elemental

I follow the thin black line.
Drawings by Costantino Nivola

Although Costantino Nivola was an extraordinary draftsman, and for almost ten years had worked as a graphic designer and a professional illustrator, he regarded himself above all as a sculptor, or more precisely a sculptor-builder, heir to the ancient nuraghi builders, faithful to the vocation passed on to him by his mason father. This is why his graphic work has gained little recognition. Yet, it is a body of work of great interest and quality, a cross-section of which is exhibited for the first time: over a hundred works, almost all unpublished.

The drawings and illustrations on display, made between 1941 and 1980, document the central and most productive phases of the artist’s career: his first period in New York, shortly after his flight from Fascist Italy, divided between commercial graphics and exploratory works (1940-1945); his approach to sculpture in 1950 and a return to his home-town, Orani, in 1958; the preparatory drawings for major public commissions; the so-far ignored episode of tapestry design (1960 – 1966); the private series of the Beds and Male Figures; the biting drawings of political and social criticism he had begun working on since 1968.

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John Barboni, co-founder of elemental, is featured in the New York Times T Magazine’s article “Dinner at 8″ by Stephanie LaCava.

A Brief Recap of Last Night’s Inaugural AIANY Oculus Book Talk Series with Carl Stein at New York City’s Center for Architecture

As reported by Maxinne Rhea Leighton, Assoc. AIA:

Carl Stein, FAIA’s Greening Modernism: Preservation, Sustainability and the Modern Movement (W.W. Norton & Company, 11.29.10) offers a compelling and insightful argument for a creative and enthusiastic reexamination of the interconnection between modern architecture, sustainability, historic preservation, and green strategies. One of the many things that sets this book apart from others on architecture and sustainability is the way in which Stein unfolds the theoretical, instructional, and pioneering tenets between design and technology from the pre-petroleum to late-petroleum eras, suggesting opportunities for architecture in a post-petroleum world.

Sightings 01.10.11: Carl Stein, FAIA, kicked off the 2011 Oculus Book Talk series with a lecture on his new work, Greening Modernism: Preservation, Sustainability, and the Modern Movement (W.W. Norton, 2010).

AIANY President Margaret Castillo, AIA, LEED AP, author Carl Stein, FAIA, and AIANY Oculus Committee Chair Kirsten Sibilia, Assoc. AIA, LEED AP.

 
“A sustainable future,” writes Stein, “one in which humankind will have a place in the ecosystem of the Earth, depends on a fundamental reconsideration of how we utilize all of the resources that support the qualities of our lives.” The second greatest end-use energy consumer is infrastructure construction, and there is a dire need to upgrade this part of American society. As you read Greening Modernism, you, too, will be reminded that as much as the truth sounds good on paper, the hardest part is to convert these ideas to the politics of choice and economics. While architects have their challenges set out before them, Greening Modernism will be a hearty and generous companion for those who are willing to challenge what they value in themselves and consider to be the nexus of design, quality of life, and a sustainable global future.

Note: This was the first of a monthly series of book talks hosted by the AIANY Oculus Committee.

Maxinne Rhea Leighton, Assoc. AIA, is a member of the AIANY Oculus Committee. She is a business development, public relations, and marketing professional in NYC and Washington, D.C. Her expanded project base includes cause-related marketing, and the integration of social media with traditional-based forms of communication for non-profit and cultural institutions.

Carl Stein, FAIA, principal of Elemental Architecture, has been selected to deliver the inaugural lecture for the AIA Oculus Book Talk Series on his recent publication ‘Greening Modernism’ at New York City’s Center for Architecture on Monday, January 10th, 2011 at 6:00pm.

“Greening Modernism explains the relationship between design and technology in the pre-petroleum, early-petroleum, and late-petroleum eras, and goes on to support opportunities for architecture in a post-petroleum world.”

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When: Monday,
January 10, 6:00 PM

Where:view map
The Center for Architecture
536 LaGuardia Place
NY, NY 10012
(212) 683-0023
RSVP/Register Here

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About Oculus Book Talks:

On the 2nd Monday of each month the AIANY Oculus Committee sponsors a book talk at the Center for Architecture. Each Oculus Book Talk highlights a recent publication on architecture, design, or the built environment –presented by the author. Copies of the publications will be available for sale and signing.

Last Thursday, December 9th, Elemental hosted the launch party for principal founder Carl Stein’s new book “Greening Modernism”.  Tom Stoelker of the Architect’s Newspaper writes:

Bodacious bourbon pours complimented savory vittles at the yet-to-be-opened Hudson Clearwater in Greenwich Village last night. The restaurant’s first event launched Carl Stein’s new book, Greening Modernism: preservation, sustainability and the modern movement (W.W. Norton, $60.00). The affair had a decidedly down to earth flavor, though the elegant crowd resembled intermission at The Met. The venue seemed a natural fit for Stein of Elemental Architecture, since Elemental’s John Barboni designed the space using salvaged material culled from the 180-year-old carriage house.

“From my perspective, it fits into all the themes of the book,” Barboni said from behind a kitchen counter made of the structure’s former floorboards. “Green is not a newfound subject for Carl.”

From atop a small flight of stairs Stein thanked his family and colleagues, then settled in with the band to play banjo.

Mr. Zeller writes in his NY Times “Green” Blog post “When Green Building Is Not Green Enough” that “the nation’s building stock plays a bigger role in energy consumption and greenhouse gas emissions than many Americans might realize.”  This is only true (a) because many Americans have chosen to ignore information that has been widely available for at least four decades and (b) powerful business and social interests have conducted a massive campaign of misinformation in order to maintain positions of economic and political power. (more…)

Aaron Seward of the ‘Architect’s Newspaper’ discusses our design of Rescue Company 1 as the first among a new generation of firehouses for elite FDNY companies.  Read the post here.

Entry Ramp Takes Shape

Central to the entry redesign is the reconstruction of the original ground floor entrance. In addition to the salvaged schist stone wall, concrete retaining walls form the stair opening leading down to the original lower level stone arch entry.  Earth and gravel fill are compacted to serve as a supporting base for the new concrete stair slab.

Facade Reconstruction Underway

Scaffolding has been erected and selective demolition & removals have begun on the main building. The first step of the facade reconstruction is the selective removal of existing terra cotta sculpture to serve as models for new Glass Fiber Reinforced Concrete (GFRC) replicas.

A rigorously tested thin-shell GFRC, strong, light weight and durable, has been the material for all the terra cotta reconstruction. The entire reconstruction, totaling over 65,000 pieces, is currently the largest GFRC reconstruction project in the world.

Following careful removal of the representative sculptural pieces, demolition of the remaining terra cotta will begin.

Steel lintel Investigation

Meanwhile, the demolition of the existing terra cotta window surrounds exposes the original steel lintels that support the window openings. Each steel lintel is inspected to determine its structural viability. Where possible, salvaging the original steel is preferred.

Schist Stone Sounding

Local Manhattan Schist stone is the primary façade material of Shepard Hall as well as the other campus buildings originally designed by George Post.  Through a process called “sounding,” each stone on the building is struck with a mallet and the sound produced is an indicator of the stone’s integrity.  Stones that sound “hollow” or are visibly damaged or deteriorated are marked by the design team for replacement.

Stay tuned for continued updates from the field.