Architectural Digest Greenroom at the Oscars

Remains Lighting is thrilled to be part of the Architectural Digest Greenroom at the Oscars designed by Los Angeles based Commune Design and Julianne Moore.

Inspired by the classic midcentury homes of Mulholland Drive, Commune has installed a light-filled, modernist Greenroom that exemplifies Southern California indoor-outdoor chic. The room also nods to iconic designs of the 1950s and 60s.

Several handcrafted lamps and lighting fixtures will be featured in the room including a chandelier and sconces from the soon to be released Commune for Remains Lighting line. Stay tuned…

ArchDigest Greenroom at the Oscars featuring fixtures by Commune for Remains Lighting.

Chandelier by Commune for Remains Lighting in the ArchDigest Greenroom at the Oscars.

ArchDigest Greenroom at the Oscars featuring fixtures by Commune for Remains Lighting.

Table Lamp by Commune for Remains Lighting in the ArchDigest Greenroom at the Oscars.

ArchDigest Greenroom at the Oscars featuring fixtures by Commune for Remains Lighting.

Photographs are courtesy of Roger Davies/Architectural Digest.

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Museum of American Precision (Continued)

Whew. Now, here’s the stuff: The Museum of American Precision has the very first Bridgeport vertical milling machine #0001. It’s in its standard grey and blue, the paint is beautifully crazed from age. The machine, which dates from 1938 is almost indistinguishable in its running gear and general shape from the same machines you can buy new today.

There are also two beautiful turret lathes (among several more they have). A green one made by Lamson Goodnow and Co in 1861 is perhaps the oldest embodiment of the modern turret lathe in the world.

A larger lathe in black paint with nickel details is from 1891.

One of the oldest tools in the museum is the lathe which uses granite for its bed. What machine cut that piece of granite so it was flat?

From the standpoint of sheer aesthetic pleasure, the horizontal mill by Brown and Sharpe, a company still making precision measuring equipment, is my favorite. If you told me it came from Bell Labs or NASA in the 1970s I’d believe you. It dates to 1865.

If I could have one machine tool shoe-horned into my basement, it would be the 3-in-1 machine built in 1941 under a contract for the Navy who needed compact, multi-purpose machines for repairs on board Destroyer class ships. With a lathe on the right, a drill press at front, and a mill with an indexing head on the left I could tinker to my heart’s content… mmm metally goodness.

At the center of the exhibition floor, there’s a set of old machines under power, run by staff. If you ask, they will make you a brass keepsake or two. We walked away with a gear keychain and a pair of doll-house wine glasses. (Mouse over the images below to read the captions).

-David Calligeros

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Museum of American Precision

With great subterfuge and possibly some outright lies, I got Alix through the doors of the Museum of American Precision. This pulsing heart of luddite nerd-dom is in an old mill building in Windsor Vermont where machine tools were engineered and built over the past almost-200 years. There are several collections here but as my interest is in the history of metalworking, their unparalleled group of antique lathes, milling machines, and related tools sang my siren song.

The collection here has examples of machines going back to the early nineteenth century. Some of these machines are outwardly primitive but all are clearly recognizable and exhibit the major forms and concepts still in use in the most sophisticated of today’s tools. I love the puzzle of tracing back improvements to mechanical devices because it leads to pointed and difficult questions of a chicken-vs-egg nature as well as questions about the nature of “natural” vs artificial.

If a prerequisite for making flat surfaces is a truly flat surface or the prerequisite for making precise, repeatable objects a regularly pitched thread, how did the first flat surface or regular screw thread get made? How did we standardize measurements?

On a more philosophical tack, I see the development of tools in a big branched, but connected history from a sharp stick to an iron cooking pot to a pilot-less airplane. In each innovative step we commonly don’t see a stark deviation from “natural” but we very often end up at “clearly artificial”. Where’s the dividing line? That’s all without even adding the layer of value judgment that often comes with either natural or artificial.

-David Calligeros

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Brooklyn Made Certification

Made in Brooklyn

Remains is proud to be awarded Brooklyn-Made Certification by the Brooklyn Chamber of Commerce. The Brooklyn-Made Certification program was created with the help of NYU’s Wagner Capstone Program Graduate students last year to promote businesses based in and/or manufacturing in Brooklyn. All design and production of Remains’ custom and made-to-order lighting fixtures takes place in Remains’ own LEED Gold certified factory in Bushwick. The Brooklyn-Made program uses a points-based scoring system as well as an independent advisory board to evaluate potential candidates. Factors taken into consideration include the location of design, development, and product assembly as well as the number of employees located in Brooklyn. In addition to the factory, Remains’ also maintains two Manhattan showrooms as well as showrooms in Greenwich, Los Angeles, Chicago, and London.

The below appeared in last week’s issue of Brooklyn Chamber of Commerce’s I+M Bulletin. For more information, visit brooklynmade.nyc

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Manufacturer’s (Hannover) Trust Building

In 1918 Manufacturers Trust bought the Northwest corner of 34th Street and Eighth Avenue. I can’t believe these bronze doorways are that early. They seem to date to a renovation in the early 1930s to my eye. I love the references to masonry and the textile-like chevrons and swirls. I wonder if there’s any specific iconographic meaning behind the placid faces of the classical figures. Unfortunately these were under scaffolding when I recently walked by. Here is a less-obscured image from a great website that catalogs vintage signage on the West side.

-David Calligeros

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181 Madison Avenue

181 Madison Avenue, at the corner of Madison Avenue and 34th Street in Manhattan has jaw dropping window and door surrounds by the French designer and fabricator Edgar Brandt. I pass this building, designed by Warren and Wetmore, often on my way to Grand Central Station, also coincidentally by Warren and Wetmore. 181 Madison is in a distinctly more Art Deco style than their earlier work at Grand Central.

 

Thankfully New York City granted landmark status to the façade in 2011.

-David Calligeros

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Stanford White Awards Winners

The Institute of Classical Architecture and Art has announced the winners of the annual Stanford White Awards for Excellence in Classical and Traditional Design. These awards recognize excellence in new classical and traditional architecture, interiors, landscape, urbanism, and building craftsmanship & artisanship throughout New York, New Jersey, and Fairfield County, Connecticut. The awards are named in honor of Stanford White (1853-1906), of the distinguished New York firm McKim, Mead & White, whose legacy of design excellence and creativity in architecture and the allied arts continues to serve as a source of inspiration and delight.

RESIDENTIAL-NEW CONSTRUCTION UNDER 5,000 SF

DAVID. D. HARLAN ARCHITECTS LLC

Extown Farm Cottage
www.daviddharlan.wordpress.com

RESIDENTIAL-NEW CONSTRUCTION OVER 5,000 SF

IKE KLIGERMAN BARKLEY

Black & White House
www.ikba.com

HOUSES – RENOVATION AND ADDITIONS

HAMADY ARCHITECTS LLC

18th c. Dutch Colonial Farm House
www.hamadyarchitectsllc.com

TOWNHOUSE AND APARTMENT RENOVATIONS

PETER PENNOYER ARCHITECTS

Bank Street Townhouse
www.ppapc.com

ANCILLARY STRUCTURES

JOHN B. MURRAY ARCHITECT LLC

Poolhouse Addition to an 18th Century Farm
www.jbmarchitect.com

COMMERCIAL, CIVIC, AND INSTITUTIONAL ARCHITECTURE

ATELIER & CO.

A New Boutique Hotel
www.atelierandcompany.com/

INTERIOR DESIGN & DECORATION

RESIDENTIAL

JAYNE DESIGN STUDIO

A House in the Hudson Valley
www.jaynedesignstudio.com

COMMERCIAL, CIVIC & INSTITUTIONAL

BUNNY WILLIAMS INC & G.P. SCHAFER ARCHITECT PLLC

Library Reading Room at the New-York Historical Society
www.bunnywilliams.com
www.gpschafer.com/#/home

LANDSCAPE DESIGN

DOYLE HERMAN DESIGN ASSOCIATES

A Classic Home in Greenwich
www.dhda.com

SAWYER | BERSON ARCHITECTURE & LANDSCAPE ARCHITECTURE

Fifth Avenue Terraces
www.sawyerberson.com

HISTORIC PRESERVATION

ANDRE TCHELISTCHEFF ARCHITECTS

Smith-Taylor Cabin
www.tchelistcheff.com

DAVID SCOTT PARKER ARCHITECTS

Williamsburg Savings Bank
www.dsparker.com/#/home

CRAFTSMANSHIP & ARTISANSHIP

LEONARD PORTER STUDIO

An Altarpiece for a Catholic Church
www.leonardporter.com

STUDENT PROJECT

HA MIN JOO

Williamsburg Center for Arts and Crafts

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Third Annual Stanford White Awards – Submissions Due October 27th

The Institute of Classical Architecture and Art has announced the third annual Stanford White Awards for Excellence in Classical and Traditional Design. These awards recognize excellence in new classical and traditional architecture, interiors, landscape, urbanism, and building craftsmanship & artisanship throughout New York, New Jersey, and Fairfield County, Connecticut. The awards are named in honor of Stanford White (1853-1906), of the distinguished New York firm McKim, Mead & White, whose legacy of design excellence and creativity in architecture and the allied arts continues to serve as a source of inspiration and delight.

The 2014 jurors are Suzanne Tucker, Tucker and Marks Design; Michael Imber, FAIA, Michael Imber Architects and David Jones, AIA, Jones and Boer Architects.

For details visit: http://www.classicist.org/awards-and-prizes/stanford-white-awards/

Winners will be celebrated at an Awards Presentation on December 3rd in New York City at the Highline Hotel.

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