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buildings are a big part of our lives ・let’s get to know them

Many of us, somewhere in the world, live, work, study, go to school, see the doctor, worship, shop, eat out, vacation, collect and/or exhibit and/or sell art in buildings of some sort. The building might be a single-family home, large or small, grand or modest, a multi-family home, a residential tower, an office building, library, school, a shop large or small, a hotel, resort, or spa, a restaurant, hospital, a gallery or museum, public or private, … the list goes on and on. Buildings are a big part of our lives. Let’s get to know them.

A building is much more than an inert structure that we can take for granted. A building is a system of systems that interacts with us on many levels. A building almost lives.

Dodge Data & Analytics together with United Technologies have published a SmartMarket Report that we all can read. This particular report, World Green Building Trends 2016 SmartMarket Report, focuses on a crucial aspect of buildings, how they are “going green.” The intent of the report is to provide information, new world green building trends data, to support green building development.

The report is long-ish. 60+ pages. So I suggest that you read through it step-by-step, in small increments, perhaps a page or two a day. You’ll find lots of good information, valuable economic analyses, and comparative analyses, illustrating how people in different countries are approaching the development, costs, benefits, and economics of green.

How is “green” defined? “Green building” is defined in the study as a construction project that is either certified under any recognized global green rating system or built to qualify for such certification.

Why “green”? We’ll examine this question step-by-step. Hint? Quality of life, longer-term value, longer-term credibility, higher resale values, “future proof.”

Stay tuned.

See:

“World Green Building Trends 2016 SmartMarket Report” | Dodge Data & Analytics, United Technologies, 2016

#buildings #builtenvironment #resilience #luxury #smartluxury #houses #museums #galleries #retail #restaurants #hospitals #art #artcollections #collections #hospitality #realestate #CRE #commercialrealestate

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energy-efficient buildings & significant ROI

The return on investment in energy-efficient building features is significant and results accrue to corporate bottom lines.

According to the Morgan Stanley Research report, “Building Energy Efficiency,” the ROI in energy-efficient features can lower the cost of ownership by 50% for commercial buildings.

“Green buildings” can yield significant savings at every scale of construction, operations and maintenance. Rising global demand for such buildings is fueling growth of a high-tech, industrial-strength sector focused on delivering state-of-the-art building materials, equipment and energy management.

Observes Europe-based Sustainability Analyst Faty Dembele,

“With residential, commercial and public buildings accounting for more than an estimated 30% of the world’s energy consumption, this is an area of growing interest for consumers, building owners, tenants and regulators.”

See:

“Green Buildings Power Savings & Return” | Morgan Stanley Research, 20 June 2017

#realestate #commercialrealestate #CRE #residentialrealestate #ROI #finance #investments #greenbuildings #resilience #energy #luxury #smartluxury #urbansmart #art #MorganStanley

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bricks, mortar, health, wellness, & sustainable amenities → enhanced value + premium pricing

AMLI Residential, a company founded in 1980, owned by PRIME Property Fund, a core commingled institutional fund, and focused on the development, acquisition, and management of luxury apartment communities in the United States, has recently completed the first AMLI Sustainable Living Index. Residents of AMLI apartment properties were asked after their views of sustainability and green living. The survey was conducted in August of this year at properties in Atlanta, Austin, Chicago, Dallas, Denver, Houston, Seattle, Southern California and Southeast Florida.

There were 2,812 respondents. 12 percent of the respondents were younger than age 25, 47 percent were ages 25-34, 16 percent were ages 35-44, and 25 percent were 45 or older.

A majority of residents are willing to pay slightly more to live in a “green” residence

The survey indicates that a majority of residents are willing to pay slightly more to live in a “green” residence.

64% of respondents are willing to pay more for sustainable housing

84% of respondents say living in sustainable homes is important to them

85% of respondents believe living in sustainable homes is beneficial to their health.

The following features are most valued by respondents:

a smoke-free community – 94% of respondents

energy- and water-efficient features – 93% of respondents

access to public transit/ strong walk and bike scores  – 85% of respondents

77% of respondents report that AMLI’s green living features have saved them money in utility costs.

Resilience

AMLI Vice President of Sustainability Erin Hatcher discusses the resilience factor. Buildings can be made more resilient to environmental, market, and regulatory risks through the incorporation of a holistic features. “Utility price increases, unpredictable power outages and other unforeseen events just don’t affect them as much as their less environmentally-friendly counterparts.”

Sustainability is good business when done right & done smart

Ms. Hatcher reports:

“Sustainability is good business when done right and done smart. In multifamily residential, a developer should consider a sustainably holistic approach that includes value adds for the resident, our buildings, and the immediate communities where they reside. Operating costs, and ultimately residents’ utility bills, can be reduced through LEED-targeted construction, as well as efficient HVAC, lighting, and water systems. These […] enhance both the resident experience and asset values. Efficient systems can go far to decrease the wear-and-tear (i.e., maintenance costs) on the property’s equipment and the overall power and water grids, too.

“Green buildings are also more resilient to environmental factors. Utility price increases, unpredictable power outages and other unforeseen events just don’t affect them as much as their less environmentally-friendly counterparts. Similarly, avoiding potentially harmful building materials promotes the longevity of our buildings and the health of residents who live in them. More frequent fresh air exchanges and non-smoking policies at sustainable communities add to the health benefits. Keeping residents safe and comfortable in their home is always top priority, but that need not conflict with our sustainable mission, nor erode the bottom line.

“Sustainability on the community level is often overlooked, yet is a by-product of any eco-conscious development. Adding green space and rainwater management features such as rain gardens or ponds have great civic potential at a low cost. These efforts provide scenic, natural amenities for building residents and the community at-large, while reducing the loads on shared, often aged community infrastructure, especially storm-water drainage.”

Twenty-eight AMLI properties (more than one-third of the company’s portfolio) are LEED (Leadership in Energy and Environmental Design) certified and 15 AMLI communities are ENERGY STAR certified.

AMLI received two awards this month from the U.S. Green Building Council (USGBC):

the Outstanding Multi-Family Developer LEED Homes award for its outstanding leadership and innovation in the residential green building marketplace, and

the LEED Power Builder award, which recognizes developers that certify at least 90 percent of their units built in the past year.

AMLI currently owns and manages 59 apartment communities including more than 19,900 apartment homes and has approximately 4,600 additional apartment homes under development at 14 new properties.

 

See:

“Residents Will Pay More for Sustainable Spaces, Says Survey” | Jennifer Hermes, Environmental Leader, 20 September 2017

“New Survey: 84 Percent of Residents Say Living in a Green Home is Important to Them; 85 Percent Believe Living in a Green Home Benefits Their Health” | Business Wire, a Berkshire Hathaway Company, 18 September 2017

“Leaders Unveil Their Secrets: Business Case for Environmental Stewardship” | Jennifer Hermes, Environmental Leader, 18 July 2017

“Bricks, Mortar, and Carbon | How Sustainable Buildings Drive Real Estate Value” | Morgan Stanley Institute for Sustainable Investing, March 2016

#realestate #commercialrealestate #investments #finance #ROI #bottomline #sustainability #resilience #health #wellness #value #enhancedvalue #luxury #smartluxury #AMLI #USGBC #LEED #EnergyStar #BerkshireHathaway

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art-market disruption & the brick-&-mortar gallery

In a time of disruption of the art market by auction house and online agents, global accumulation of wealth at the high end, and growth of the world’s contemporary art market (21 times between 2001 and 2008), Belgian investment banker and art connoisseur/collector Alain Servais believes in the brick-and-mortar model of the art gallery.

In his opinion, a brick-and-mortar gallery, like a museum or an art biennale, is where works of art look best. Galleries are a “right location” and a “right context” for works of art. “There is an aura to the work of art in the right location and the right context, which nothing replaces.”

Mr. Servais provides insight into his collecting and offers his thoughts as to how the gallery could well evolve.

Why collect?

“I don’t believe that one decides to become a collector, but rather that you are or you are not. And more generally, collecting is more than acquiring works of art. It is a way of living, a way of thinking.”

“To express myself. Adding my “sentence” around the “words” created by the artists. To share new ideas, questions, doubts, and surprises. To learn about myself and the world I am living in, so to open my mind to other options. To participate in the constitution of the history of the art of today. To feed my insatiable drive to learn what is not taught. To think outside of the box.”

“Finally, art must surprise me, challenge me, open up my mind and heart following the definition that I heard many years ago from Mera Rubell: “Art is a language which opens your heart to the Other.”

How does he collect?

In “constant conversation with art history, because when you look with connoisseurship you can find people who are completely forgotten, disregarded, or underestimated.”

How should the gallery model evolve?

The goals of the gallery are to court collectors, sell artists’ works, and give priority to the artists and to the art.

What must galleries do to evolve well?

reinforce legal and best-practices infrastructure

stabilize the artist-gallery relationship

balance contracts at all levels of the industry

provide more transparency

on pricing: “there are growing conflicts of interest between artists and gallerists. Sometimes what is in the interest of the gallery is not in the interest of the artist. For example, pricing policies. How fast do you want to raise the price?”

on the gallery-museum relationship, “what’s dubious about the gallery system? One thing is the relationship between the museums and the galleries. Right now only the wealthy galleries can get their artists work into museums because one of the problems is: who can produce the works? Who can put the money up front for massive pieces for exhibitions and biennales?”

develop multiple exhibition strategies

multiple exhibition spaces

select art-fair participation

space exchanges in different cities

pop-up exhibitions in dedicated spaces

cooperative events with artists and peer-group galleries

 animate with intellectual discourse

“art spaces need to be “animated” – with talks, conferences, and events

this will serve to enable meeting spaces – forums for exchanges – between artists, galleries, dealers, curators, collectors, and other stakeholders

See:

“Interview with Alain Servais” | BMW Art Guide

“Collector Alain Servais on Why Galleries Should Act Like Luxury Brands to Survive the Internet” | Alain Servais, Artspace, 27 December 2016

“Collector Alain Servais on Insider Trading in the Art Market, “Blood-Sucking Leeches,” and Why We’re Now Just the Fashion Industry” | Andrew M. Goldstein, Artspace, 23 May 2015

“Art in the shadow of art market industrialization” | Alain Servais, NYAQ/LXAQ/SFAQ International Art and Culture, 10 November 2014

#art #artmarket #smartluxury #luxury #artcollecting #collectors #collections #connoisseurship #AlainServais #museums #galleries #brick-and-mortar #auctionhouse #disruption #finance

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art & emergency planning・the MFAH shares perspective

Having passed through Hurricane Harvey with an emergency team onsite 24/7 to monitor and manage everything throughout the duration of the storm, the Museum of Fine Arts, Houston has shared information about its protocol for storm protection.

This information could prove helpful and encouraging to other arts institutions. A lesson to be learned: best to have an emergency plan and protocols in place ahead of possible natural disasters … and practice.

Here are some elements of the MFAH emergency protocol:

  • a hurricane-preparedness team
  • storm-planning measures to secure the buildings
  • sandbags (the MFAH has thousands of sandbags, each filled with sand the museum stores and re-cycles)
  • emergency water pumps (sump pumps)
  • floodgates to be activated as needed (the MFAH floodgates are house-made and 24-inches high)
  • preparation of a disaster-recovery website
  • a 24/7 emergency team to be stationed on site to monitor everything through the duration of the storm
    • the MFAH crew includes more than 30 people, each with a list of emergency contacts, including first and second responders, printed on a slip of waterproof Tyvek in their pockets. the team splits 18-hour shifts.
      • engineers
      • art handlers
      • IT
      • security guards
      • the chief technology officer (Shemon Bar-Tal)
      • the chief of building operations (Mike Pierce)
      • the chief operating officer (Willard Holmes)
  • relocation of works | works of art that are in potentially vulnerable locations to be moved as needed
  • a sense of humor, perspective, and humility
    • “Mother Nature and water are strange. You say, ‘I’m OK, I’ve got a floodgate, I’m good,’ and then she comes around the back door!” (Willard Holmes, COO)
    • “I think we’re really good on the broad strokes, but you can never just assume that the next storm is going to be like the one that just passed. If the last four days have taught us anything, it’s that it’s not over until it’s over.” (Willard Holmes, COO)

The permanent collection of the MFAH includes 65,000 paintings, sculptures and other objects at the main campus and at Bayou Bend and Rienzi, two historical estates along Buffalo Bayou, the city’s central waterway.

The museum is also responsible for several hundred masterpieces from other institutions, on loan for shows such as the current “Paint the Revolution: Mexican Modernization, 1910-1950.”

Paint the Revolution includes works by Frida Kahlo, Diego Rivera, Antonio Ruiz, Alfredo Ramos Martínez, María Izquierdo, José Clemente Orozco, Tina Modotti, Adolfo Best Maugard, and Saturnino Herrán.

See:

“How Harvey unfolded at MFAH” | Molly Glentzer, Houston Chronicle, 1 September 2017

“This Is How Museums In and Around Houston Prepared for Tropical Storm Harvey” | Priscilla Frank, Huffington Post, 1 September 2017

The Museum of Fine Arts, Houston (MFAH)

 

#art #artcollections #museums #MFAH #TheMuseumofFineArtsHouston #Houston #stormprotocols #emergencyteam #Harvey #HurricaneHarvey #realestate #resilience#smartluxury

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“blockage” & the valuation of damage to art for an insurance claim

Ronald D. Spencer, Chairman of the Art Law Practice at the New York law firm of Carter Ledyard & Milburn LLP, addresses the issue of the valuation of loss or damage to art for an insurance claim. He specifically addresses the use of, and questions the appropriateness of the use of, “blockage” and “blockage discounts” as applicable standards for interpreting the loss valuation provisions of an insurance contract.

The insurance coverage amount is the maximum amount the policy will pay. This amount provides the basis for calculation of insurance premiums. Most insurance claims do not involve claims for the full coverage amount.

The methodology used by the insurer to value a damage claim is a relevant variable for the insured. Most art insurance policies are vague, however, on the valuation method, “providing, simply, that in the event of disagreement on the value of the loss, the insured and insurer will each retain their own appraisers, and if the appraisers do not agree on the value of the loss, the dispute is to be submitted to an umpire or arbitrator, whose decision will be final.”

New York’s Bruce Silverstein Gallery suffered loss on October 29, 2012 caused by flooding during Hurricane Sandy. The gallery had an “All Risks Fine Art Dealers Floater” insurance policy with a “Basis of Valuation” provision stipulating that “consigned property shall be valued at the Agreed Net Consigned Value Plus 10%.” The concept of “blockage” was applied by the umpire representing the gallery’s insurance company. This was the first time the concept of “blockage” for art sales, which first arose in 1972 in the context of art valuations for estate tax purposes, was applied to an art valuation for purposes of calculating a loss for an insurance claim.

When valuing the loss of many artworks, the concept of “blockage” values works as they could be sold on one particular date, the date of the disaster (or death, in the framework of estate sales) on which the loss takes place. Blockage discounts the present value of the works of art based on future streams of income from sales over the period of time it would require to sell the art.

The application of blockage is considered to be consistent with USPAP Standard 6 which provides that when a large mass of property is to be valued as of a specific date, the appraiser is required to take into account that the value of the whole may be different from that of the individual parts.

Mr. Spencer observes that “by choosing to apply a blockage discount to an insurance loss valuation, an umpire, in effect, is deciding that the insurance loss should be determined by the price a bulk buyer of the art at the date of loss would be willing to pay.”

He observes, further, that “the art owner should understand that the result of a blockage discount for the owners’ insurance claim is that the more art the owner has lost, the less the insurer will pay per item—the larger the volume of art lost, the greater the blockage discount for each piece.”

See:

“Think Your Art Is Adequately Insured? Here Are a Few Insider Strategies to Help Minimize Your Risk” | Ronald D. Spencer, artnet.com, 8 September 2017

#art #artmarket #artcollections #collectors #galleries #insurance #fineartinsurance #blockage #blockagediscount #risk #hurricane #Sandy #Harvey #Irma #NewYork #Houston #MiamiBeach #appraisals #valuations #finance #tangibleassets #contractlaw

 

 

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artists & collectors: develop a straightforward emergency plan

Develop a straightforward emergency plan. This advice for artists and collectors is suggested by Anne Rappa, Senior Vice President, Fine Art Insurance, with Huntington T. Block, the oldest and largest managing general underwriter of Fine Art Insurance in the United States.

Such plans are created based on very simple pieces of information. Such information includes contact information for conservators and art storage facilities and assessments of needed physical protections. Gather the information together and write it down.

Isaac Kaplan of Artsy writes: 

“Anne Rappa, senior vice president with fine arts insurer Huntington T. Block, urged anxious artists and collectors to look to museums for guidance, namely by developing a straightforward plan—such as compiling conservator or art storage facility contact information and assessing what physical protections are needed for the work. And, she stressed, be sure to write everything down.

“’When you use the words ‘disaster mitigation’ or ‘disaster planning,’ it sounds complicated,’ Rappa said. “But those plans are created based on very simple pieces of information that are culled together and put in one place. It’s the advanced thought that is so important.”

“One simple tip, she said, for artists and art owners facing water damage: Buy some blotting paper.”

See:

“Miami Artists and Museums Brace for Hurricane Irma” | Isaac Kaplan, Artsy, 6 September 2017

#art #artmarket #insurance #fineartinsurance #Irma #HurricaneIrma #Miami #Houston

 

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Gabriël Metsu’s “The Sick Child”

In the collection of Amsterdam’s Rijksmuseum since 1928, The Sick Child was painted by Gabriël Metsu of the Netherlands in the 17th century (c. 1664 – c. 1666).

The painting of this touching work may have been influenced by the plague that spread through Amsterdam in 1663. One in ten citizens were killed.

Oil on canvas, h 32.2 cm × w 27.2 cm
h 50.5 cm × w 56 cm × t 7 cm

See:

“The Sick Child” | Gabriël Metsu, Rijksmuseum, c. 1664 – c. 1666

“Gabriël Metsu” | Wikipedia

#art #oiloncanvas #GabriëlMetsu #Rijksmuseum #museums #theNetherlands #resilience #smartluxury

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Irma, Art, & Hurricane Preparedness in “South Florida’s Gold Coast”

Miami and Miami Beach are home to many significant collections of art.

Art Basel Miami Beach, the largest contemporary art event in North America showing about $3 billion in works, has been situated in Miami Beach since 2002.

Some of the works of art are housed in residences maintained in any of the more than 400 luxury condo towers that have been developed since 2011. Some are kept in single family homes. Of course, works of art are also to be found housed in museums, both public and private, and in cultural centers.

Marion Maneker of Art Market Monitor, writing from the 2017 Global Auction House Summit presented by Invaluable, reports:

“At the Invaluable Auction House Summit in Boston, Thomas Burns from Fortress Fine Art Storage and Simon Hornby of Crozier both addressed the problems with hurricane preparedness in South Florida’s Gold Coast.

“Burns says his teams have been working all week to move their clients art into Fortress’s facility and prepare the building for an unprecedented blow. “Starting Tuesday we were inundated with clients who were completely unprepared,” Burns said. It turns out major works are in place without insurance and the insurance companies have placed a moratorium on new insurance in the area this week.

“Fortress has a program that allows collectors to put their works in storage in June when they leave the area. The big question is how many have had their works moved back to the beach houses so early in the season.

“Hornby pointed to the fact that art insurance carriers were slow to engage these kind of hurricane preparedness programs waiting until this Tuesday to call for logistical support. By then, it was already too late to add capacity amid the jammed traffic and fuel shortages caused by the massive evacuation taking place.”

Meanwhile, workers at the Faena Hotel Miami Beach have been working to fortify the bullet-proof glass that protects Damien Hirst’s life-size, gilded with 24-karat gold sculpture of the skeleton of a mammoth. Entitled “Gone But Not Forgotten” (2014), the sculpture was acquired at auction in 2014 for $15 million by Ukrainian-American Len Blavatnik. “Gone But Not Forgotten” was then installed in the garden of the Faena Hotel Miami Beach ahead of the opening of Faena Forum in 2016. Mr. Blavatnik is owner of Warner Music Group and a partner, with Argentine entrepreneur and developer Alan Faena, in the Faena Forum.

Mr. Hirst explains the sculpture of the mammoth as “an absolute expression of mortality, but I’ve decorated it to the point where it’s become something else, I’ve pitched everything I can against death to create something more hopeful.”

“The mammoth comes from a time and place that we cannot ever fully understand. Despite its scientific reality, it has attained an almost mythical status and I wanted to play with these ideas of legend, history and science by gilding the skeleton and placing it within a monolithic gold tank. It’s such an absolute expression of mortality, but I’ve decorated it to the point where it’s become something else, I’ve pitched everything I can against death to create something more hopeful, it is gone but not forgotten.”

See:

“A Miami Transformed by Wealth Braces for the Storm” | Michael Smith and Katya Kazakina, Bloomberg, 8 September 2017

“Irma Threatens Art Spread Throughout South Florida Homes” | Marion Maneker, Art Market Monitor, 8 September 2017

“Culture’s a carnival for opening of dazzling Faena Forum” | Andres Viglucci, Miami Herald, 25 November 2016

“Hirst’s golden mammoth on display at Faena Hotel Miami Beach” | Damien Hirst.com, 8 December 2015

“Len Blavatnik buys Damien Hirst work for $15M at amfAR gala” | Emily Smith, Page Six, 23 May 2014

#Miami #MiamiBeach #Irma #HurricaneIrma #preparations #insurance #art #artmarket #artstorage #FortressFineArtStorage #Crozier #ArtBaselMiamiBeach #Faena #FaenaForum #AlanFaena #LenBlavatnik #DamienHirst #GoneButNotForgotten

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San Diego・Smart Gigabit Community

US Ignite has selected Cleantech San Diego and CyberTECH as the key innovation partners for the City of San Diego as a Smart Gigabit Community.

“US Ignite’s Smart Gigabit Communities (SGC) program enhances local community innovation ecosystems by enabling communities to accelerate the development and deployment of next-generation, gigabit applications and services that run on advanced networks.”

San Diego will join 20 other cities nationwide who are participating in the Smart Gigabit Community program. Cleantech San Diego and CyberTECH will collaborate with US Ignite in the development of six gigabit applications.

CleanTech San Diego is a member-based, non-profit trade organization working to position the greater San Diego region, including Imperial County, as a global leader in the cleantech economy.

“As a nonprofit organization, Cleantech San Diego is uniquely suited to support the industry by fostering collaborations across the private-public-academic landscape, leading advocacy efforts to promote cleantech priorities, and encouraging investment in the San Diego region.”

The CleanTech San Diego office is located on India Street in downtown San Diego.

CyberTECH also has its office in downtown San Diego, on First Avenue. Amongst many other activities, CyberTECH is leveraging experience and expertise in the Internet of Things (IoT) to develop the Smart & Safe Cities Institute.

US Ignite is a nonprofit organization working to

“accelerate new wired and wireless networking advances from research to prototype to full-scale smart community and interconnected national deployments. US Ignite’s Smart Gigabit Communities program accelerates the adoption of ultra-fast, programmable fiber and wireless networks as the bedrock of smart communities by identifying new economic and social opportunities created by those networks.”

Cox Communications has played a key role in bringing the Smart Gigabit Communities program to San Diego through a $300,000 grant to US Ignite over three years.

See:

“US Ignite Selects Cleantech San Diego and CyberTECH as Key Innovation Partners for San Diego’s Smart Gigabit Community Program” | N. Mohan, US Ignite, 7 September 2017

“What is US Ignite”

“Cleantech San Diego”

“CyberTECH”

#SanDiego #cleantech #cybertech #realestate #resilience #smartluxury #USIgnite #SmartGigabitCommunity #CleantechSanDiego #CyberTECH