- Neiman Marcus Hosts Trunk Shows Nationally With Designer Brett Johnson Throughout October 2015
- Join Gotham PR with Designer Jacques Jarrige at MAD: LOOT – September 29th to October 3rd in New York
- Architectural Digest Debuts Brand New 25,000 Square Foot Hudson Furniture New York Showroom – 9.24.15 [RSVP: email@example.com]
- Join Gotham PR Designers Across the Country & London Design Festival this September 2015
- Archinect’s GPR Client Survey: Why Glass?
- Creative Leadership in PR Is More Important Than Ever
- Client Kevin O’Sullivan Featured in July Hamptons Cottages & Gardens
- SAIL: Majesty At Sea — New Photography Collection By Drew Doggett
- May 2015 Is Design Month In New York [#gothampr]
- Orior New York To Open nycxdesign At New Contemporary Williamsburg Retail Showroom & Studio [firstname.lastname@example.org]
- AA Studio
- ANIMAL CARE & CONTROL NYC
- Big Wheel Films
- Brett Johnson Collection
- Butcher Bay
- Choice Productions
- Corinth Films
- Giraldi Media
- Gotham PR
- Gotham PR on Facebook
- Gotham Public Relations
- Gothamite New York
- Hudson Furniture
- Hudson Furniture Collection
- Laguarda.Low Architects
- Messana O'Rorke
- Michael Dawkins Home
- Morris Adjmi Architects
- Simon-Wallace Design
- Valerie Goodman Gallery
- WE DREAM THE CURE
Join Gotham PR with Designer Jacques Jarrige at MAD: LOOT – September 29th to October 3rd in New York
Architectural Digest Debuts Brand New 25,000 Square Foot Hudson Furniture New York Showroom – 9.24.15 [RSVP: email@example.com]
Ever since Mies Van Der Rohe’s groundbreaking designs popularized the deceptively simple glass facade, architects have experimented with the incorporation of the material in their designs. Some, such as PLP Architecture, have opted to create commercial buildings that utilize an almost entirely glass facade in order to facilitate new types of professional interaction. Others, such as Kevin O’Sullivan + Associates, have tempered their use of glass with other materials to create a more integrated feel with the surrounding landscape. Archinect decided to survey these two firms about the challenges they faced in their design process. Here, in their own words, the architects speak about how they ultimately arrived on their new final designs.
David Leventhal of PLP Architecture on the Deloitte HQ
As Sylvia Lavin puts it, ‘Architecture generally considers environmental design to be repulsive, an odious amalgam of pseudoscience, bad form and moralism.’ The challenge for us was to conceive a green building that does not look or feel like a green building. We wanted to deliberately undermine and subvert all the clichés accumulated over years of mediocre green-wash architecture.
We deliberately restricted ourselves to a ruthlessly simple formal palette, establishing architecture as an interplay of environments and atmosphere and moving away from architecture as an object.
Instead of a normative office space, predicated on a logic of maximum efficiency, we proposed a sequence of non-standard spaces that intensify human interaction to produce unexpected situations and counter-intuitive effects. These internal spaces communicate with each other and, through the lens of an atrium, they also project this atmosphere outward as a civic spectacle.
One can imagine that it was not the easiest task in the world to convince our accountant clients to choose such intangible qualities over measurable net area.
Kevin Sullivan of Kevin Sullivan + Associates on Amagansett Bell Estates II
I scoured the areas of Amagansett and East Hampton with the clients to find a suitable property. I feel that Architecture should grow organically from the ground and good 3D topography enables this. I selected a property that had great topography and wonderful privacy in Amagansett. I designed the floor plans and elevations as a response to the topography and the client’s needs. I strive for a feeling of timelessness in the design, taking reference from the midcentury modern era and reinterpreting it for the 21st century modern lifestyle.
The is no delineation between interior and exterior spaces for me. It should be as much of a seamless blend as possible and having a lot of glass is a way of achieving this goal.
The interior color palette is a reflection of the exterior.
Read the original content on the Archinect website here: http://archinect.com/news/article/132959584/survey-why-glass
July 15, 2015 PR NEWSER via ADWEEK
This is a guest post by Courtney Lukitsch, founder and principal of Gotham Public Relations
A timely topic in the realm of both marketing and media relations is the increasingly dominant role of creative leadership in PR. At a moment where the public relations industry as a whole continues to expand and our collective purview increases to include active brand reputation building on an hourly basis, we now manage visual print, digital, social and broadcast media within a 24/7 culture always hungry for new creative content.
The possibilities are limitless, but how can one best harness creative assets and talent to achieve optimal results within this new climate as a PR leader? Much has been written (and promoted) of late on the topic of leadership.
The New York Times’ recent piece about cultivating leaders of consequence, titled Can You Learn to Lead? illustrates that this is now being taught at top universities and business schools.
Are leaders made or born? The answer to that question may only be answered through successful examples of brands that uniquely embrace the tools that new media has to offer their PR practitioners.
But have PR firms taken full advantage of this creative leadership opportunity? It’s a matter of debate. The question most clients will ask at an initial meeting is how creativity can be leveraged to drive their business. The next question invariably concerns how to measure and harness that business success.
PR practitioners have been trusted to take the “4 Ps” of leadership–purpose, principles, people and process–and run with the opportunity to utilize a uniquely complex, creative set of skills.
These include (but are not limited) to hourly client-side services such as visual and written brand building, reputation management, media relations across thousands of platforms, event planning and production, internal communications and meeting coordination, troubleshooting/problem solving and community relations.
Is that all, you might ask? No, it is not. Business development, creative partnership building and strategic industry relations all fall under the PR leadership umbrella as well.
In 2014, the Harvard Business Review studied this polemic within multiple companies to determine the skills needed at every level within an organization looking to reach this creative nadir with an agency rather than outsourcing it altogether (as is too often be the case) in a piece titled The Skills Leaders Need at Every Level.
PR is no exception to the rule that organizations need creative leadership. The industry as a whole arguably requires this leadership style more than others, considering the varied needs of clients and constantly shifting media landscape.
With analytics, behavioral insights, experiential and social all moving in on traditionally earned media in the realms of print and broadcast, the PR leader becomes a galvanizing resource. But in order to bring this discussion to the forefront, PR firms must also evolve as quickly as possible.
As strong media relations and brand outreach become increasingly relevant in the business world, PR professionals will continue to pursue the highest standards in creative leadership, while adapting to the pressing new needs and related skill sets in global business.
See the original article:
@PRNewser & http://www.adweek.com/prnewser
“Plaid Meets Prada When Scottish-Born Architect Kevin O’Sullivan Designs a Home for Art-Loving Clients in Amagansett”
By Michael Lassell | Photographs by Tria Giovan
“When we met our clients,” recalls Hamptons-based architect Kevin O’Sullivan, “we had no idea that they had a spectacular collection of modern art.” And his clients had no idea that the man they were trusting to design their four-bedroom home had once been accepted to pursue painting and sculpture at the prestigious Edinburgh College of Art in his native Scotland.
O’Sullivan met his clients in 2010, when he and his husband, businessman Jim Thomas, briefly put their 10,000-square-foot Amagansett home, which O’Sullivan designed, on the market. “She came in with her husband,” the architect recalls, “completely glamorous, dressed all in Prada. We just called her the Prada Lady after that.” Two years after the men had taken the house off the market, the Prada Lady and her husband offered to buy it, but the couple had already agreed to sell the sprawling modern home to someone who knocked on the door and made an offer they couldn’t refuse. “So I said, ‘Why don’t you let me design a house for you?’” O’Sullivan recalls. He knew just the place for it, a two-acre plot right around the corner.
Working with colleagues Luke Ferran, an architect originally from Southampton, and Anastasia Ovtchinnikova, an interior designer who was born in Saint Petersburg, Russia, O’Sullivan began creating a site plan for the house, slated for the top of a knoll. “I love a hilly location,” O’Sullivan says. “It makes it easier to cut up the volumes of a house and avoid that monster McMansion look.” Known for bringing the outdoors into his projects, he also considered the surrounding landscape, which includes 420 acres of adjacent reserve. “In the Hamptons, outdoor rooms are a way of life. It’s something I got very accustomed to while I was working in Asia after university.”
O’Sullivan made deft use of materials to minimize the transitions between the various volumes. “The pool deck and the floor of the adjacent interior rooms are both travertine,” he explains, noting that it’s his favorite flooring, in this case “filled for the interior and unfilled for the exterior, which makes it less slippery underfoot.”
The interior color palette also comes from nature. “The dominant hue is the gray bark of the beech trees on the property,” he says. “Picking up the colors of the native vegetation, and the liberal use of glass, makes the rooms seem much bigger than they actually are.” O’Sullivan’s brand of modernism runs deep, and was not popular while he was studying in tradition-bound Edinburgh (his parents having rerouted him from the fine arts to architecture). “I was all Zaha Hadid,” he remembers, “and the faculty were all 16th-century castles. The current Thane of Cawdor was one of my classmates. My dean suggested I find something else to do with my life.”
Undaunted, O’Sullivan landed himself a prized internship year at Michael Hopkins and Associates, one of Britain’s top practices. The first project he worked on was the now-renowned Glyndebourne Opera House. After five years at a firm in Singapore, he finally made it to New York, getting a job with Gwathmey Siegel. “I’d always wanted to live in the U.S.,” he says, and eventually made his stay a permanent one when he opened his own company in the city, in 2001. By 2008, he was working so much on Long Island that he decided to move to the East End. “When I started, we were doing apartments and townhouses in Manhattan, and clients often asked us to do their homes in the Hamptons. Now we do homes out here and clients ask us to do their apartments in town.”
Much of the furniture for this residence came with the clients, including signature 20th-century pieces like the living room’s vintage Papa Bear chairs by Hans Wegner, circa 1950, and an iconic Yves Klein cocktail table from a decade later. The kitchen features a Saarinen table and Tulip chairs; the dining room a Paul Evans–inspired wooden credenza, positioned under a wall sculpture by British art star Keith Milow. The art collection figured into the plan right from the first sketches. “When you’re designing a house that is going to showcase serious art, you need to coordinate it with the architecture, decor, and furnishings,” says O’Sullivan, who even built in certain features to accommodate specific works, like a niche in the entry hall for a Pakpoom Silaphan paper-airplane sculpture.
“Typically,” O’Sullivan adds, “my earliest schematics show furniture placement, but in this case they also show art. The interior elevation drawings indicate where to hang the important pieces, so when the art installation folks came in, they had a place to start.” On the lower level, O’Sullivan also provided the house with its own gallery, where the clients display a constantly changing selection from their impressive collection, as well as a spa, a gym, and a guest suite, adding another 2,200 square feet to the 4,300 on the main floor.
The Prada Lady’s input was cause for some “lively discussion,” O’Sullivan allows. “She brought in two yellow Pierre Paulin chairs for the library, and I hate yellow, but I have to admit that they look quite good. And she found the Jo Hammerborg brass and copper pendants for the kitchen on eBay. We had to rewire them, because they weren’t UL approved, but they’re great.” Meanwhile, O’Sullivan himself now lives in a house on Main Street in East Hampton that was built in 1770—a far cry from his of-the-moment aesthetic. “I know it sounds crazy for a modern architect, but I really enjoy it,” he says. “There are all kinds of historic details that inspire me, and I even adapt them in my work.” And that’s a lesson his university tutors would most certainly approve.
See the full article complete with photo slideshow here: http://www.cottages-gardens.com/Hamptons-Cottages-Gardens/July-2015/Amagansett-House-Tour-Architect-Kevin-OSullivan/