Brandon Donnelly

Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.

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Category: Art

  • 3 things about Le Corbusier’s Cité Radieuse

    I have written about Le Corbusier’s Cité Radieuse in Marseille many times before on the blog. It is one of the most influential multi-unit buildings of the 20th century. For better and for worse, it inspired a generation of architects. But up until this afternoon, I had yet to actually see it in person. Now that I have, here are 3 takeaways.

    The corridors throughout the building were thought of as “streets” in a vertical village. Because of this, each street had a mailbox and each front door came equipped with an elaborate delivery system. The large curvy thing pictured above was for general deliveries (mostly food I’m guessing). And the smaller door below was for ice block deliveries (i.e. refrigeration). In both cases, these doors could be accessed from inside the kitchen.

    The two “streets” in the middle of the building were dedicated to commercial uses. And by being in the middle of the building, they were equidistant from residents living either above or below. I was told that when the building first opened in the 1950s, these streets were actually quite successful — filled with everything from bakeries to grocery stores. So you can imagine people running deliveries up and down to the other streets. But that quickly fell off as the retailing landscape developed in Marseille and in France. Today, this portion of the building houses mostly offices, art galleries, and specialty boutiques. Though there remains a widely-used 21-room hotel (pictured above).

    To fully appreciate what the Cité Radieuse meant for housing in France, you kind of have to imagine what the rest of its stock was like at that time. The introduction of duplex and dual aspect units with modern kitchens and bathrooms and with views of the sea, represented meaningful progress at the time. But it is interesting to see how much ceiling heights have changed over the years. They’re really low here — well under 8 feet. And that is probably its greatest Achilles’ heel today.

    If ever you happen to find yourself in Marseille, I would encourage a visit to the Cité Radieuse. Many of the things we do today started in this building. And there are some other ideas here that might also be worth bringing back.

  • Virtual artists are now being signed to digital record labels

    One of the most interesting things about NFTs is that some, but not all, come with very permissive licensing. What this could mean is that, as a holder, you are free to do whatever you would like with your NFTs, including creating businesses on top of them or using them for other commercial purposes. This is fascinating to me and I like NFT projects that adopt this open approach.

    In the past, we have talked about Bored Ape Yacht Club owners creating things like restaurants on top of their NFTs. But here is another more recent example: An NFT from the CyberBrokers collection has just been signed to a Web3 record label called Player Zero. This is the company’s first “Animated Virtual Artist”, and her inaugural album is available for streaming here, as well as from places like Spotify.

    This might sound kind of crazy if you aren’t following the crypto space. But is it really? We already have virtual influencers with millions of followers, so why can’t we have virtual pop stars being signed to digital record labels?

    I don’t know what this will ultimately mean for the holder of the above NFT, but imagine a world where the owner automatically receives X% of all the proceeds produced by the virtual artist. Now all of a sudden you have a cash flow stream that can be evaluated using traditional finance methods and an asset that can be valued and traded.

    Full disclosure: I own multiple CyberBrokers.

  • Influencers in the wild

    Okay, so this is creepy, but perhaps not all that shocking:

    What artist Dries Depoorter has done is the following:

    • He recorded videos from open cameras located in cities around the world (the one in the embedded tweet above is from Temple Bar in Dublin)
    • He scraped all Instagram photos tagged with the same general location
    • And then he used AI software to help compare the Instagram photos against behind-the-scenes footage of the photos actually being taken

    I don’t have a problem with people posing and making numerous attempts to capture the right photo. You should see me before every meal and when I go to the gym. I think the creepy part is that many, or perhaps most, probably don’t realize just how ubiquitous video surveillance is within our cities. But the reality is that there are cameras everywhere.

    I guess I’ll never be able to run for Prime Minister.

  • Coastline villages

    I recently collected two NFTs from aerial photographer Vitor Esteves. I purchased one of Menton, France and one of Las Negras, Spain (pictured above). Both are from his 1/1 Coastline Villages collection on Sloika. I know that NFTs aren’t nearly as popular as they were last year, but that is exactly why now is a great time to be collecting. Talented artists continue to create, but ETH gas fees have come way down (a few dollars versus sometimes over a hundred at the peak) and there is now far less competition out there. It is no different than trying to buy great real estate when the rest of the market is sleeping.

    At some point, I’m going to need to pull the trigger on a good NFT display. I’ve been contemplating a Tokenframe, but I also think that most TVs are going to appropriate this function pretty soon. Some already have.

  • The Germania Bank Building at 190 Bowery

    I recently mentioned that it would be nice to be able to buy a five-storey building in Soho (New York) for $70,000. Yes, that was in 1968 dollars. But even in today’s dollars, we’re talking less than $600,000. I would gladly buy a cast-iron five-storey building in Soho for that price today if it were somehow possible.

    In response to this post, a reader sent me this (thank you), which is another great example of an artist buying an old buying in New York for what is clearly an absurdly low price. The artist is photographer Jay Maisel, and the building is The Germania Bank Building at 190 Bowery.

    Jay bought the six-storey building in 1966 for $102,000. He then used it as his residence, a studio, and as a place to collect a hell of a lot of things. Though at one point he also rented out some of the other floors to artists like Roy Lichtenstein.

    It is alleged that most people thought the building was abandoned. But this was obviously not the case. Jay sold the building to RFR Holdings in 2014 for $55 million. And in 2019, streetwear brand Supreme opened up in the bottom.

    Today, I understand that Web3 things are also happening in the building. And who knows, it might be the case that we’ll be reading about some of them, in a similar kind of way, fifty years from now.

  • New KYIV city collection t-shirt

    At the beginning of this year, Globizen announced a new collection of city t-shirts. They have been very popular and we only have a few left from our original batch (which included some of the greatest places in the world: Toronto, Paris, and Park City). But we recently added a new city: Kyiv. This is obviously a really important one, and 100% of the proceeds from the sale of this shirt are going be used to support Ukraine. The plan is to allocate 50% to the Toronto Ukrainian Foundation, which has been helping displaced Ukrainians settle in Canada, and the balance to Ukraine directly (via cryptocurrencies).

    If this sounds good to you, click here.

  • The story behind those pixelated video game mosaics in Paris

    If you’ve ever been to Paris, you’ve probably noticed the small pixelated art pieces that are scattered all around the city on buildings and various other hard surfaces.

    Or maybe you haven’t seen or noticed them in Paris, but you’ve seen similarly pixelated mosaics in one of the other 79 cities around the world where they can be found.

    Or maybe you have no idea what I’m talking about right now. Huh? Here’s an example from Bolivia (click here if you can’t see the embedded post below):

    These pixelated urban art pieces are the work of French artist Invader. Modeled after 8-bit video games from the 1970s and 1980s, Invader has been installing these mosaics since 1998 as part of his broader “Space Invaders” project. The first one was installed in Paris.

    No two pieces are alike and they’re all made out of ceramic tiles so that they last. Invader also meticulously researches and then records each install location. He is basically trying to take over the world with his “invasions”. As of today, there are 4056 invaders in 80 cities.

    Here’s a map. Sadly there are none in Toronto.

    The goal of the project is to liberate art from what Invader calls “its usual alienators”, that being museums and other institutions. It is about bringing art out and into the public realm so that everyone can enjoy it. And this is precisely what makes his mosaics so wonderful — it is their playful integration into the urban landscape.

    But these aren’t exactly sanctioned pieces of art. If he started out by asking, the answer probably would have been no.

    Invader thinks of himself as a kind of hacker of public realms. He keeps his identity concealed. He installs these mosaics during the night (from what I have read). And sometimes he gets in a lot of trouble.

    Sometimes they also get removed by the building owner, though at this point his mosaics are pretty well known, so I can’t imagine many owners not wanting to be “invaded.”

    But let me ask all of you this: If you owned a building in a major city and woke up tomorrow morning to a Space Invader on the front of it, would you celebrate it, apathetically leave it, or would you remove it immediately?

  • Frank Lloyd Wright hated tall people

    I have been in a few of Frank Lloyd Wright’s houses and in every case it turned out like this:

    The Prairie School (of architecture), for which Wright was a pioneer, was all about horizontality. That typically meant flat roofs, deep overhangs and, in the case of Wright’s work, exceptionally low ceiling heights.

    I’m about 6’3”. Many of his clear heights were less than 7’ and I believe his doorways were often 6’2”. This clearly doesn’t work for me, but it mattered for what Wright was trying to do. And I don’t think he was the type to worry about small matters like the comfort of tall people.

    The above photos were taken at Taliesin West in Scottsdale, Arizona. Wright bought the land (495 acres) in 1937, and turned it into both his winter home and a teaching studio.

    Apparently Wright paid $3.50 per acre at the time, which feels like a pretty good deal to me. It shows you the power of just buying and holding things over long periods of time.

    Today, Taliesin West is the home base of Wright’s foundation and also a UNESCO World Heritage Site. I’m glad I was able to finally visit it after reading about it for so many years in architecture school.

  • Virtual sneakers to cutting-edge kicks

    Toronto’s Bata Shoe Museum has an exhibition on right now that is all about sneakers. It’s called Future Now: Virtual Sneakers to Cutting-Edge Kicks. I haven’t been to it yet, but it’s on the list. Because this is interesting to me for a few reasons.

    One, shoes are important and, as a general rule, I always wear them when I leave the house. Though there may have been some exceptions to this general rule.

    Two, sneakers are high fashion. Just look at everyone walking around Paris.

    And three, sneakers are such a great example of a clothing device that went from utility (we need to protect our feet) to fashion (we all have a desire to express our unique identities) to art collectible (yes, lots of people buy shoes that they never actually wear).

    So if you’re looking at stuff like NFTs and digital fashion and scratching your head as to why they have any value, sneakers are probably a good place to look to help you understand why many of us seem to have a need to collect things that help us define our sense of self.

    This is, of course, one of the reasons why Nike bought a digital shoe company.

    I suspect that the exhibition will be at least partially about this and at least partially about really cool 3D-printed shoes.

  • The Eiffel Tower and the awful tower

    It was explained to me this week that Paris has two principal towers: The Eiffel Tower and the awful tower. The awful tower is, of course, the Tour Montparnasse. Completed in 1973, the Tour Montparnasse is tall, brown, monolithic, and seemingly out of place with the rest of Paris’ urban context. At the time of its completion it was the tallest building in Paris and it remains the tallest building outside of La Defense (business district).

    But the Eiffel Tower is also tall. In fact, it’s taller. So how is it that the Eiffel Tower became such a symbol for Paris and the Tour Montparnasse became the “awful tower?” Both were intended to represent modernity (at their respective times) and both were controversial at the time of their construction.

    Today people respond to these two towers very differently. Is it because the Eiffel Tower is set in a beautiful park and more separated from its urban context? Or is it because the Eiffel Tower has had almost another 100 years to settle in. It’s not exactly clear. But we do know that as humans we have a bias toward the status quo. And so I like to think of change in the following way:

    – There’s change that people immediately like

    – There’s change that people hate and will always hate

    – And there’s change that people initially hate but will eventually like

    The Eiffel Tower, you could argue, falls into category number three. It was big, modern, and alarmingly different when it was built at the end of the 19th century. But now people seem to like it. I know this based on the number of street vendors selling little replicas. For the record, I have yet to see little replicas of the Tour Montparnasse sitting on blankets on the street. I’m a buyer if I do come across one though.

    But is it really right to place Montparnasse into category number two? Could it be that it just needs more time to settle in and then it will ultimately move into number three? Maybe. In 2017, an international design competition was held to find an architect for the redesign of the tower. Studio Gang submitted an entry. But Nouvelle AOM was ultimately selected.

    I wasn’t part of the selections committee, but I think a good way to evaluate the success of this project will be whether or not it moves the tower into category three. That is, people start to like it. Then maybe Paris will become known as a city of two towers, as opposed to a city with one nice one and one awful one.