The ins and outs of the new Houston Ballet Center for Dance from architectMarshall Strabala

Ann Buehler, who began dancing at 2½ years old due to a medical recommendation for leg braces, developed a lifelong passion for dance, eventually teaching beginner classes at 16. She pursued various dance forms during her time at Southwest Missouri State University and, after graduating, balanced a career as a second-grade teacher with teaching dance on the side. Initially, she taught as 'Ann’s Dancers' in a church basement in Mt. Vernon, progressively expanding and operating studios in both Mt. Vernon and Springfield. Buehler transitioned to full-time dance instruction, founding Ann’s Performing Arts Centre in 1992. After years in a studio that no longer met her needs, an opportunity arose when Paula Daugherty, whose children were Buehler’s students, and her husband, developers of the new Paige Reese Plaza in south Springfield, invited Ann’s to establish a new location. Buehler collaborated with Daugherty and architect Brian Kubik of Buxton Kubik Dodd Creative to design an optimal space based on her extensive experience. Kubik translated Buehler's requirements into architectural plans, while Daugherty oversaw the interior design. The resulting studio features an open and airy layout, incorporating modern furnishings with accents of red and crystal chandeliers. Key areas include an open lobby, a locker room, a tumbling room, two main dance studios, an office, and an upstairs area for staff with a study nook for students. The lobby serves as a communal space for families, equipped with a kitchenette for snacks. The locker room, furnished with 100 lockers, is a popular gathering spot for students. The tumbling room is designed for younger dancers, equipped with mirrors, mats, and safety gear, with all tumbling activities tailored to support dance training. The second level provides a comfortable retreat for employees, featuring a seating area and kitchenette, and offers views into Studio A and the lobby. The two main dance studios are versatile, separated by a garage door that allows them to be combined into one large space for special events. Both studios are outfitted with Marley Sprung floors, mirrors, ballet bars, and stall bars. The studio also accommodates 'The Company,' a group of select dancers who participate in competitive dance, with their photos displayed in the lobby. The new center is celebrated by Buehler for its chic, sleek, and fun aesthetic. #DanceStudio #PerformingArts #InteriorDesign #Architecture #SpringfieldMissouri #DanceEducation #CommercialDesign

Lauren Rottet's Interior Design Hall of Fame member, whose roots are in Houston, has taken on the significant task of renovating and expanding the historic La Colombe d'Or hotel complex in the city's Montrose neighborhood. The original property, a Prairie School-style Fondren Mansion built in 1923, was transformed into a five-suite hotel and restaurant in 1979 by real estate magnate Steve Zimmerman. This project not only involved refreshing the existing mansion but also expanding the site onto 1 1/4 adjoining acres, including the addition of a new 34-floor residential tower and 18 ground-floor hotel suites. Rottet Studio's scope for the project was extensive, encompassing the renovation of the original mansion and the design of the new construction's public areas, guest rooms, and a 10th-floor amenity swath. The design team, including associate principal Chris Evans and senior associate Amber Lewis, also created a connector to the mansion—a landscaped courtyard featuring a fountain and large-scale sculpture. The integration of art was a central theme, with Rottet having access to Zimmerman's extensive collection of approximately 350 works, including pieces by Raoul Dufy and Man Ray, and the ability to acquire new art to support the local Houston art scene. The new tower's entry corridor is conceptualized as a gallery, showcasing historic artwork like Benjamin Robert Haydon’s 19th-century 'Napoléon in Exile' alongside contemporary local pieces by artists such as Earl Staley. The design emphasizes a new, bold, and contemporary aesthetic, characterized by a gold and glowing ambiance. The lighting design, a specialty of Rottet Studio, plays a crucial role in shaping the environment, with folded planes engaging both light and art, enhanced by backlit walls, LED frames, and slanted cove illumination. The resident concierge desk, a highlight of the new tower, is a striking combination of polished or brushed stainless steel topped with quartzite. Its backdrop features a commissioned stencil work by local artist Troy Stanley, named 'Nom de Plume.' Adjacent to this, a wall is adorned with alternating panels of bronze mirror and woven metal mesh sandwiched between glass, creating a burnished, jewel-like effect. The double-height resident lobby is designed as a reflective space, with custom-designed lounge chairs surrounding a double-sided limestone fireplace, creating a contemporary and inviting atmosphere. A gridded glass wall offers views to a quiet residential street, maintaining a connection to the area's history. A key aspect of the project for Rottet was its commitment to historical preservation, a departure from Houston's typical development patterns. The decision to retain and build around the historic mansion, rather than demolish it, is seen as a significant gift to the city. In the tower's hotel rooms, Rottet Studio designed every element, from layouts and millwork to upholstered beds, settees, and nightstands. The rooms include innovative features like an “on-off” kitchen with a concealed refrigerator and sink. The 10th-floor amenity level is a major draw for luxury seekers, offering diverse social spaces such as a game room, a fully equipped fitness center, a private events area, and the Aqua lounge. The Aqua lounge, completely waterproof with glass mosaic tile, iron chairs, and chromed-metal tables, adjoins a 66-foot outdoor lap pool that provides expansive views of the Houston skyline. #HotelDesign #LuxuryHospitality #HistoricPreservation #InteriorDesign #RottetStudio #HoustonArchitecture #ArtIntegration #ResidentialTower #RenovationProject

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

The article details the transformation of the Helen Hayes Theatre on West 44th Street in New York, a project undertaken by the Rockwell Group. David Rockwell, known for his imaginative and theatrical approach to design, was commissioned by the Second Stage Theater company to reimagine this historic Broadway venue. The Helen Hayes, originally named the Little Theatre when it opened in 1912, holds a unique position among Broadway theaters as the smallest and one of the last to be independently owned. Rockwell's design preserves and integrates the building's historical decorative elements. The original decoration of the theatre was a blend of historical styles, featuring reproductions of tapestries by François Boucher. Specifically, a depiction of the mythological figures Bacchus and Ariadne served as inspiration for Rockwell's contemporary design. He chose to interpret these classical images through halftone murals, reminiscent of Roy Lichtenstein's pop art style, covering the walls of the orchestra and balcony levels. These murals are executed entirely in various shades of blue, providing a cohesive and striking visual theme. A significant aspect of Rockwell's redesign is the extensive use of blue throughout the theater's interior, creating an immersive experience for the audience. Aside from the orange crushed-velvet seats, the entire room is saturated in blue. Rockwell employed an ombré effect, starting with a lighter, 'Easter-egg blue' at the back of the theatre, which gradually transitions to a deep 'Majorelle Garden indigo' closer to the stage. This darkening gradient of color is intentionally designed to guide the audience's focus towards the performance area, enhancing the theatrical experience. Rockwell explains his hypothesis behind this color scheme, stating that “The color and intensity matches where the audience is looking.” This bold and dramatic decision to immerse the theatre in blue is consistent with Rockwell's past works, which often feature strong color palettes and innovative staging. His prior experience includes designing stage sets for the 2009 Academy Awards, further demonstrating his expertise in creating impactful environments. The article concludes by highlighting Rockwell's unique ability to blend historical elements with modern design concepts, resulting in a reimagined space that is both visually stunning and functionally optimized for theatrical performances. #DavidRockwell #HelenHayesTheatre #TheaterDesign #Broadway #InteriorDesign #ArchitecturalRenovation #NewYork #PerformanceSpace

The Shed, located in New York, United States, is a non-profit cultural organization dedicated to commissioning, developing, and presenting original works of art across various disciplines for diverse audiences. Completed in 2019, the building, known as the Bloomberg Building, was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group. The facility spans an area of 18,500 square meters and is notable for its physical adaptability, engineered to accommodate a wide range of artistic endeavors. The Bloomberg Building features an eight-level base structure. This base includes two dedicated levels for gallery space, providing ample room for art exhibitions. Additionally, it houses the versatile Griffin Theater, designed to host performances and events. The upper levels of the base are home to The Tisch Skylights, which encompass a rehearsal space, a creative lab for local artists, and a skylit event space, offering flexible areas for artistic development and public engagement. A key architectural feature of The Shed is its telescoping outer shell. This shell can be deployed from over the base building and glides along rails onto an adjoining plaza, creating an expansive outdoor performance area known as The McCourt. This innovative design allows the building to physically transform, effectively expanding its footprint and capacity to host large-scale performances, installations, and events, responding dynamically to the needs of different artistic presentations. The project involved a comprehensive team of consultants and specialists to bring its complex design to fruition. Diller Scofidio + Renfro served as the lead architects, with Rockwell Group collaborating on the architectural design. Key consultants included Thornton Tomasetti for structural design, facade engineering, and kinetic engineering services, highlighting the intricate movable structure. Jaros Baum & Bolles handled MEP and fire protection, while Vidaris provided energy modeling consultation. Lighting design was managed by Tillotson Design Associates, and acoustic consultation by Akustiks. Construction management was overseen by Sciame Construction. Vertical transport consultants Van Deusen & Associates contributed to the building's internal logistics. Specialized consultants for the kinetic systems included Hardesty & Hanover, and Fisher Dachs Associates served as theater consultants, ensuring the functionality of the performance spaces. Cimolai was the structural steel fabricator, and Vector Foiltec fabricated the ETFE (Ethylene TetrafluoroFluoroethylene) material used in the outer shell. Additional expertise was provided by Code Consultants Inc. for building codes, Ducibella Venter & Santore for security, Entek Engineering for facade maintenance, James R. Gainfort for waterproofing, and Construction Specifications Inc. for specifications. Graphic design and wayfinding were handled by Other Means. The project's photography was primarily captured by Timothy Schenck, documenting the building's exterior and interior spaces. #CulturalArchitecture #ExhibitionCenter #NewYork #DillerScofidioRenfro #RockwellGroup #KineticArchitecture #PublicArtSpace #ArchitecturalInnovation #BuildingTransformation

Sara Duffy, Principal of Stonehill Taylor’s Interior’s Division, known for her work on projects like the TWA Hotel at JFK Airport, shares five personal inspirations that have shaped her career and life in a "Friday Five" interview. Duffy's approach to design is characterized by her ability to weave unique, immersive narratives for each project, combining thoughtful and classic design principles with a respect for a space's original character. Her portfolio includes notable hospitality projects such as the Nomad Hotel and Bar in New York and Las Vegas, and the J.W. Marriott Nashville. Her first inspiration stems from her childhood home, an Upper West Side pre-war apartment in New York City where her mother, also an Interior Designer, cultivated an ever-changing yet respectful approach to design. Duffy highlights her mother's ability to integrate daring design choices while preserving original architectural details like wood paneling, parquet floors, and fireplaces. This environment fostered her appreciation for blending contemporary elements with historical integrity, a principle that profoundly influences her professional work. The American Museum of Natural History serves as Duffy's second significant influence. Located just blocks from her childhood home, the museum was a constant presence throughout her life, evolving from a childhood playground to a place of shared experiences with her own children. Beyond its personal significance, the museum ignited her initial appreciation for architecture, particularly noting the "whale room" as a favorite space in New York City for its grand design and immersive quality. Barcelona stands out as Duffy's third inspiration. Her year-long residence there with her daughter, Ella, cultivated a deep admiration for Antoni Gaudí's architectural genius. Living near Sagrada Familia and exploring his various buildings and Parc Guell, she was captivated by Gaudí’s sensual forms, curves, and innovative concepts. Gaudí's work instilled in her the courage to think unconventionally and embrace risks in her own design practice. A 1920s cigarette holder belonging to her Aunt Marge is the fourth item on Duffy's list. This object, appreciated for its tactile quality and ergonomic design, sparked her curiosity about the design process and the cleverness behind everyday objects. It represents an early lesson in appreciating functional and aesthetically pleasing design at a smaller, more intimate scale. Finally, her three-legged pitbull, Dutch, represents Duffy’s fifth inspiration. Despite a challenging start to life, Dutch’s consistent happiness and enthusiasm provide a daily source of joy and motivation. This reflects a broader appreciation for resilience and positivity, qualities that can be translated into creating uplifting and welcoming spaces in her design work. #InteriorDesign #HospitalityDesign #SaraDuffy #StonehillTaylor #TWAHotel #ArchitecturalInspiration #DesignProcess #NewYorkDesign #BarcelonaArchitecture

The COVID-19 pandemic led to the cancellation of the spring performance season for ballet dancers, forcing them to adapt their home environments into makeshift studios to maintain their rigorous practice schedules. This transition presented unique challenges, particularly concerning suitable flooring and space for large movements. Despite these obstacles, renowned dancers found creative solutions to continue their training. Isabella Boylston, a principal dancer at American Ballet Theatre, transformed her Downtown Brooklyn kitchen into a dance space. The kitchen, being the largest room in her new construction condo, allowed her to use the countertop as a barre. She addressed the issue of slippery wood floors by obtaining a piece of marley flooring, a material that provides necessary traction for pointe shoes. Boylston also incorporated personal touches into her space, including a well-stocked bar cart and an art wall featuring works by friends and family. While the kitchen served for her daily classes, she sought outdoor spaces like Brooklyn Bridge Park for grande allegro, or big jumps, to avoid shin splints on her hard kitchen floor. Dores André, a principal dancer with the San Francisco Ballet, approached her Twin Peaks apartment with a minimalist and utilitarian design, viewing it as a "canvas" dominated by white, wood, copper, and pink tones. Her open-plan living area, where she primarily dances, has a hard concrete floor, which she mitigated by placing a Harlequin marley floor over a carpet or yoga mat. André improvises with a chair or the back of a large canvas as a barre. She also has a small backyard where she practices jumps when the weather permits, occasionally having to move her numerous plants, which she affectionately names, to create space. Gonzalo Garcia, a principal dancer at the New York City Ballet, and his partner Ezra Hurwitz, purchased a parlor apartment in a brownstone on the Upper West Side of Manhattan. A significant draw was the charming backyard garden, which they meticulously transformed into an outdoor lounge and Garcia's primary ballet studio. This outdoor space is equipped with a professional ballet barre and mirror, surrounded by various plants. Their decor, inspired by the French Riviera and Mediterranean styles, includes yellow chairs from Article and furniture from CB2. When the weather is unfavorable, Garcia utilizes a large inherited mirror in his bedroom for practice. He initially found his living room floors too slippery and uneven for ballet, emphasizing the need for a stable and visible practice environment. Joseph Gordon and Adrian Danchig-Waring, also principal dancers with the New York City Ballet, temporarily relocated to a midcentury ranch-style home on Shelter Island, owned by friends. The house's open layout, featuring three skylights and a vaulted ceiling, offered ample space for their training. They personalized the rental with their own "wabi-sabi, boho-chic" style, adding items like Noguchi lanterns and Pendleton blankets. They utilize the sunroom's windowsill or a dining chair as makeshift barres, recognizing the height challenges these improvisations present. The expansive wraparound deck serves as an alternative outdoor dancing space. Both dancers acknowledged the surreal nature of training at home and the challenge of maintaining motivation without a ballet master's direct guidance, relying on each other for encouragement and adapting to the limitations of their unconventional practice environments while embracing a more flexible approach to their artistry. #WorkFromHome #BalletDancers #HomeStudios #InteriorDesign #CreativeSpaces #HomeTours #DanceTraining #DIYHome #PandemicLife

The Trafalgar Centre in Nelson, New Zealand, a significant indoor sports, events, and performance venue, has undergone a comprehensive 'reinhabitation' led by Irving Smith Architects (ISA). Originally designed in 1973 by Alex Bowman, the stadium, known as 'The Hanger,' had seen previous alterations, including a 2009 Southern Extension by Arthouse Architects. However, the complex was forced to close in 2014 due to seismic vulnerability following major South Island earthquakes, exacerbated by its construction on reclaimed land. ISA’s project involved the seismic strengthening of existing buildings, the creation of a new entry pavilion, and a masterplan to reconfigure the entire scheme alongside the adjacent Rutherford Park. A key aspect of the project was addressing the Centre's location as the first public building on the Maitai River Walkway, an 8km pedestrian link. The previous masterplan had positioned the main access away from the river and park, creating an inefficient layout. ISA's redesign prioritised connectivity, moving the car park to the south to create a landscaped 'marae ātea' (public forum) space at the northern entrance, facilitating easier access and integrating the building with its natural surroundings. This outdoor area, defined by massive eaves and angled soffits, provides flexible 'spilling out' spaces that can be adapted for various events, including accommodating a tent in front of the building. The new pavilion's design incorporates a distinctive black aluminium cladding with a folded profile that reflects light, creating a pinstriped effect. The external glazing mirrors the green landscape, while internally, black ceiling tiles contribute to visual interest through patterns and light play. The choice of black, initially a point of local discussion, is justified by the architects through these material and form considerations, which prevent a flat, monolithic appearance. Structural improvements were paramount, given the site's susceptibility to liquefaction. Holmes Consulting and Arup collaborated on the geotechnical and structural engineering, aiming for approximately 75% of the New Building Standard (NBS). This involved deep soil mixing to restrict lateral movement, seismic separation of the southern extension, and the integration of buckling-restrained braces (BRBs) to enhance ductility. New wide foundations allow the building to 'float,' addressing the inadequacy of older, deep but skinny piles. Post-tensioned strands and cross-bracing were installed to reinforce the glulam arches of the original stadium structure. Despite a constrained budget, allocated for structural strengthening ($7 million), the new pavilion and exterior areas ($3 million), and civil works ($4 million), the project successfully delivered a highly adaptable venue. The stadium can now host up to 2,500 people for basketball, be configured for two tennis or four basketball courts, or transformed into a performance theatre for 1,200. This versatility supports a wide range of events, from children's volleyball to major music concerts and conferences, ensuring the Centre's ongoing relevance and utility for the community. The project highlights the architects' ability to overcome significant challenges, integrating intricate details like service integration within the soffit angles and carefully managing scale to ensure the vast structure remains welcoming at a human level. The architects emphasize the importance of such regional projects in keeping communities vibrant and attracting people to smaller towns, viewing the seismic strengthening as an opportunity for regeneration. #TrafalgarCentre #NelsonArchitecture #SeismicStrengthening #PublicBuilding #IrvingSmithArchitects #AlexBowman #ArthouseArchitects #MaitaiRiverWalkway #MaraeAtea #ArchitecturalDesign #CommunityVenue #RegionalDevelopment #StructuralEngineering #ArchitecturalRenovation

Barbara Lowenthal, an acclaimed interior designer, shares insights into her career, inspirations, and personal philosophies in a Q&A format. Her journey into design was sparked during childhood walks to Roosevelt Elementary School in Santa Barbara, where she developed a keen interest in residential architecture and interior details. This early fascination eventually led her to pursue certificate coursework through UCSB Professional and Continuing Education, solidifying her path in the design world. In 2005, Lowenthal joined Harrison Design, where she has been instrumental in leading its West Coast office for interiors, contributing to numerous significant projects. Beyond her professional work, Lowenthal has a strong commitment to community and historical preservation. She was a founding member of the boards for both the Pearl Chase Society and the Courthouse Legacy Foundation. Her civic engagement also includes serving as board president of the Museum of Art Docent Council and as a member of Santa Barbara’s historic landmarks and planning commissions. Her contributions to the field and community were recognized in 2015 when she was part of the team that received the city’s Edwards/Plunket Award for exemplary design for the comprehensive remodel of Crocker Row on Garden Street, specifically acknowledging the renovation, restoration, and rehabilitation of a historic structure. Lowenthal draws design inspiration from a wide array of sources, including nature, gardens, fashion, and even city streets, particularly those in Paris. She finds immense satisfaction in the collaborative aspect of her job, working with other professionals to create interiors that genuinely reflect her clients' unique sensibilities. Her ability to design across multiple genres is a highlight of her career, allowing for diverse and engaging projects. Conversely, the administrative burden of paperwork is cited as the least enjoyable part of her profession. When asked about an alternative career path, Lowenthal expresses a desire to be an author, indicating a creative and narrative inclination beyond interior design. Her current state of mind is upbeat, and she defines perfect happiness as sharing dinner with her children and grandchildren, highlighting the importance of family in her life. She prefers not to dwell on fears and considers books, encompassing fiction, nonfiction, and design literature, as her greatest extravagance. Lowenthal views temperance as the most overrated virtue and aspires to play the piano. Her greatest achievement is living life on her own terms, a testament to her independent spirit. Her most treasured possessions are her family and friends, underscoring her appreciation for personal relationships. She admires Stacey Abrams among living individuals and finds heroes in anyone who demonstrates perseverance in the face of disaster or trauma. In her interactions, she values love and support from friends. Lowenthal's favorite fictional character is Aurora from Larry McMurtry’s books, especially *The Evening Star*. When it comes to honesty, she humorously states she only lies to protect the innocent. Her most marked characteristic is her ability to go with the flow, and she frequently uses the phrase “Best Regards.” Her personal motto, “There’s always the next time,” reflects a forward-looking and resilient outlook on life. #InteriorDesign #BarbaraLowenthal #SantaBarbara #Architecture #DesignInspiration #CommunityInvolvement #HistoricPreservation #ProfessionalProfile