DESIGN

Building Collapse in South Florida

At least eleven people are dead after a building collapse in Surfside, FL. Rescue operations continue.

A condominium partially collapsed in South Florida on June 24, at 1:20 AM. At least half of the 135 units in the 13-story building have collapsed, according to the Miami-Dade mayor Danielle Levine Cava. The Champlain Towers South building was originally shaped like an “L,” but the lower half of that shape was completely sheared off, including the building’s pool and garage. 

The Miami-Dade Fire Rescue is leading the rescue efforts along with multiple other agencies. The White House and FEMA are also monitoring the situation and will provide assistance to the local officials if needed. 

A woman who resides on the ninth floor recalled her experience to Local 10, “The whole building shook like an earthquake. I opened my sliding glass and I saw a plume of dust and then I opened the door and I saw that the building had pancaked in the back.”

Another resident commented that he and his wife fled to the garage, only to find that the pipes had burst and it was flooded. 

Rescue teams are recovering victims from the rubble, while all tenants in unaffected apartments are being evacuated. Firefighters continue to sift through the wreckage for victims, which includes using dogs and microphones.

“Debris is falling on them as they do their work. We have structural engineers on site to ensure that they will not be injured, but they are proceeding because they are so motivated and they are taking extraordinary risk on the site every day,” says Miami-Dade Mayor Daniella Levine Cava, describing the “extreme risk” of the firefighters  dangerous duty.

Over 400 workers are involved in the rescue effort, with up to 200 rescuers searching through debris at all times, according to Miami-Dade Fire Rescue Chief Alan Cominsky.

Surfside Mayor Charles W. Burkett cannot think of a reason for this collapse to have happened, other than an unexpected sinkhole or human interference. While he confirmed that roof work was being done on this building, this is a regular occurrence that he doesn’t believe could have caused the collapse. However, former Surfside Vice Mayor Barry Cohen, a resident of the collapsed building, believes that the roof work actually may have compromised the integrity of the building.

Unfortunately, a thunderstorm has paused all rescue efforts for the time being, according to Commissioner Sally Heyman.

On Saturday, June 26, at least 159 people remained missing. On Monday, two more victims were found. As of Tuesday, June 29, the number of missing persons has decreased to 150.

The Champlain Towers South condominium community have continued to mourn the victims of the tragedy in the days following the harrowing accident.

A third lawsuit has now been filed against the Champlain Towers South Condominium Association on behalf of ninth floor resident, Raysa Rodriguez. Rodriguez is seeking unspecified monetary damages and a jury trial. The compliant alleges: ““Despite the obvious duties required by Florida law, and this admitted duty of care by the Association’s Declaration and other governing documents, Defendant, through their own reckless and negligent conduct, caused a catastrophic deadly collapse of Champlain Towers South in Surfside.”

Rodriguez additionally alleged that in 2018, “major structural damages” were outlined in a structural field survey report submitted to the defendant by Morabito Consultants. The compliant is seeking a class action status lawsuit to represent all of the condominium’s victims of the tragic accident.

Rodriguez’ attorney, Adam Schwartzbaum, argued that the building has been aware of these “critical” structural issues for some time, and that warning signs of collapse have been apparent for the last decade. Schwartzbaum says, “Certainly for at least three years, there was a major red flag…sirens flashing, alerting the condo association of this of this danger.” He elaborated in another comment that, “based on our investigation there were many warnings signs more than 10 years ago, maybe even longer. These are not things that were just a few years ago.”

A letter sent from the building’s condo association president reveals that damage to the basement garage of the building had become “significantly worse” since its prior inspection, three years ago. The letter also reveals that the estimated repair costs had risen from $9 million to $15 million, reveals USA Today.

White House press secretary Jen Psaki has said that President Joe Biden thinks an investigation into the Champlain Towers South collapse should be set in motion.

The harrowing search-and-rescue operation is still currently underway, stretching into day six of the rescue effort.

A family reunification center has been set up for anyone looking for unaccounted or missing relatives at a community center at 9301 Collins Ave. Those searching for their loved ones or to report that they have been located are asked to call 305-614-1819. An emergency information hotline has also been created at 305-993-1071.

Oscar Stone illustration by Heather Skovlund for 360 Magazine

Oscar Stone LTD

Oscar Stone LTD is a family-owned jewelry firm based in the Bronx. Oscar Stone sells timeless jewelry, including customizable earrings, watches, bracelets, pendants, chains, and mouth grillz, which are all created from the beginning to the end internally. Oscar’s most popular article, baguette diamond earrings, dazzle his clients with their blinding beauty. Oscar Stone recognizes the value of using durable diamonds and jewelry from the Bronx community.

While lockdown created a lull for other companies, Oscar used the downtime to bolster his burgeoning business. His reach on social media via Instagram featured Oscar to many celebrity customers, including Jojo Simmons, Young Dirty Bastard, and Kid Capri, among others. Oscar Stone‘s jewelry exudes a true dedication to his craft, which is why his extensive list of clients keeps expanding.

The last authentic district of New York, the Bronx, houses the next largest jeweler in New York. Oscar Stone LTD stands apart from other jewelers such as Jacob the Jeweler, Greenwich Street Jewelers, and Martin Busch Jewelers because of its innovative approach to bespoke jewelry and sustainable practices and inspirational dedication to their craft. Oscar’s relentless pursuit of fine diamonds and customer satisfaction during the pandemic has allowed his business to flourish more than ever. Looking to the future, Oscar aims to continue creating custom designs for his customers and grow his business to become a familiar name.

We spoke with Oscar about his background in gemology, his favorite custom orders, and his business expansion plans in the Bronx.

How did you get started in making jewelry and performing gemology for Oscar Stone?

I’m a G.I.A. accredited gemologist. Basically, growing up my whole life, [my] family– aunts, uncles, cousins– we all just did jewelry. So getting the jewelry was the easy part. It’s a family trade, really; it’s one of our best-kept secrets.

How did you build your clientele when you began in the jewelry business?

I knew about jewelry; gold wasn’t something crazy new to me. It’s like all your aunts and uncles own auto repair shops–you fix a couple of the tires, do a couple of oil changes, and you just kind of figure it out by yourself. When I had my own spot, building my clientele did really start from scratch. I didn’t have any celebrities or influencers, so I just had to open up shop and see what I could do. Before I did that, I actually did go to GIA (Gemological Institute of America) diamond school. I knew that GIA offered courses for this type of stuff. I spent a couple of months educating myself–[even] just [concerning] diamonds; there’s so many things about diamonds.

Once I finished the education, I decided to really bring in some clients. I was in business for about three years, and then I just started going heavy on social media. Once I started publishing my work on social media, the followers started coming. You know, not[hing] crazy yet, but I started getting a couple thousand [followers]. That’s when the business started taking off. I started hiring friends of mine and a lot of people, [and] my staff grew from four or five people to like twenty-five people. Business exploded when I started getting people who were verified on Instagram and had 300–400,000 followers. Once I started getting those clientele, the ball really started rolling. And that’s where we are now, about a year later.

What celebrities/notable clients have you done jewelry work for?

I would say the biggest guy that I’ve done work for would be, Jojo Simmons from RUN–D.M.C. I’ve done work for Young Dirty Bastard, who is the son of Old Dirty Bastard from the Wu Tang Clan. [Regarding] household names, I’ve done guys as big as Tonio Skits and Darius D.K. [Also,] I’ve done work for [Kid] Capri.

How do you source the best diamonds/gems for jeweling?

I don’t always get the same diamonds from the same supplier. The reason is, once you start working with somebody for diamonds and you guys get comfortable, then they start sending you lesser quality parcels. A parcel is basically like a bag of diamonds, [which come in] a lot of different sizes. They should all be the same clarity, and you sort through them to see that the quality is consistent.

I can buy 50 carats of diamonds this month [or] this week, and then I’ll run out by making all the jewelry. And so, I need to reorder. If the quality starts to become inconsistent with the price that I’m paying, I’ll switch over to another diamond supplier. Most of my diamond suppliers are in India, so I’ve had to fly out there a few times and look at some parcels, look at some factories, and see how they’re all doing it.

[Or, for example,] if I have to build a watch and do it three weeks, and [clients] don’t give me enough time, I have to get [diamonds] local[ly].

What is your favorite jewelry design you sell?

My favorite designs [are] always the custom pieces I make. I always love doing custom work, I just love like how intricate they are. I just did a piece for a client of mine–it’s this huge custom piece that spins when you spin it. I’ve had the most fun working on it, that’s my favorite piece right now. I’m working on another one that might top it, but we’re gonna keep it under wraps for now.

What is your jewelry specialty?

My signature I would say is the baguette earrings, that’s what most people know me for. Out of all my followers, I would say 20,000 of them might have been from the baguette earrings.

I do really, really good with the baguette diamond earrings that are on my website. I could sell as many as 20 pairs a day. A lot of people [who] are from out of state buy that. A lot of people [come] in store as well. The baguette diamonds are just such a popular thing for me right now. I have to make hundreds and hundreds of pairs just to keep up with demand.

What is the most popular order you receive from clients?

The baguette diamonds are just like something you really don’t see out of New York. And so, people love them. It’s also my bread and butter…It’s gonna go, it’s gonna sell, and sell classic.

What’s next for you?

I’m going to be moving to another location on the Grand Concourse in the Bronx–I’m true to the Bronx, I don’t wanna leave the Bronx. So, I’m moving to a store that is down the block from me. It has three times the retail space, and a basement attached to it. I’ll be able to really put a factory down there. As long as the people keep loving my jewelry and what I do, I’m going to keep delivering the best I can. To do that, and to give the best prices, you need to do things in-house. I’m going to have a 1500 sq ft basement where I’ll be able to put ten diamond setters down there and set diamonds all day. The second floor will be an office to do all the online [work]. On the floor-level will be retail and the showroom, so people who want to see things in-person, I can show them right there. That is my short-term goal in the next one or two years. Long term, I want to be a household name, but one thing at a time.

Photo Credit:  Anthony Duque

Oscar Stone LTD Baguette Diamond Earrings

Cityzenith illustration by Heather Skovlund for 360 Magazine

Cityzenith × World Economic Forum

­Cityzenith joins the World Economic Forum Global Innovators Program

Digital Twin market leader Cityzenith has been chosen to be part of the World Economic Forum’s (WEF) Global Innovators community to support Cityzenith’s mission to decarbonize US cities.

The Global Innovators Community is a group of the world’s most promising start-ups and scale-ups that are at the forefront of technological and business model innovation. The World Economic Forum provides the Global Innovators Community with a platform to engage with public-and private-sector leaders and to contribute new solutions to overcome current crises and build future resiliency. There are over 140 community members across 15 different countries.

Companies who are invited to become Global Innovators will engage with one or more of the Forum’s Platforms, as relevant, to help define the global agenda on key issues. ‘Shaping the Future of Energy, Materials, and Infrastructure’ is one of the seventeen platforms which focuses on bringing together industry leaders from electricity, oil and gas, mining and metals, chemicals, and construction.

The latest participant to join this platform is Cityzenith, whose SmartWorldOS software platform can create virtual replicas of buildings and urban areas to track, manage and optimize carbon emissions and minimize environmental damage.

The US company’s tech is deployed in multiple international megaprojects, including a substantial ground-breaking decarbonization energy scheme for US cities.

Cityzenith CEO Michael Jansen said, “Our partnership with the World Economic Forum gives us a platform to have our voice heard, spread our message, and take advantage of more opportunities.

“WEF recognized that our technology and insight had a role to play in combating Climate Change, and now we can go further in helping governments and countries to decarbonize cities worldwide.”

The partnership’s catalyst was Cityzenith’s ‘Clean Cities – Clean Future’ campaign as part of the ‘Race to Zero’ movement. Cities worldwide generate 70% of global carbon emissions (source: UNHabitat) and Cityzenith believes its SmartWorldOS can help building and property asset management groups, city planners, and developers move to carbon neutrality in the next ten years.

Cityzenith CEO Michael Jansen said at the launch of the’ Clean Cities – Clean Future’ initiative: “We have to help the most polluted urban centers become carbon neutral, and we plan to do this by donating the company’s Digital Twin platform SmartWorldOS to key cities, one at a time, after every $1m raised. We’re able to do this because of the recent surge of investment as part of our $15m crowdfunding raise.

The World Economic Forum also partners with leading organizations that push change forward, like the International Renewable Energy Agency (IRENA), an intergovernmental organization supporting countries in their transition to a sustainable energy future.

President of the World Economic Forum, Børge Brende believes IRENA’s partnership with the Forum is “an important step in strengthening the mission of our organizations” adding:

“It brings together the knowledge, insight and innovation expertise of IRENA with the Forum’s global network to ensure these higher commitments are realized in the near term.”

Significant investment funds such as The Carlyle Group, Equinor, and the Canada Pension Plan Investment fund (CPP) have also partnered to offer a potential investment into promising climate solutions.

CPP President and CEO Mark Machin see the benefit and importance of investing now to protect the planet: “We at CPP Investments are trained to dig deep into both risks and opportunities. Climate Change offers both.”

“None of these efforts are cheap, but they are an investment in society’s future. And, as we’ve learned from the current crisis (COVID-19), the cost of being underprepared when catastrophe strikes can be far higher.”

If you would like to hear more from Cityzenith CEO Michael Jansen, you can listen to him directly in an upcoming FREE investment webinar ‘Join The Race to Zero – Investing in Technology For Sustainable Cities,’ taking place virtually on Tuesday 8th June at 08:00 CT and 13:00 CT. To learn more about using emerging tech to combat Climate Change, please sign up here.

About Cityzenith
Cityzenith is based in Chicago with offices in London and New Delhi. The company’s SmartWorldOS Digital Twin platform was created for anyone designing, constructing, and managing complex, large-scale building projects, properties, and real estate portfolios but has developed to cover infrastructure, energy projects, transport, health, people movements, and whole cities. Find out more at Cityzenith.

The Fisher House illustration by Heather Skovlund for 360 Magazine

The Fisher Dollhouse × MAD

MUSEUM OF ARTS AND DESIGN INVITES VISITORS INTO MINIATURE WORLD CREATED BY NEW YORK COLLECTOR JOANNA FISHER

The Fisher Dollhouse: A Venetian Palazzo in Miniature

May 8 — September 26, 2021

Purchase Tickets Here

Inspired by Venice’s glamorous Gritti Palace, The Fisher Dollhouse: A Venetian Palazzo in Miniature will make its public debut at the Museum of Arts and Design (MAD) on May 8. With a fifteenth-century classical exterior and ten rooms filled with an eclectic range of historical and contemporary craft, art, and design rendered in miniature, The Fisher Dollhouse: A Venetian Palazzo in Miniature displays an impressive collection of contemporary art created by more than ten international artists, many of whom are working in miniature for the first time. New York collector, maker, and arts patron Joanna Fisher conceived of the dollhouse in response to the lockdown required by the COVID-19 pandemic. Like so many, she was housebound and felt her world shrink…and embraced it, literally. The dollhouse project offered Fisher a form of therapy: it provided a safe haven and, with ever-inward retreat during quarantine, an escape.

“’The House Within’ is how I think about this project. A place people can go to in their minds,” said Fisher. “This was born in the pandemic. An emotional home I found within myself. A safe place created in my imagination. That is how this came to be.”

Fisher was familiar with the Museum of the City of New York’s Stettheimer Dollhouse. This, plus Rachel Lee Hovnanian’s suggestion that the project could be like a miniature version of Peggy Guggenheim’s Palazzo Venier dei Leoni, lead her to commission micro-artworks from artist friends and collaborators. All working in isolation, many found an unexpected sense of community in the creation of the dollhouse and the works within. Peter Gerakaris’s neo-Byzantine icon presented an introspective challenge of recreating an exacting process—painting with a brush of no more than three hairs. There are also sculptural works by prominent artists, including an abstracted figure by Michele Oka Doner and one trapped in glass by Dustin Yellin. An “ancestor portrait,” a reimagined image of Fisher by Antonio Pio Saracino, is mounted in a gilt frame. Artists Tatyana Murray and Rachel Lee Hovnanian both shrunk preexisting works: Aquatic Dream and Body Armor, respectively. Exquisite paintings were contributed by Darren Waterston, Federico de Francesco, and Ryan McGinness, whose family joined Fisher at a recent Thanksgiving celebration where their daughters played with dollhouses together. Waterston contributed an ethereal landscape in the same spirit as a series begun during the pandemic while Hunt Slonem gamely adapted his popular bunny imagery with smaller strokes. There’s also photography by Veronica Gaido. Many of these are set in elegantly crafted, ebonized, or gilded carved wood frames.

Another inspiration for Fisher was Queen Mary’s Dollhouse (long on display at Windsor Castle) that was presented to the Royal Family in 1924 in gratitude for bravery and leadership during the First World War. Designed by Edward Lutyens, it was the work of 1500 of the finest makers of its day. Some of the objects commissioned for it were replicated for The Fisher Dollhouse: A Venetian Palazzo in Miniature, which is also filled with scaled miniatures by contemporary makers as well as antiques and vintage pieces. Its Baroque-style fireplace is by a British maker Sue Doviso, who specializes in detailed architectural elements. Others, like the porcelain sink attributed to Sonia Messer, are testament to twentieth-century pioneers of dollhouse furniture manufacture. “Venetian” touches in the painted bombe chest and bust of Julius Caesar are by David Castillo, a miniaturist in Barcelona. The stunning Murano-style glass chandelier came from glass artists Mario Ramos and Mariana Grande in Madrid. Fred Cobbs, a revered miniature metalworker in Georgia, made a range of tools and other items, from a watering can to a wine vat to an espresso machine.

Close looking is rewarded: a display cabinet teems with ammonites, which first appeared 240 million years ago; a ruby glass wine set fit for (and believed to be made for) Queen Anne; “bamboo” furniture, mouse-sized preserves, a powder horn, and a masquerade mask. Specialties are evident in miniature foods, elaborately bound books, clay olive jars, and wigs. While no dolls dwell here, animals do, in the form of a pheasant, a monkey riding a camel, and ceramic dogs, one housed in its own magnificent dog bed by jeweler Laura Lobdell. The needlepoint rugs Fisher designed and made herself. Many of the makers, like one who refashioned WWI bullet casings into the legs of a brass table, remain unknown.

The dollhouse was made to order by British set designer Holly Jo Beck, who has worked at the Folger Theatre in Washington, D.C. and now works primarily as an animator. In both form and details, the dollhouse draws on specific places such as the Palazzos da Mula Morosini and Bernardo a San Polo. For Fisher, it evokes memories of a favorite hotel, the Gritti Palace, built as a noble residence in the fifteenth century on Venice’s Grand Canal. The pink facade also suggests to Fisher a local landmark, Julian Schnabel’s Palazzo Chupi in Greenwich Village. Such associations offer flights of fancy during a time of curtailed travel and cancelled plans.

A “house within a house,” as poet and critic Susan Stewart wrote nearly thirty years ago in On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, the dollhouse exposes tensions between the inside and outside worlds. Sanctuary and prison, this “most consummate of miniatures” also confronts “the inaccessibility of what cannot be lived.” A condition intensified by the pandemic that Fisher has felt intensely. “While this dollhouse was a solitary exercise,” she noted, “it somehow brought me closer to people all over the world, creating its own social network, balancing out the isolation of this pandemic.”

The Fisher Dollhouse: A Venetian Palazzo in Miniature is a work in progress, one Fisher plans to return to. For now, this dollhouse’s secret rooms, where one could imagine curling up or entertaining at a moment’s notice, have been fixed in time and opened up so that visitors can inhabit and enjoy.

EXHIBITION CREDITS

The Fisher Dollhouse: A Venetian Palazzo in Miniature was curated by Caroline Hannah.

This exhibition is made possible through Joanna Fisher’s support and efforts.

ABOUT THE MUSEUM OF ARTS AND DESIGN

The Museum of Arts and Design (MAD) champions contemporary makers across creative fields and presents the work of artists, designers, and artisans who apply the highest level of ingenuity and skill. Since the Museum’s founding in 1956 by philanthropist and visionary Aileen Osborn Webb, MAD has celebrated all facets of making and the creative processes by which materials are transformed, from traditional techniques to cutting-edge technologies. Today, the Museum’s curatorial program builds upon a rich history of exhibitions that emphasize a cross-disciplinary approach to art and design, and reveals the workmanship behind the objects and environments that shape our everyday lives. MAD provides an international platform for practitioners who are influencing the direction of cultural production and driving twenty-first-century innovation, and fosters a participatory setting for visitors to have direct encounters with skilled making and compelling works of art and design. For more information, visit Museum of Arts and Design.

Sleeping Beauty illustration by Heather Skovlund for 360 Magazine

Rediscovering Disneyland Auction

­A RARE DISNEYLAND MOSAIC FROM THE COURTYARD OF SLEEPING BEAUTY CASTLE SELLS FOR AN ASTONISHING $363,000 AT VAN EATON GALLERIES “REDISCOVERING DISNEYLAND” AUCTION

Van Eaton Galleries, the Sherman Oaks based auction house specializing in Disney memorabilia and animation, and recognized authority on all things Disney, has announced that a Disneyland Sleeping Beauty Castle Mosaic (circa 1970s) sold for an astonishing final price at their “Rediscovering Disneyland” auction for $363,000. The mosaic sold for more than ten times the original estimate which was $30,000-$50,000 and is among other highlighted results announced by the auction house. Van Eaton Galleries held the two-day “Rediscovering Disneyland” auction this weekend (May 22 & 23) which represented one of the most significant and comprehensive collections of early Disney Theme Parks artifacts and Disney related memorabilia ever assembled with over 1,200 items.

The handcrafted mosaic that was part of the original Sleeping Beauty Castle before it was renovated in 1983. The massive, hand-crafted artwork consisting of hundreds of individual tiles features an image of Sleeping Beauty and Prince Phillip and is an actual piece of the Original Sleeping Beauty Castle. This wall mounted artwork was a prominent installation within the early years of Fantasyland and was removed around the time of the massive New Fantasyland refurbishment of 1983. The tiles remain set in their cement with original mesh wire backing. It is an original section of the walls of Sleeping Beauty Castle at Disneyland and measures 36” x 44.” It is a true one-of-a-kind Disneyland relic.

Other highlighted results included a single Disneyland Club 33 Dinner Plate which sold for $12,300 with an original estimate of only $100-$200; a Disneyland Club 33 Cast Member Hostess Dress and Belt which sold for $7,380 with an original estimate of $500-$700; The Haunted Mansion Imagineering Blueline Map Print sold for $17,220 with an original estimate of $1,000-$3,000; a Disneyland Fantasyland Bench sold for $22,140 with an estimate of $3,000-$5,000 and The Matterhorn Coat of Arms Entryway Plaque sold for $6,450 with an original estimate of $500-$800. More results are available at Van Eaton Galleries.

Graham & Brown illustration by Heather Skovlund for 360 Magazine

Graham × Brown

­­This February, UK-based wallpaper and paint company, Graham & Brown, kicked off a year-long celebration of its 75th anniversary.  Founded in Blackburn, Lancashire in 1946 by childhood friends, Harold Graham and Henry Brown, this business has been family-run for 75 years, proving that quality craftsmanship, sustainable practices and innovative design always stands the test of time. 

As part of Graham & Brown’s 75th anniversary they have released a limited-edition “Through The Decades” collection that pays homage to the styles and tastes of the 1940s-2010. The full 8-piece collection is now available in the US + Canada. 

An evocative tribute to the nostalgic, the Through the Decades collection reflects on the impact that each decade has had on home trends, and the ways in which wallpaper as a medium has embodied them. 

As with every Graham & Brown wallpaper in the broader company collection, each Through the Decades design is paired with a complementary hero paint color as well as three coordinating hues to promote harmonious design and a synchronous living space.

A portion of the proceeds from this collection will be donated to the Community Food Bank of New Jersey, an organization local to the brand’s US offices, a commitment made in lockstep with Graham & Brown’s pledge to raise £75,000 (about $105,000) for charities in 2021.  

Graham & Brown Collection
'Homme 277' NFT illustration by Heather Skovlund for 360 Magazine

HOFA Gallery NFT Artworks

HOFA Gallery NFT artworks will appear alongside corresponding physical artworks at London exhibition this week

Press preview in gallery and virtually: Thursday 13 May 2021, 10.00 – 18.00 (BST)  

As the NFT artwork phenomenon continues to expand the boundaries of collectible art, HOFA Gallery is boldly reprising their role as pioneers with the upcoming release 15 May release of NFT artworks as digital complements to physical works currently on display in the ‘Matter & Form’ exhibition. 

The planned press preview will take place at HOFA Gallery, Mayfair on Thursday 13 May 10.00 – 18.00 (BST) in gallery or virtually by appointment (photographers and videographers welcome).  

Jan KalabLoribelle SpirovskiGregory Siff and Darian Mederos, four widely celebrated feature artists in HOFA’s latest group exhibition, will release their crypto artworks on via a special collaboration with MakersPlace – the world’s largest art NFTs marketplace.  This move bridges the perceived gap between conventional art and digital art and is part of HOFA’s ongoing effort to put contemporary art within reach of today’s younger, tech-savvy art collectors. 

HOFA Co-founder Elio D’Anna says “Traditional, conventional art has always struggled with the problem of accessibility, which meant that many people were excluded from enjoying and investing in art. Furthermore, it has meant that artists could only reach a fraction of their potential audience.” 

He continues Finally, the world of digital is steadily levelling the field, and today we are seeing the NFT phenomenon address this problem of accessibility in a new way by giving legitimacy and currency to digitally subsisting art.

In 2018, HOFA made headlines when it became the first to embrace the possibilities of blockchain-powered cryptocurrency by making their entire art holdings available for purchase using Bitcoin and Ethereum. Along with innovative partners, HOFA also helped established the world’s first digital asset-based art investment platform which enables full and partial investments in blue-chip contemporary artworks using secure blockchain technology to authenticate and record transactions.  

HOFA Co-founder Elio D’Anna sums up “By embracing the world of collectible NFT art, both the gallery and our emerging and established contemporary artists can exponentially expand their reaches.  We are finding these new audiences, consisting mainly of Millennials and Gen Zs, are enthusiastic about art and keen to have digital-first art experiences that are easily personalized and conveniently accessible via smart devices.”

Press preview: ‘Matter & Form’ at HOFA Gallery, Mayfair on Thursday 13 May 2021, 10.00 – 18.00 (BST), in gallery and virtually by appointment only.  

In compliance with Covid-19 safety protocols, all visits to the gallery will be strictly on RSVP basis.

Matter & Form video

HOFA Gallery Website

HOFA Gallery Instagram

‘Homme 277’ NFT by Loribelle Spirovski drops on MakersPlace 15 May 2021
‘Breathing Turkis Lagoon’ NFT by Jan Kalab drops on MakersPlace 15 May 2021
 ‘Games of Youth & Legend’ NFT by Gregory Siff drops on MakersPlace 15 May 2021
Heather Skovlund Graham & Brown illustration for 360 Magazine

Wallpaper Release by Graham & Brown

FIND YOURSELF IN THE MIDST OF A JEWEL TONED MAZE WITH ALCAZAR

These geometric shapes resemble a winding puzzle, bringing a truly unique pattern to your walls. Use as part of a natural themed décor, or up the ante with this alluring and sophisticated wallpaper with striking gold accessories.

Graham & Brown, the UK-based wallpaper company, has been busy this year celebrating its 75th anniversary with collaborations including Sacha Walckhoff and the National Portrait Gallery, amongst others. Today, I’m reaching out to share the company’s latest spring wallpaper introductions, including playful, lush botanicals (and a surprise appearance starring tropical fish) plus soothing geometric shapes. See the latest drop below!

Aquarium

This quirky wallpaper is packed with character and life. Turn any space into an enticing aquatic setting with Aquarium. Striking tropical fish swim amongst rich green leaves on this large repeat print. Use for a quirky and fun pop of color. Currently available in Deep Sea.

Graham & Brown Wallpaper

Glasshouse Flora

Glasshouse Flora relishes in the trend of jewel-tone hues and does it perfectly. Rich colored florals sit on gorgeous rich hues, creating an opulent feel within any room. This impactful design will turn your décor in any space into a sophisticated floral haven. Available in Glasshouse Flora, Glasshouse Flora Amethyst, Glasshouse Flora Emerald, and Glasshouse Flora Sky.

Above: Glasshouse Flora Amethyst 

Below: Glasshouse Flora Emerald

Alcazar

Find yourself in the midst of a of a jewel-toned maze with Alcazar. These geometric shapes resemble a winding puzzle, bringing a truly unique pattern to walls. Use as part of a natural themed décor, or up the ante with this alluring and sophisticated wallpaper with striking gold accessories. Available in Noche and Forest. 

Above: Shown in Forest

Below: Shown in Noche

Floating Homes illustration by Heather Skovlund for 360 Magazine

Digital Twin Floating Homes

Digital Twin floating home designs could help coastal cities cope with rising sea levels

Climate Change may force some city dwellers to take to the water, according to the C40 Cities Climate Leadership Group.

It estimates that some 800 million people and 570 cities could be at risk by 2050 if sea levels rise half a metre, as forecast by some experts, but C40 Cities – 97 cities representing a twelfth of the global population and a quarter of its economy – believes a floating neighborhood in Amsterdam, Netherlands, shows a way to cope.

Known as the ‘Schoonschip‘ – literally ‘clean ship’ in Dutch but translating more as green or environmental ship – it houses more than 100 people in 46 sustainable homes across 30 water plots. The area was designed to be mainly self-sufficient, with a minimal impact on nature while adapting to the rising water.

Space&Matter, the Amsterdam architects’ practice behind the water village, said: “Since urban areas struggle with high density, we should make better use of the space on the water.

“With Schoonschip, we want to set the example and show how living on water can be a great and better alternative for people and our planet.”

Schoonschip also utilizes clean energy sources: solar panels and heat pumps provide heating, and the architects plan to convert wastewater from toilets and showers back into energy. All buildings also have a green roof – part vegetation and geared to rainwater collection.

With almost 70% of the world’s population expected to be living in cities by 2050, the Schoonschip concept could help places like the Indonesian capital Jakarta (pop: 10.5 million) where evacuation currently appears to be the only answer to rising sea levels.

US cities are also at risk; news organization Climate Central listed 22 in Florida in a Top 25 US cities most vulnerable to coastal flooding.

And that’s where 3D Digital Twin modelling steps in, according to Cityzenith CEO Michael Jansen, by enabling the Schoonschip concept to be adapted for large scale use:

“As many have pointed out, including world-renowned philanthropist Bill Gates, Climate Change threatens the existence of coastal cities, but Digital Twin software can ensure infrastructure efficiency, minimize emissions, and most importantly, simulate cities on the water to ensure they can survive and thrive in adverse conditions.”

Cityzenith’s tech already features in key projects worldwide, such as the Orlando SED smart district, the Lamina Tower luxury property apartment project in Saudi Arabia, and the smart city of Amaravati, India. 

Spiro illustration by Heather Skovlund for 360 Magazine

Spiro Exhibition

Ancient Mysteries Revealed: Groundbreaking Spiro Exhibition to Debut at The National Cowboy & Western Heritage Museum

The Spiro site contained one of the greatest collections of prehistoric American Indian artifacts ever discovered in the United States.

The Spiro Mounds are one of the United States’ most important ancient Native American sites, as well as an archaeological find unmatched in modern times. Yet, despite creating a sophisticated ancient culture, the Spiro people are nearly forgotten in the pages of history books. How did these incredible works of art and other treasures from all over North America end up hidden for hundreds of years, and why? Opening February 12, 2021 at the National Cowboy & Western Heritage Museum, “Spiro and the Art of the Mississippian World” will seek to answer these questions and more in the first major presentation on the Spiro Mounds ever undertaken by a museum, representing the first, and possibly last, time these artifacts will be reunited from various collections across the country.

“We are incredibly pleased to announce this unparalleled exhibition, which will give proper honor and representation to the culture and historical impact of the Spiro people,” said Natalie Shirley, The Cowboy president and CEO. “Our staff has worked for years to create a world-class, exciting and collaborative presentation of a people who have been overlooked for too long.”

This exhibition will share the art, history and culture of the Spiro people through approx. 175 objects, as well as an accompanying publication, website, public symposium and panel discussion. It was created in collaboration with representatives from the Caddo and Wichita Nations, the descendants of the Spiroan people, and with contributions by 17 humanities scholars from nearly a dozen universities and museums from across the United States.

The Spiro Mounds were the location of one of the largest and longest episodes of looting at any American archaeological site in history—comparable to that of Mesa Verde in Colorado and, sadly, several others across the country. Both looting and New Deal/Works Progress Administration (WPA) archaeological excavations came together in a near-perfect storm at Spiro. In 1935, the public’s imagination was peaked when the Kansas City Star called the site’s discovery a “King Tut’s Tomb in the Arkansas Valley,” and identified it as the greatest source of Mississippian iconographic material ever found. Embossed copper plates, wooden sculptures, thousands of pearls and beads, large human effigy pipes and engraved shell gorgets and cups are just some of the items found at Spiro. In fact, nearly 90% of all known engraved shell created during the Mississippian period (900 – 1650 AD) was discovered at this one site. This exhibition will include the reunification of a range of items looted and archaeologically excavated at Spiro that have not been together since the early 1930s and 1940s.

“The quality and quantity of material found at Spiro is unprecedented,” said Eric Singleton, Ph.D., Museum Curator of Ethnology. “We are grateful to have the support of the Spiroan descendants, the Caddo Nation and the Wichita and Affiliated Tribes, as we prepare this exhibition. Without them, this exhibition would not be possible.”

The Spiroan people, along with other Mississippian groups across the eastern half of North America, created a world equal to that of the Aztec, Maya or Inca, consisting of trade networks and highly developed social, political and religious centers. The exhibition will explore the archaeology and history of Spiro and its relationship to other contemporaneous Indigenous communities in North and Central America, highlighting community development, religious and ceremonial activities, farming and hunting practices and daily life. It will also illustrate how ecological factors, specifically the occurrence of the “Little Ice Age” beginning in 1350 AD and lasting until 1650 AD may have led to the site’s decline and ultimate abandonment. The exhibition also showcases contemporary Indigenous art pieces that explore the ideas of origin and connect the art and artistry of the Spiro people to their modern descendants.

Following the exhibition, the online component and educational materials will be available on the Museum’s website and in our permanent Native American gallery. In addition, the Museum will give both the Caddo and Wichita Nations all interpretative materials to use at their discretion in their respective tribal museums.

The exhibition will debut at National Cowboy & Western Heritage Museum February 12 – May 9, 2021, before traveling to the Birmingham Museum of Art (October 5, 2021 – March 11, 2022) in Birmingham Alabama, and the Dallas Museum of Art (April 15, 2022 – August 5, 2022), in Dallas Texas.

Visit Spiro Mounds for more information, including photos, maps and a calendar of associated programming.

The Spiro and the Art of the Mississippian World has been made possible in part by major grants from the National Endowment for the Humanities and the Henry Luce Foundation, as well as support from the Kirkpatrick Foundation.

Any views, findings, conclusions, or recommendations expressed in this press release do not necessarily represent those of the National Endowment for the Humanities.

About the National Cowboy & Western Heritage Museum

The National Cowboy & Western Heritage Museum in Oklahoma City is America’s premier institution of Western history, art and culture. Founded in 1955, the Museum collects, preserves and exhibits an internationally renowned collection of Western art and artifacts while sponsoring dynamic educational programs to stimulate interest in the enduring legacy of the American West. For more information, visit the National Cowboy & Western Heritage Museum.