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art, museums, & climate risk | the Pérez Art Museum Miami

Museums, as stewards of cultural heritage, are in it for the long term. To safeguard the artistic, historic and scientific resources they hold in trust for the public, museums need to adapt to a world where change—and water—are the new normal.

Designing for Resilience, Elizabeth Merritt, founding director, Center for the Future of Museums, an initiative of the American Alliance of Museums

The Swiss architectural firm of Herzog & de Meuron designed what is now called the Pérez Art Museum Miami (PAMM). The museum is anchor for a 30-acre museum park on Biscayne Bay in downtown Miami. The Biscayne Bay location was provided by the City of Miami. Construction of the building cost $220 million. $100 million was provided by Miami-Dade voters in general obligation bond funding. $120 million came from private donors.

The museum of modern and contemporary art is dedicated to collecting and exhibiting international art of the 20th and 21st centuries. The museum holds the largest collection of contemporary Cuban art in the United States.

The National Climate Assessment of 2014 named Miami one of the U.S. cities most vulnerable to severe damage as a result of rising sea levels. According to the report, sea levels have risen eight inches since 1870. The report projects a further rise of one to four feet by the end of the century.

The National Climate Assessment of 2014 found that while melting Arctic and Antarctic ice and rising sea levels are threatening the entire American coastline, Miami is exceptionally vulnerable due to its natural geology.

The city of Miami is built on top of porous limestone. The limestone absorbs seawater. The rising sea waters are being absorbed into the city’s foundation. The water bubbles up through pipes and drains, encroaches on fresh water supplies and saturates infrastructure. County governments estimate that the damages could rise to billions or even trillions of dollars.

In such circumstances and given Miami’s geology, how is the Pérez Art Museum Miami designed to fulfill its responsibilities as a steward of art and cultural heritage?

The architecture has been designed to adapt to the climate of Miami. The new building, opened in 2013, was specifically designed to withstand hurricanes. The museum is raised on an elevated platform above the flood plain. The museum features the largest sheets of hurricane-resistant glass in the U.S. Art storage facilities are situated more than 46 feet above sea level. The museum’s backup-electricity system runs on generators. The generators are located on the third floor.

  • The first floor of the museum was elevated by Herzog & de Meuron above the 18-foot high-water mark left by Category 5 Hurricane Andrew in 1992. The elevation acts as a safety cushion for projected effects of climate change.
  • Gaps in the floors of the patio surrounding the museum allow water from rain, storm surge or flooding to drain into the parking garage, located underneath the museum.
  • A power generator is located on the third floor of the museum. Electricity to the building is ensured even if lower floors are affected by flooding. The generator has enough fuel for three days of use, and can be refueled by truck or barge (in case the roads are blocked).
  • Second-floor windows feature the largest panels of hurricane-resistant glass in the US (17.5 feet tall by seven feet wide, each weighing 2,500 pounds).
  • The teak entrance doors weigh 550 pounds each. They each feature a multi-prong pin system. The pin system locks the doors in several places to secure them against category-five hurricane winds.
  • The hanging gardens, inclusive of the mechanical system and irrigation system, are designed to withstand a category five hurricane.
  • Should a major hurricane head towards Miami, the museum maintains plans to de-install and place in storage as much of the art as possible, starting with the most sensitive works, such as particularly rare works on paper that are sensitive to humidity and temperature fluctuations.
  • The museum’s art storage facility is situated 46 feet above sea level. This is to ensure security from flooding and water damage. Storage HVAC is designed to handle humidity levels that might follow a storm event.

See:

“Jorge Pérez Donates $15 Million in Cash and Art to Miami Museum” | Hili Perlson, Artnet, 30 November 2016

“Designing for Resilience” | Elizabeth Merritt, Center for the Future of Museums, an initiative of the American Alliance of Museums, 11 August 2015

“Protecting Priceless Art from Natural Disasters” | John Whitaker, The Atlantic, 27 May 2015

“Trendswatch 2015” | Elizabeth Merritt, Center for the Future of Museums, an initiative of the American Alliance of Museums“

“Miami Finds Itself Ankle-Deep in Climate Change Debate” | Carol Davenport, The New York Times, 7 May 2014

“Pérez Art Museum” | Knippers Helbig Advanced Engineering

National Climate Assessment

Pérez Art Museum | Wikipedia

 

#PérezArtMuseumMiami #Miami #Herzog&deMeuron #JorgePérez #art #artcollections #climaterisk #resilience #realestate #artstorage #electricity #powergeneration #carbondioxide #CO2 #risingsealevels

 

 

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David Zwirner ・forward-thinking art-world luminary

In a time of arguably increasing climate risk and concomitant regulatory risk, price risks, and prospective market adjustments, mega art dealer David Zwirner is a forward-thinking art-world pioneer and luminary. Mr. Zwirner has set a new environmental standard for art-related facilities while presenting a “a clean, elegant, modernist aesthetic that is very much about welcoming visitors today.”

During 2012’s Hurricane Sandy, more than five million gallons of water flooded the construction site of New York’s new Whitney Museum. In response, the engineering and construction of the museum building, the lobby of which is 10 feet above sea-level, and infrastructure were re-designed and re-engineered.

David Zwirner’s second Manhattan location, on West 20th Street, is situated in Chelsea close by the Hudson River. The 537 West 20th Street gallery opened in early 2013, mere months after Hurricane Sandy.

Designed by Annabelle Selldorf and design consultants Atelier Ten, the five-story, 30,000-square-foot structure is built to museum standards and to accommodate large-scale installations and the full range of artists the gallery represents. The gallery is also the first known commercial art gallery built to LEED Gold standards.

The building incorporates five green roof spaces, premium efficiency mechanical, maximized daylighting, and locally and responsibly-sourced materials.

Sound business sense.

See:

“Frick Collection Names Selldorf Architects for Its Renovation” | Robin Pogrebin, The New York Times, 20 October 2016

“This Quietly Elegant Architect is Now the Darling of the Design World” | James Tarmy, Bloomberg, 5 June 2015

“Protecting Priceless Art from Natural Disasters” | John Whitaker, The Atlantic, 27 May 2015

“Annabelle Selldorf Designs the New David Zwirner Gallery” | Samuel Cochran, Architectural Digest, 30 April 2013

“David Zwirner Opens New Manhattan Gallery” | Tamara Warren, Forbes, 29 January 2013

“David Zwirner 20th Street,” New York, New York | Selldorf Architects

David Zwirner

Selldorf Architects | Architects

Atelier Ten | Environmental Design Consultants + Engineers

 

#art #artmarket #architecture #design #DavidZwirner #AnnabelleSelldorf #AtelierTen #WhitneyMuseum #Whitney #HurricaneSandy #climatechange #climaterisk #regulatoryrisk #marketadjustments #finance #LEED #LEEDGold

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Denver tracks & publicly reports annual commercial & multi-family building energy performance data

A city ordinance adopted by the Denver City Council in late 2016 requires commercial and multi-family buildings of 25,000-square-feet and over to track and publicly report their annual energy performance.

The deadline for property owners of larger buildings (50,000+ square feet) to file 2016 energy benchmarking reports is June 1. There is a city 90-day grace period for filing, ending on September 1.

Owners of smaller buildings, of 25,000 – 50,000 square-feet, are required to file their energy performance reports by June 2018.

According to the city, 57 percent of Denver’s greenhouse gas emissions are generated by large commercial and multifamily buildings.

Katrina Managan, Senior Advisor, Energy Efficiency, Denver Department of Environmental Health, reports that ”there are approximately 2,400 buildings over 50,000 square feet that need to comply this first year.”

The city of Denver plans to publish building energy performance data annually.

See:

“$2,000 penalty looms for Denver building owners who don’t say how much energy they’re using” | Adrian D. Garcia, Denverite, 11 July 2017

“Colorado signs on to U.S. Climate Alliance, joining states committed to exceeding Trump’s rejected Paris climate targets” | Bruce Finley, Denver Post, 11 July 2017

“Denver Imposes $2,000 Fine for Building Owners Who Don’t File Energy Benchmarking Reports” | Emily Holbrook, Energy Manager Today, 12 July 2017

#realestate #commercialrealestate #greenhousegasemissions #commercial #multi-family #energyefficiency #buildingenergyperformance #data #Denver #Colorado

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valuing climate-related risks, investing well, & avoiding stranded assets

The Task Force on Climate-Related Financial Disclosures (TCFD, @FSB_TCFD) has published a new report on June 29. The report is published as part of a G20 initiative led by the governor of the Bank of England Mark Carney and the former mayor of New York City Michael Bloomberg.

The report provides a framework for companies to disclose in their financial filings all of their direct and indirect greenhouse gas emissions and describe the risks and opportunities caused by climate change under a range of potential scenarios. The objective of such disclosures would be to allow economies to properly value climate-related risks and to help minimize the risk, to investors, banks, and insurers, that market adjustments to climate change will be incomplete, late and potentially destabilizing.

Importantly, the report recommends that banks should disclose lending to companies with carbon-related risks.

Climate change presents global markets with risks and opportunities that cannot be ignored. The framework can be of assistance to investors (such as banks, pension funds, sovereign wealth funds, university endowments, investors in commercial real estate, and homeowners) as they evaluate the potential risks and rewards of a transition to a lower carbon economy and avoid investing in assets that might become stranded, non-performing (such as non-performing loans made to entities that are cash-strapped due to rising carbon costs or houses and buildings that themselves cannot perform and/or are difficult or impossible to sell).

While the report’s recommendations are intended to be adopted by all companies, extra guidance is given to the financial sector. Other sectors, likely to be most affected by climate change and/or the transition to a lower carbon economy, are also given extra guidance. The other sectors likely to be most affected by climate change and/or the transition to a lower carbon economy include energy, transportation, construction, and agriculture, food, and forestry.

Christian Thimann, Group Head of Regulation, Sustainability and Insurance Foresight, AXA Group and a member of the TCFD, observes that insurers “see the frequency and intensity of natural disasters linked to climate change augmenting every year.” “Insurers,” Dr. Thimann says,
consider a world of plus two degrees may still be insurable but a world of plus four degrees might not be.”

Dr. Thimann notes that while banks have a shorter outlook than insurers

  • Banks “too can use these recommendations because they will need to steer their lending between sectors aligned with a 2-degree world and sectors not aligned. They need to know which are the sectors with a high risk of stranded assets in the future and those with a low risk of stranded assets in the future.”

 

See:

“Banks should disclose lending to companies with carbon-related risks” | Michael Slezak, The Guardian, 29 June 2017

#TCFD #MarkCarney #BankofEngland #NYC #MichaelBloomberg #climatechange #climaterisk #strandedassets #banks #investors #finance #insurance #AXA #lowcarboneconomy #energy #transportation #construction #agriculture #food #forestry#realestate #homeownership #museums #artcollections #art

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21st c building design & construction ・re-exploring wood & rammed earth

While concrete, glass structures, polished stone walls, brick facades and steel beams now prevail in urban design, wood and rammed earth are getting attention.

The use of steel in urban buildings began with the production of steel in bulk. Mass production of steel was enabled by Henry Bessemer’s development of the Bessemer converter in 1857. Once steel could be produced in bulk, it became cheaper and easier to obtain.

The 10-story Home Insurance Building, completed in 1885 in Chicago, was the first building in the world to use structural steel in its frame. Due to its architecture and weight-bearing frame, the building is considered the world’s first “skyscraper.”

The 16-story Ingalls Building, built in Cincinnati, Ohio in 1903, became the world’s first reinforced-concrete skyscraper.

The production of steel and the production of concrete are, however, both energy intensive and carbon intensive. Steel and concrete have high levels of embedded energy. Neither steel nor concrete are renewable.

As of 2014, 54% of the world’s population lives in urban areas. The world’s urban population has grown rapidly, from 746 million in 1950 to 3.9 billion in 2014. The world’s urban population is expected to continue to grow – to 66% of the world’s population by 2050, surpassing six billion people by 2045.

With more people moving into urban areas, the demand for big buildings is likely to grow. The building industry (materials production, building technology, architecture, construction, …) is increasingly exploring the ratio of demand for buildings with the environmental impact of building materials.

Two building materials that are coming to attention are wood and rammed earth.

Wood is manufactured into large cross-laminated timber panels for purposes of tall building construction. Cross-laminated timber panels, a layered composite like a super-strong plywood, are made by gluing pieces of smaller wood together.

In order to build tall buildings, large wood panels that can be as large as 64 feet long,  eight feet wide, and 16 inches think  are engineered. Builders use concrete and steel only at high-stress locations like joints.

Architects are now able to build with timber, in tandem with precision digital manufacturing processes like CNC milling, to heights that have hitherto been unimaginable.

The environmental properties of cross-laminated timber panels make it even more attractive. As trees grow wood stores carbon dioxide, sequestering CO2 from the air. Michael Green of Michael Green Architecture in Vancouver, British Columbia, whose firm who recently completed T3, a seven-story building in Minneapolis that is now the tallest wooden building in the US, observes that wood is manufactured using solar power:

“Steel and concrete don’t grow back. They are not renewable materials. They are not even remotely renewable materials—they use massive amounts of energy in their creation, whereas the most perfect solar power system of making any material on Earth is the making of our forests.”

Rammed earth can be used for both residential and commercial buildings. Rammed earth walls are solid masonry walls. These walls are massive, built for the long term, and not easily replaced. That said, they are beautiful and contain a fraction of the embodied energy of manufactured wall products such as fired bricks or concrete blocks. Rammed earth walls also possess unique thermal qualities that keep residents cool in the summer and warm in the winter.

The market for rammed earth now includes both residential and commercial buildings. Commercial buildings built with rammed earth walls include wineries, resorts, offices, and university buildings.

See:

“The Next Wave of Building Materials” | Emma Kantrowitz, CBRE, 6 July 2017

“Get Ready for Skyscrapers Made of Wood (Yes, Wood)” | Elizabeth Stinson, Wired, 30 May 2017

“Will Skyscrapers of the Future Be Built From Wood?” | Natasha Geiling, Smithsonian.com, 20 June 2016

“World’s population increasingly urban with more than half living in urban areas” | United Nations, 10 July 2014

Chadwick Dearing Oliver, Nedal T. Nassar, Bruce R. Lippke & James B.

McCarter (2014) Carbon, Fossil Fuel, and Biodiversity Mitigation With Wood and Forests, Journal of Sustainable Forestry, 33:3, 248-275, DOI:

10.1080/10549811.2013.839386

“History of the steel industry (1850-1970)” | Wikipedia

“Ingalls Building” | Wikipedia

“Home Insurance Building” | Wikipedia

Michael Green Architecture, Vancouver, British Columbia

T3, Minneapolis, Minnesota

The Earth Structures Group

#architecture #design #smartluxury #construction #climaterisk #CO2 #energy #wood #crosslaminatedtimber #rammedearth #CNCmilling

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the art market ・exclusive, with controlled access

While a “mature” market may be “fair” and present an even playing field for all market participants, the art market remains “exclusive,” with access controlled by market participants.

Five panelists who met during Art Basel to discuss the art market turned their attention to a number of topics, including market-defined hierarchies and market-controlled access.

I quote from the article that appeared in Artsy as the words are fun, worth reading in the original, and insightful:

Rennie, the veteran collector, described visiting Mary Boone’s gallery [Mary Boone Gallery] in the early 1990s, dressed in a ripped ski jacket, and asking two young men standing behind a desk and a woman sitting behind a typewriter whether Mary was in. Both men said no. As Rennie began to explain who he was and why he was visiting, the woman behind the typewriter jumped up, extended a hand and said, “Hi Bob, I’m Mary Boone.” That kind of selective attention, he said, happens routinely in the art world.

Further along in his collecting career, in 1999, Rennie said, things changed “very clearly” for him and his wife, after they acquired Mike Kelley’s John Glenn Memorial Detroit River Reclamation Project (Including The Local Culture Pictorial Guide, 1968-1972, Wayne/Westland Eagle).

“I found that when I mentioned that, I got into the club,” he said. “We all of a sudden got access to works that other collectors couldn’t be the custodians of.” He challenged anyone listening to “try and get a Mark Bradford.” You can’t, he said, unless you have a relationship with museums or an existing collection deemed strong or important enough to merit the opportunity to buy one of his works.

Observed Olav Velthuis of the University of Amsterdam,

“It is that part of the market that makes it attractive to people, the whole spiel about the waiting lists, and about getting access and not getting access.”

The art market presents a “a status mechanism,” an indicator of where people “are in this global cultural elite.”

See:

“The Art Market Has Changed Dramatically – But Is It a Mature Industry?” | Anna Louie Sussman, Artsy, 8 July 2017

#art #artmarket #realestate  #collecting #collections #ArtBasel #luxury #smartluxury

 

 

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Chicago ・66% of office buildings certified LEED or Energy Star

“Green certification is no longer an oddity or nice to have. In many top markets it’s an oddity if you’re not green certified.”

Nils Kok, associate professor, Maastricht University, the Netherlands

Chicago now has the highest percentage, 66%, of certified LEED or Energy Star office buildings among the 30 largest real estate markets in the United States. (CBRE and Maastricht University study, 6 July 2017).

See:

“Chicago Grabs Lead in Green Office Buildings, Study Shows” | Emily Chasan, Bloomberg, 6 July 2017

“2017 National Green Building Adoption Index” | Maastricht University, CBRE, Real Green, 6 July 2017

 #Chicago #LEED #EnergyStar #commercialbuildings #commercialrealestate #officebuildings #CBRE #MaastrichtUniversity #realestate #emissions #energy
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luxury ・ evolving

Sara Bernát, a freelance brand strategist and Ph.D candidate at Humboldt Universitat, Berlin, focuses on the sociology of luxury.

The aim of her research is “to study social, cultural, and economic forces that have culminated to shape and define the concept of luxury throughout modern historical eras.”

She observes that educated millenials are no longer able to ignore irresponsible social and environmental impacts of product manufacture that promotes and seeks to fulfill heedless demand and unbridled consumption.

Consumerism, however, is core to our existence today. It is also tied deeply into psychological and social behavior. And so, the solution to the sociological and environmental threats lays within.

Rather than becoming the social pariah, a number of new luxury brands recognized that traditional luxury may carry the solution.

With its limited production, carefully sourced materials and respect for craftsmanship, sustainability could be innate to luxury.

See:

“How luxury is the millenial’s unlikely weapon to fight social inequality” | Sara Bernát, Luxury Daily, 4 July 2017

Sara Bernát | LinkedIn

 

#luxury #smartluxury #realestate #art #resilience

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Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) (1937-1938) Sells for US$45,834,365

Max Beckmann’s “Hölle der Vögel” (Birds’ Hell) sold for US$45,834,365 at Christie’s London Tuesday evening (June 27).

The painting, executed in oil on canvas in 1937 – 1938, drew three bidders and sold to Larry Gagosian. It is understood that Mr. Gagosian was bidding on behalf of the New York collector Leon Black.

Art dealer Richard Feigen acquired the painting in 1983. Hölle der Vögel” (Bird’s Hell) has remained in his collection until now.

See:

“Boosted by Gagosian’s Record Bid on Beckmann, Christie’s Notches a $190 Million Impressionist and Modern Sale” | Colin Gleadell, Artnet.com, 27 June 2017

Christie’s Impressionist and Modern Art Evening Sale, London, 27 June 2017, Results | Christie’s

Max Beckmann Hölle der Vögel, 1937-38 (special catalogue) | Christie’s

 

#art #artcollections #artmarket #MaxBeckmann #BirdsHell #HöllederVögel #Christie’s #LarryGagosian #LeonBlack #realestate #resilience #luxury #urbanluxury #NewYork #London