published border on the ridiculous.  They may photograph well and appear very progressive but in fact are borderline dysfunctional and very expensive to maintain.  To me, this is not what inspires people, or at least, it doesn't inspire me.  Judging from the widespread lack of modern housing, I'm guessing it doesn't inspire alot of home buyers either.</span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">A few years back, the American automobile industry was headed for extinction.  For years they had just regurgitated the same old designs and relied on the American consumer to buy their cars regardless of the competition.  For 'the big three' there was only one way out  of the crisis and that way was 'modernization'.  They had to update their product lines, focus more on design and fuel efficiency in their fleets and start creating products that reflected the technology of the day.  They introduced features such as parking assist, voice commanded automation, and better engine technology.  All of this in sleeker more interesting modern designs.  It has been shown time and time again that creating well crafted, socially relevant products will yield great success.  To circle back, we have to ask ourselves:  "Is the building industry really doing this?  Are they giving modern design a good name?"</span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">I think that modern architecture is not about building something that relates to present time.  I think it is about building something that relates to present life.  And in that pursuit it cannot be contained within an Architectural style.  When I look at the homebuilding industry at present, I see the automobile industry three years ago.  Unfortunately, there are no major homebuilders leading the way with socially relevant, modern designs.  They just keep reformatting different versions of the same thing.  If we as a society are truly to embrace modern design as a medium then we have to look at the most successful examples from Joseph Eichler to Steve Jobs and understand how the tools that we have available to us today can carry us into a better tomorrow.   </span>

What does 'modern' mean anyway?

If you are one of the many people who attended a Design school of any type within the last 30 years you probably were taught to be somewhat ...

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The Destruction of Sylvia Packard Middle School (and so much more)

<span style="font-family:verdana;">In many cases, your life is the result of a million coincidences that you are mostly unaware of. You can't pick who your parents are. You can't control the weather in your part of the world. You probably don't even have a choice as to who your friends are going to be in high school. They end up being the people who are most like you in terms of social standing, appearance, and financial status. With so many people in today's world searching for purpose and understanding, it's important to realize that the path you choose to walk in life is often not your choice at all. </span><br /><br /><div><div><div><div><div><span style="font-family:Verdana;">I grew up and went to school in a middle class neighborhood in Long Island. The schools were all sturdy masonry buildings with flat roofs. I loved school. I recently realized that I could remember every detail of each school I attended in my town. From the terrazzo floors of my high school to the golden bricks of my elementary school to the metal railings of my middle school. The floors were always waxed and shiny; the dull black science countertops always felt warm to the touch. All in all, these were sturdy buildings designed by competent architects with an eye for detail. Built in the 60's, all of these buildings are still standing today. At least for now.</span></div><br /><div><span style="font-family:Verdana;">What I also recently realized was that these schools subconsciously provided me with a love for architecture; more specifically a love of place. With their large aluminum frame windows, generous natural light, and perfectly executed floor plans, these buildings made my young educational experience a pleasure. I remember the brick lined corridors of my elementary school and running my fingers along the grout lines as our class walked the corridors each day. The grout was tooled to be smooth and curved and perfectly fit young fingers without getting scratched. While I can't remember every teacher I ever had, I can remember every class room I ever sat in. I remember the pull down maps that opened as closed as needed, I remember the Eames-esque bent plywood chairs that we sat in, and I remember how the breezes filled the room when all of the windows were opened. We didn't have air conditioning or even a fan. There was nothing made of plastic.</span></div><br /><div><span style="font-family:Verdana;">Now while it sounds like I am romanticizing the experience (and maybe I am) this genuinely relates to the state of things in our society. Everyday I hear people say how our world is degrading around us. Values, Customs, Quality. Everyday we lose a little ground to the future. In the town that I grew up in, there was a vote last June to tear down the middle school that I attended. Of course, this came as no surprise to residents, as the school had been closed for more than a decade as a middle school. In recent years it had been rented out as a day care and for office space, but really the sad and inevitible conclusion was that one day Sylvia Packard Middle School would be torn down. And now this day has arrived.</span></div><br /><div><span style="font-family:Verdana;">It would not be so sad if not for the fact that the Board of Education had made a choice some years ago that it would be better to build a new middle school than to 'modernize' the current one. The funny thing about that is that the old school (built in 1964) is far more modern than the new one. With its vaulted concrete bus canopy, it's custom aluminum window facade, curved masonry stair towers, and endless examples of craftsmanship, the comparison is not even close. You could not afford to build a building like this in today's market. The craftsman don't exist and the Architects don't spend this much time on Design. The following pictures are just a sample of the Building's elegance (double click to enlarge):</span><br /><br /></div><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexCxGu0-7HyyA7vBNWxvOEkJcTvwBh0KAmp_0UOU5gK5H5cWdXUKxcANsgSQhdxrEIe-_V9kqsk7mwQeZQuUTbNXn3wjMoQC8i6rcaXl6A6nygQpHlZPg8KRHXyC7WcCreoqrJ49Aa38/s1600/IMG_2324a.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5456471985823223746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexCxGu0-7HyyA7vBNWxvOEkJcTvwBh0KAmp_0UOU5gK5H5cWdXUKxcANsgSQhdxrEIe-_V9kqsk7mwQeZQuUTbNXn3wjMoQC8i6rcaXl6A6nygQpHlZPg8KRHXyC7WcCreoqrJ49Aa38/s200/IMG_2324a.jpg" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 306px; CURSOR: hand; HEIGHT: 201px" /></a></div><br /><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGAQuxcLcHouXVNl0iYh8-xIbqWVZU6wD9oWfhISDXlqLcG0oiSIv9JmKwXmfJ0q1Xamzpb2bMu5odYT4QBXODmIHuJHedbtIieqrCYSu-yEFvfS3dsM9R-0JcKDnDkNpQGitwmAi-Tw/s1600/IMG_2326.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5456472184225962466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGAQuxcLcHouXVNl0iYh8-xIbqWVZU6wD9oWfhISDXlqLcG0oiSIv9JmKwXmfJ0q1Xamzpb2bMu5odYT4QBXODmIHuJHedbtIieqrCYSu-yEFvfS3dsM9R-0JcKDnDkNpQGitwmAi-Tw/s200/IMG_2326.jpg" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 345px; CURSOR: hand; HEIGHT: 202px" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexCxGu0-7HyyA7vBNWxvOEkJcTvwBh0KAmp_0UOU5gK5H5cWdXUKxcANsgSQhdxrEIe-_V9kqsk7mwQeZQuUTbNXn3wjMoQC8i6rcaXl6A6nygQpHlZPg8KRHXyC7WcCreoqrJ49Aa38/s1600/IMG_2324a.jpg"></a></div><br /><br /><br /><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02fZWHOO2nVKfXzzH_y_4GoYkWXtQaROo3IDvFPAYC8g7HpXF53SktTllGY6u9UbdE36F-N_aEYBk-SZE1Wp86PB5SKQ56l4zLv_F_Gmoy1DmwYZ6247RqNodBeSqDEWzDL50Wp-LgoQ/s1600/IMG_2334a.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5456472478673911794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02fZWHOO2nVKfXzzH_y_4GoYkWXtQaROo3IDvFPAYC8g7HpXF53SktTllGY6u9UbdE36F-N_aEYBk-SZE1Wp86PB5SKQ56l4zLv_F_Gmoy1DmwYZ6247RqNodBeSqDEWzDL50Wp-LgoQ/s200/IMG_2334a.jpg" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 303px; CURSOR: hand; HEIGHT: 165px" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-P-wjTsn2dPBVsOwW6ocGiFN3fqmM63Qlo3CVuedKc5BlKgu5Pv56A92UmgVSBm8YLuWUy1rcpGpMHaY5B58IV7JtHYIozZaEthZ8JVbO9xJp6QqagIZBn5Qc5jxS0EwKsFvJk6oqwoE/s1600/IMG_2336a.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5456472656017597570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-P-wjTsn2dPBVsOwW6ocGiFN3fqmM63Qlo3CVuedKc5BlKgu5Pv56A92UmgVSBm8YLuWUy1rcpGpMHaY5B58IV7JtHYIozZaEthZ8JVbO9xJp6QqagIZBn5Qc5jxS0EwKsFvJk6oqwoE/s200/IMG_2336a.jpg" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 242px; CURSOR: hand; HEIGHT: 257px" /></a></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><div><span style="font-family:trebuchet ms;">Now take a look at the school that replaced it (designed by Wiedersun Associates):</span></div><br /><br /><div><span style="font-family:Trebuchet MS;"></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKk3I5Kr6lAH23wNV7P77RpTD3Sl2Z4OGshl7NMwsIAFc8bkDP0XEfsp6OTcVgqrzcZXy710mIYm2Noq788xPQC55kfRtPCsc1tYYUWDKXOj1IDTQkCMrr0rEzrn1SQ5CTMPVTQiW6Kk/s1600/711asu122a.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5456473134079989346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiKk3I5Kr6lAH23wNV7P77RpTD3Sl2Z4OGshl7NMwsIAFc8bkDP0XEfsp6OTcVgqrzcZXy710mIYm2Noq788xPQC55kfRtPCsc1tYYUWDKXOj1IDTQkCMrr0rEzrn1SQ5CTMPVTQiW6Kk/s200/711asu122a.jpg" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 406px; CURSOR: hand; HEIGHT: 193px" /></a><br /><br /><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;"></span> </div><div><span style="font-family:trebuchet ms;">While we cannot save every building from the wrecking ball, we can do our best to appreciate the beauty of another's effort in the pursuit of passion. The Sylvia Packard Middle School was designed and constructed with an attention to detail that rivals the work of any great modern Architect. The scale of the building is both human and monumental. The concrete design is economical and poetic. The use of unit masonry as both a giver of structure and a delicate screen creates something bordering on magic when the light dances through it. Schools should not only be places where children get inspired, they should be inspiring. It is both sad and disappointing that the educators of the 1960's were more forward thinking about education than those who are making the decisions more than five decades later. </span></div><div><span style="font-family:Trebuchet MS;"></span></div><div><span style="font-family:Trebuchet MS;">Looking back, it is easy to see that my passion for Building and Design was greatly inspired by my surroundings. What I can't understand is how we could build schools like this in the 1960's, but we can't build these kinds of buildings today? We have used our technology to engineer the quality out of construction instead of improving it. Instead of masonry, we have foam. Instead of drywall, we have acoustical tile. Instead of terrazzo, we have vinyl flooring. I can only hope that the next Renaissance is around the corner and that future generations will realize that beauty is essential to human happiness. For me, the Sylvia Packard Middle School represents a beauty in constructed form that can serve as an example, even if that example relates to that which should not be destroyed.</span></div></div></div></div></div>

The Destruction of Sylvia Packard Middle School (and so much more)

In many cases, your life is the result of a million coincidences that you are mostly unaware of. You can't pick who your parents are. Yo...

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Who Killed Modern Architecture?

<span style="font-family:verdana;">While I would like to believe that there are Modernists a plenty out there, all the evidence unfortunately speaks to the contrary. The latest evidence of this is how many Modern shelter <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">magazines</span> are either folding or getting noticeably thinner, while Architectural Digest seems to hold steady amid the rough economic seas. My latest issue of Residential Architect (which focuses mostly on progressive Residential buildings) tops out at a whopping 59 pages. While I don't fully understand most people's bias towards "traditional" styles, I have to wonder what it is about Modern Design and Architecture that turns people off? People don't seem to mind trading in their old car for the latest model or going down to Best Buy for the most technologically advanced Audio Visual experience. So why is it that in the year 2009, people still want to build houses in styles that were fashionable 200 years ago? After all, we weren't building Medieval Castles in the 1800's? So the question remains, Who Killed Modern Architecture?</span><br /><span style="font-family:Verdana;"></span><br /><span style="font-family:Verdana;">When you look at the history of what we call Modern Architecture, it is hard to divorce its origins from the rise of the Industrial Revolution. Machines gave us the technology and the ability to grow buildings faster and stronger. Most people will cite structures such as Joseph Paxton's Crystal Palace, the Eiffel Tower, and the Brooklyn Bridge as being some of the first truly Modern accomplishments. Those gave way to breakthroughs such as modern glazing, the elevator, and prefabrication technologies (the Crystal Palace was a <span class="blsp-spelling-error" id="SPELLING_ERROR_1">pre</span>-fab building in 1851). From there, the founding fathers of Modernism enter through the likes of <span class="blsp-spelling-error" id="SPELLING_ERROR_2">LeCorbusier</span>, Louis Sullivan, Frank <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">Lloyd</span> Wright, Walter Gropius, and finally <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Mies</span> Van <span class="blsp-spelling-error" id="SPELLING_ERROR_5">der</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_6">Rohe</span>. In the early 20<span class="blsp-spelling-error" id="SPELLING_ERROR_7">th</span> Century, Modernism was in full swing, also commonly referred to as "The International Style". The Museum of Modern Art (under the lead of Phillip Johnson) organized a pivotal exhibition that changed the face of Architecture forever. By the late 1940's Modernism had arrived and permeated every publication and merchant builder throughout the country. Have you ever seen an issue of Better Homes and Gardens from the 1950's? How about Fortune Magazine? Google them sometime and you will be shocked. They're all progressive and modern. The prevailing style of that day is now known as Mid-Century Modern and objects from that era are highly sought after due to their originality and quality. What happens after the 50's is a product of two different phenomenon that was like a 1-2 punch to all things Modern.</span><br /><span style="font-family:Verdana;">First, you have the Depression era <span class="blsp-spelling-corrected" id="SPELLING_ERROR_8">children</span> growing up and reaching the age where they want to buy a home. Growing up during a depression leaves you with some pretty lasting memories. (I have a friend who still ties together broken rubber bands instead of throwing them away, but we'll save that for another day.) Since homes were (and still are) the largest single investment that the average person is likely to make in their lifetime, this group had no interest in risking their hard earned savings on the latest and greatest trendy home. They wanted security and comfort and chose older homes with time tested styling. The second part of the double whammy has to do with all of the wars which were being fought in the 40's and 50's. The world was not as small as it is today and resources were rare. Modern Architecture often relies on the latest materials to execute the greatest gestures with the least effort. Steel, Glass, and Wood were considered too valuable to be cladding houses with, so the era of vinyl began. And then all of these soldiers came home and needed somewhere to live. The Government was giving them cheap loans to go buy a house and everyone wanted to settle down and make babies. Builders saw the opportunity and started cranking out tract homes. Cities like <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Levittown</span> in Long Island grew up overnight. And as you can guess, there were not many tract home developments where each home was designed by an Architect. Builders made <span class="blsp-spelling-error" id="SPELLING_ERROR_10">alot</span> of money building the fastest and cheapest house they could and they couldn't keep up with demand. And the rest, as they say, is history. The era of the tract home began and the media now had to change focus on how to decorate and style your brand new tract home. 50 years later, the major publications such as Better Homes and Gardens are still doing the same thing, except now they are decorating <span class="blsp-spelling-error" id="SPELLING_ERROR_11">McMansions</span> and <span class="blsp-spelling-error" id="SPELLING_ERROR_12">faux</span> bungalows.</span><br /><span style="font-family:Verdana;">Of course, there are still those who want Modern housing thanks in part to magazines like Dwell (my latest issue was REALLY skinny). But now that the latest recession has all but wiped out traditional funding for new and innovative companies, will the Moderns just give up or regroup? If only Ayn Rand were here...</span><br /><span style="font-family:Verdana;"></span>

Who Killed Modern Architecture?

While I would like to believe that there are Modernists a plenty out there, all the evidence unfortunately speaks to the contrary. The lates...

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