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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Tag: art

  • Art in hospitals

    Art in hospitals is such a good idea. The above photos are from Michael Garron Hospital, here in Toronto. One thing I have never understood is why so many hospitals look and feel depressing. (My mom is a nurse and so I was around them growing up.)

    I fully appreciate that utility is first and foremost and that construction budgets are always tight. But it strikes me that if there’s one place where you want the opposite of depressing, it is in the places where people go when they’re already not well.

    It also doesn’t necessarily need to cost more to be “not depressing.” A little creativity and caring goes a long way.

    I don’t know, maybe this is so often the case because the people making the important decisions don’t believe that our environments affect our well being. So the design process naturally reduces to just getting the utilitarian parts right and not spending a penny beyond that.

    Whatever the case, I do believe that our environments affect us. More than most of us probably appreciate. And so naturally, I think that art in hospitals is a very good thing.

  • 3% approach

    The late fashion designer, Virgil Abloh, had a design rule for himself called the “3% approach.” Above is a slide from a presentation that he gave at Harvard back in 2013 where he listed it as item 3 of his “personal design language.” The idea behind this 3% rule is simple: you really only need to change something by 3% in order to create something new.

    Case in point:

    Given this, it should come as no surprise that Abloh had cited artist Marcel Duchamp as being a source of inspiration. (We’ve spoken about this before.) Duchamp is most famous for his “readymade” sculptures where he took existing objects — like urinals — and transformed them into art by signing them and curating them appropriately. This was obviously controversial, but it made Duchamp one of the most important artists of the 20th century.

    Now, 3% seems like an oddly precise number. I don’t know how, for instance, you quantify the amount of change on the above shoe. Is it surface area? In any event, that’s beside the point. What’s most fascinating for me about this approach is that it suggests that small changes are enough to, not just create novelty, but actually establish authorship. Meaning, the shoe on the right is no longer a Converse shoe. It is now an “OFF-WHITE” shoe. They authored it.

    Like the work of Duchamp, this was and is controversial. Lots of companies have sued Off-White for trademark infringement. We know, for example, where the above black stripes came from and we know that Off-White’s multi-directional arrow logo is borrowed from Glasgow Airport’s logo c.1960. But that’s clearly the point of readymade reworks. And it’s clearly enough for people to want to pay a lot more for the shoe on the right.

    Fascinating.

    Do you think that this 3% approach applies (or could apply) to other things outside of fashion, like architecture and buildings? I think so.

  • The Aluminaire House finds a permanent home in Palm Springs

    In a few days, a new exhibit, called the Aluminaire House™ Exhibit, will open in a parking lot of the Palm Springs Art Museum. It will form a new part of their permanent collection. Now, museum goers won’t be able to go inside of the house due to accessibility limitations, but they’ll be able to look at it from the outside. And this alone is a big deal because this house is a big deal.

    Initially constructed in 1931, the house was designed by A. Lawrence Kocher (then the managing editor of Architectural Record) and Albert Frey. Albert was a Swiss-born architect who had just immigrated to New York from Europe, after having worked for the famous Le Corbusier in Paris. And so he was a practitioner of the International Style and this house was a clear representation of that.

    Erected in only 10 days, Aluminaire House is thought to be the first all-metal house ever constructed in the United States. Well, metal and glass. And at the time, the overarching objective was to build something cheap, modular, and durable. Something that many are still trying to accomplish to this day.

    Not surprisingly, the house was polarizing. Supposedly, architect Philip Johnson picketed in front of it. But this house would go on to become an icon, and it was eventually featured in MoMA’s 1932 exhibition, “The International Style — Architecture Since 1922” — an exhibition that has been largely credited with introducing European-style modernism to the US.

    Albert also ended up moving to Palm Springs later in life, and became known for pioneering something known as “desert modernism.” So it’s only fitting that this house ultimately end up here. Even if all-metal maybe isn’t the best choice of material for a hot desert. If you find yourself in Palm Springs, you should definitely go check it out, or picket in front of it.

    Images: Surface Magazine & Palm Springs Art Museum

  • I think Roman Mars would appreciate Utah’s new state flag

    Utah got a new state flag over the weekend that looks like this:

    And I immediately thought of this TED Talk by Roman Mars. For those of you who don’t know, Roman is the creator of 99% Invisible and a great lover of well-designed flags. His general rules of thumb are to keep things super simple and to use meaningful symbolism. And I’m fairly certain that he knows what he’s talking about because, in his talk, he refers to the Canadian flag as the gold standard for flags.

    In the case of Utah’s new flag, the symbols are this. The blue at the top is meant to represent Utah’s wide-open skies and lakes. The white in the middle represents its snowy mountains (of course). The red stripe is meant to represent Southern Utah’s red canyon landscape. The hexagon is meant to reference a honeycomb. And finally, the beehive is there because, well, Utah is the beehive state.

    Utah has long enjoyed this reference to beehives. Supposedly, it was early pioneers who started throwing around this reference because they believed it symbolized working together, perseverance, and overall industry. And that’s why the state’s official motto is, “Industry.” So I’d say that they used/kept the right meaningful symbolism.

    Though when I first saw the new flag, I immediately wondered whether the hexagon and honeycomb could have been made just a little simpler. Was the yellow fimbriation, for example, really needed within the blue hexagon? But the more I look at it, the more I like it and the more I think that Roman Mars would be happy with how this turned out. What are your thoughts?

  • High-rise graffiti in downtown Los Angeles

    About five years ago, a project in downtown Los Angeles, called Oceanwide Plaza, halted construction. I don’t know exactly what happened, but the reports suggest corruption, financing problems, and the Chinese developer running out of money.

    Under typical circumstances, once you secure your financing and start construction, it should mean that you have enough money to finish the project. That is unless there are significant cost overruns, you experience a cash crunch somewhere else, and/or somebody does something bad.

    In fact, on some projects, the peak equity requirement occurs before construction commencement, meaning that once you do secure your construction facility, you should be able to reduce the amount of equity that you have remaining in the project (i.e. you can pull out some cash).

    Here it sounds like a combination of things went sideways. And now today, Oceanwide Plaza looks like this:

    The towers have been tagged pretty much all the way up. And it kind of looks like each artist commandeered their own suite in the building. Not surprisingly, this has been attracting a lot of attention and debate. The project is also across the street from the Crypto.com Arena and so there are a lot of eyeballs on it.

    On the one hand, you have artists being creative and doing something with an abandoned set of buildings — ones that are beset with corruption charges and that people are generally upset about. But on the other hand, you have a busted project, and you have artists trespassing and creating what others see as another symbol for a spiralling downtown.

    LA police are reporting that the site is going to be better secured and that all of the graffiti will be removed. But until then, this has got to be one of the tallest expressions of graffiti ever created.

  • How I’m displaying my NFT art

    I recently got a Samsung Frame TV to use as an NFT display at home. I had been looking for one for a while and I finally pulled the trigger last week. The way the Frame works is that it’s a TV when it’s on, and it’s an art display when it’s off. But I really don’t care about the TV part. I just wanted a good looking art display.

    There are a lots of purpose-built NFT displays on the market right now, including Tokenframe, Blackdove, Muse, and others. And I was very close to getting a Muse Frame.

    But ultimately I decided on the Samsung Frame because it was (1) cheaper for its size (50″), (2) it looks cool, and (3) I was fine with just a simple high-quality display. I think there will be lots more software and dongles created in the future for people who want to showcase their NFTs on whatever they happen to have at home.

    However, if you’re a crypto and NFT purist, this maybe isn’t the display for you — at least right now. Out of the box, it doesn’t connect with any crypto wallets. And so you’re not going to automatically see the provenance of each art piece (more on this below). Instead, the default method is to just upload JPEGs to the TV from Samsung’s SmartThings app (insert right-click-save-as jokes here).

    Overall, I’m really happy with the display. Here are my initial thoughts:

    • I have it set to randomly rotate through my art every 3 minutes. There’s also a motion detection feature that works reasonably well. If it doesn’t detect any motion, the display will go completely to sleep. But for some reason, it occasionally gets possessed and the TV will randomly turn on. Last week it kept turning on old Baywatch episodes. Possibly user error.
    • Samsung’s SmartThings app is bad. It’s buggy and a pain to use. For example, even though I’ve given it complete access to my phone’s photos, they never seem to show up. I have to limit access and then go and select the ones I want to use in my gallery.
    • I have found that I prefer when the art is full bleed versus within the Frame’s skeuomorphic picture mat. This is a new form of art and so I like the idea of breaking past traditions. But unless your images are 16×9 and a high enough resolution (I have generally found > 3000px wide to work), then you’re going to get prompted to insert and select a mat design.
    • I have solved this problem by manually cropping and editing the individual pieces. Some NFT collections, such as CyberBrokers, also give you vector files which allows you to play around as you see fit. Again, if you’re an NFT and/or art purist, you’re probably not going to like this. But I think of it as curating the pieces.
    • Most of my art is on Ethereum, Solana, and Tezos. Being able to upload whatever I want is helpful, because not all NFT displays support all of the chains. The Muse Frame, for instance, only supports Ethereum and Polygon right now.
    • PNG files and video files aren’t supported natively. This is a significant drawback and so eventually I know I’m going to have to change up the software that powers this display. And there are options. Bright Moments offers display software for holders of its NFTs. Fred Wilson’s venture firm USV created this setup. And I’m sure there are countless others. These can solve the provenance issue mentioned above by pulling directly from the various blockchains.

    In the end, I knew what I was getting into with the Frame. I knew it wasn’t a purpose-built NFT display and I was fine with that. It’s still early days in this space. But it sure is nice to finally see my NFT art in large format.

  • What happened in 2023

    As per tradition around here, I like to bookend the new year with two posts: a post that revisits my random predictions for the year and a post that talks about what might happen in the year to follow. Today’s post is the former. So let’s see how I did:

    • I thought the interest rate hikes would come to an end in Q1-2023. But that didn’t happen until the summer. I also thought this would lead to a mild recession in Canada. Technically, we are not actually in one, but according to some, we kind of are.
    • I thought the real estate sector would start seeing some distress in the first half of the year, and that a new equilibrium would be found in the second half. This proved to be overly optimistic in terms of timing. A lot ended up being on pause for the entire year, and I now think that my forecast was at least a year too early. The sea change is still underway.
    • Given the overall slowdown in real estate, I felt that construction costs had to see some softening. This did, in fact, happen with some of the “earlier trades”, such as shoring and excavation, and we did see some specific trade pricing, such as concrete formwork, come down by as much as 30%. The smart cost consultants we work with now expect to see overall hard costs come down by a further 5-6% next year in Toronto. This makes sense given construction starts are way down.
    • With me expecting the interest rate increases to stop in Q1, I thought that pre-construction condominium sales would return in a meaningful way by the spring. While we did see some buoyancy around that time, it was short lived. Sales remained nearly shutoff for the entire year, but for maybe a handful of projects. The more successful projects tended to be outside of the Toronto core and at lower price points.
    • With respect to home prices in more tertiary/fringe markets, my sense then, as it is now, was that these prices would remain below the peaks for many years. In addition to the upward momentum created by low rates, my view was/is that some of this pricing was the result of a bet on urban decentralization. I don’t think that has played out as many expected it to, so that’s why I think it will be many years before the pricing we saw in early 2022 returns.
    • The momentum around “expanding housing options” in our low-rise neighborhoods is many years in the making. And a lot of progress was made in 2023. Here in Toronto, we adopted new multiplex policies that now allow fourplexes plus an accessory dwelling (so 5 homes in total) on an as-of-right basis. I continue to believe that this momentum is only going to grow. I also think we will see the arrival of more mixed-use opportunities.
    • I believed that, broadly speaking, urban transit ridership would remain below pre-pandemic levels for all of 2023. This proved to be the case for most US and Canadian cities. But things are improving. For Canada as a whole, it looks like we’ll see full recovery sometime in 2024 based on this trend line.
    • I thought 2023 was going to be the year I took my inaugural ride in an autonomous vehicle. Sadly, this didn’t happen. The sector as a whole also saw some setbacks. Hopefully I’ll get a chance next year.
    • I assumed that Apple would finally release its augmented reality device. And though they didn’t technically release Vision Pro, they did announce it. So I guess that counts for something. I also thought that 2023 would be a big year for “phygital” goods. Maybe it was. Or maybe it was more of a building year. A lot of people are curious to see how Vision Pro does in 2024. It’s not set up for the mass market, just yet, but I think it will do exactly what it is supposed to once it’s out in the wild.
    • Finally, crypto. I know that a lot of you like to skip over these posts, but it is something that I feel strongly about. A year ago, though, I was pretty bearish on Solana. Boy was I wrong. Solana ended the year as the best performing major crypto asset — up 933% at the time of writing this. Oops! However, Ether is also +91%, and I continued to dollar-cost average in all throughout the year.

    Next up: What will, or more accurately, what might happen in 2024.

  • The Boxing Day move

    We moved into our new apartment today, so I don’t have a lot to say other than that moving is a good way to remind yourself that you have too much stuff. I was in my last place accumulating for over a decade.

    I try my best to live minimally and there is certainly something liberating about this mindset. But there is also a part of me that is a collector at heart. (A great number of our boxes are filled with things like books.)

    It also turns out that Boxing Day, or some other time over the holidays, can be an excellent time to move. Streets are calm. Buildings are quiet. The email firehose is off. And nobody else wants to move at this time.

    Most importantly, though, it affords you some time to get your life back together. And that’s exactly what I’ll be doing for the rest of this week.

  • Call to Hamilton artists

    Our team is looking to partner with local Hamilton, Ontario-based artists and creatives as part of a new project that we’re working on for next year. So this post is intended to be a call to artists. If you’re based in Hamilton and doing great work, we would love to hear from you. Please drop me an email (brandon@slateam.com).

    In my mind, art and culture is a fundamental ingredient in Hamilton’s ongoing renaissance. Each and every time I’m in the city, I feel like I meet someone who is an artist. And there are so many great examples that we can point to.

    Take Scott Martin (aka Burnt Toast). Scott is a Hamilton-based illustrator and co-creator of the fantastically popular Doodles NFT collection. I don’t have one in my wallet, but I can tell you that I want one. The current starting price for a Doodle is nearly US$9k. But as an alternative, you could also just go to downtown Hamilton and look at one of Scott’s public murals.

    Go Hamilton. Please show us what else you are creating.

    Photo by Abigail Chen on Unsplash

  • Immersive digital experiences at Superblue Miami

    If you happen to find yourself in Miami or London in the near future, I would highly recommend that you check out Superblue. Neat B and I visited Superblue Miami this past weekend and it was an incredible experience.

    Above is a short video of one of the immersive installations (click here if you can’t see it embedded above). This one is by the Japanese art collective teamLab and what you’re seeing is a whole year’s worth of seasonal flowers coming to life and then dying off.

    It’s meant to show you the continuous change and cycle of life and death that we all live through every day, and you certainly feel that as you go through the space. The installation itself also responds to how you move and interact with it, with some actions encouraging more blossoms.

    It’s, of course, all very Instagrammable.

    But I think this descriptor is old news and doesn’t do the work justice. Superblue is a serious cultural experience. One of the other works on display right now is a piece by light and space artist James Turrell. And for this one, there were no photos and talking allowed. The timed experience was meant to be more meditative.

    It was the first time that I had seen something by James Turrell in real life and it didn’t disappoint. It made me feel things, as did the entire Superblue experience. So again, a top experience that I would highly recommend.

    On a related real estate note, the 50,000 sf Superblue space is located in an area of Miami called Allapattah (which is west of Wynwood and 5 miles east of MIA). I’m an outsider to the city building undercurrents of this city, but I keep hearing people talk about the area as the next Wynwood.

    The other cultural institution in Allapattah is the Rubell Museum, which I wrote about in 2019 as it was moving over from its original home in Wynwood. Supposedly the family now has the largest private collection of contemporary art in North America. So that’s something.

    Maybe these two anchors will be what does it for Allapattah. When we walked around the area there didn’t seem to be much else going on. But we all know how quickly that can change.