Eskew+Dumez+Ripple

All articles for the month of 06/2014.

Hurricane Preparedness Plan

Hurricane Preparedness Plan

Resilient design allows for buildings and organizations to keep working in the face of disaster, and adapt quickly to post-disaster circumstances.

Organizational tools play a key role in designing the overall resilience of a building or organization. Such protocols are necessary to implement informed decision making for the daily use of the building as well as use (or evacuation) during emergencies. The human element can and must be woven into resiliency so that planning incorporates all facets of the building and its occupants.

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New Orleans BioInnovation Center Receives 2014 Good Design is Good Business Award

New Orleans BioInnovation Center Receives 2014 Good Design is Good Business Award

Architectural Record has named its 2014 Good Design is Good Business Award (formerly BusinessWeek/Architectural Record Awards) recipients, selecting 10 projects demonstrating how embracing design can benefit an organization’s bottom line. One of which went to Eskew+Dumez+Ripple for their design of the New Orleans BioInnovation in New Orleans, Louisiana.   

Architecture and design is a top priority for leaders of business, government, and industry looking to rebrand, boost productivity, and attract customers. The Architectural Record Good Design is Good Business (GDGB) Awards honors the architects and clients who best utilize design to achieve such strategic objectives.

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30 Americans in New Orleans

30 Americans in New Orleans

PelicanBomb.com article by Bryan C. Lee, Jr.

I wrote an article a while back for the National Organization of Minority Architects discussing the hypothetical ownership of an artistic genre by its ethno-cultural point of origin. My intentions were to define the boundaries of ownership and identity, and the representations of the powerful and powerless. In that article, blues music was the genre and African Americans were the point of origin. Blues, as a concept and language, finds its roots in the slave hymns of ancestors and was born of the trials and tribulations of those enslaved people. It then stands to reason that the language of blues would have the same rooted connection to a people and their descendants as any other formal language passed down through generations. The entire discussion revolved around the ownership, use, and assignability of an artistic language to a people as a form of identity.

Many of the same issues of ownership and identity are prevailing themes in the “30 Americans” exhibition. In this instance the questions are not so much about cultural identity as a component of people, but rather people as a component of cultural place. Where do we belong as black people? Where can we belong? Simply naming the exhibition “30 Americans,” and not “30 Black Americans,” forces important considerations of cultural identity and race in a public forum—two concepts rarely defined in relation to or distinct from one another in this country.

For me, the most daunting example of ownership and identity artwork can be found in Untitled #25 by Leonardo Drew. This piece, made of cotton bales, is detached and isolated from its geographic and historical context. In the gallery, it functions almost like an infographic, bringing to mind the man-hours needed, the dollar value attained, and the appalling conditions by which bales like these would have been created. While Drew’s identity as a black person in America may presuppose his ownership of this history, it belongs to us all. There is not a day that goes by in America, whether stemming from the actions of an ignorant NBA owner or ignorant Nevada rancher, that we are not faced with the specter of our aversion to resolving this nation’s tortured past. Art is a part of this dialogue that is never more needed.

“30 Americans” on view through June 15 at the Contemporary Arts Center (900 Camp Street) in New Orleans.

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Article originally published by PelicanBomb.com here.