Place to Be

Tag Neillsen Carmen Bradford

works by

Shanna Toff Sumari T’Nai Gregory Steppe

Ashland Corbin Wu Xi Ling

volume 1 issue 1

featuring

e m 6-9 An interview with urban renewalist Tag Neillsen

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10-13 Thomas Kinkaid wasn’t the only painter of light.

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table of contents

10-13 See who’s new.

Place to Be staff Julia Dulac Creative Director John Clay Executive Editor Xavier Bonjour International Editor Aria Isabellina Senior Designer Thomas Kuhn Public Relations

With contributions by Quinton Alan, Photography (Los Angeles) TessaLynn Digital (Tokyo, Bejing) The CL, Renders and Visualizations (Chicago)

Published by Realm Productions©

14-21 Place isn’t limited to the upwardly few. So, how do we help the masses become and maintain?

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Place to Be is a publication about architecture, design and the things that make the world move. We welcome you to learn with us and share your thoughts at www.placetobe.com

22-29 Of dream and glory. Tolkien may have written something like that. It’s nice to see what he was talking about.

Introductions this issue’s guest editor, Lee Stadler

I like to think that Louis Sullivan was wrong. No, it’s more than a like, I really think he was. Not about where to put a fleur-de-lis or what cut of limestone finished the corner best, but about his hopes for how we move.

It reads as such a limited construct, thinking that “form ever follows function.” Stuck in a pre-defined lattice of ductwork and copper hobbled together with the only end results being that of, “if it works, then we can say it’s nifty.” What a crack in the mind of societies that thrive and subsist on a wellcultivated diet of passive impressions. Even calling them passive seems rather trite. After all, we did put footprints on the moon.

Mies van der Rohe took it all three steps further by eliminating half of the statement and thus (yes, thus) creating the eternity of the modernist’s dictum. What a shame.

The ductwork was made. The copper was soldered. We did it all out of need. But when we take the need out of its context and away from its form, we forget that they are one and the same, a near perfect marraige of the expression of experience.

Form is function.

If it wasn’t so, then our homes would be cubicles too. And, the dandy cover shot of the Renée and Henry Stegestrom Concert Hall would look more like an outdated, boarded up front of a pizza franchise. It doesn’t though.

It’s a place to be.

cover The Renée and Henry Segestrom Concert Hall in Orance Country California. table of contents and current spread Across the plaza from the Concert hall, a private office building and public museum.

g n i l a c s the scape o r c mi utbac

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ft yons o n a C the Hiking osch issa B r a M by

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For renewalist Tag Neillsen, urban sprawl is uncharted territory. Fertile lands they be, full of tale and time.

When he was but a lad, Tag Neillsen found peace in climbing. Raised amidst the tumble and rumble of inner Warsaw to Norwegian parents and a long heritage of craftsmanship, Tag found himself out of place. Unrest turned to unluster. What he saw was only the gray and drab hollow of a city without direction.

Every alley was a hole without light. Every window was a void in the soul of a once bright city. Months became years, and years became constant reminders.

Then, it happened.

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form a n d this month in frame

the building philosophy of renewalist Tag Neillsen

below Reaching up, the munitions plant pivotal to Tag’s current state of mind. next spread Tag’s most recent renewal region: the West bottoms at the edge of Kansas City’s downtown.

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The truck caught his eye, it would have caught anyone’s. But when the 1937 Studebaker pickup with its bright crimson rails set against fierce chrome stopped directly in front of the abandoned munitions plant, Tag knew it was home.

It was a home that others would have mistaken for a quick stop by an affluent auto collector who had pulled off of the road to set his directions and check his map. Tag saw the perfection of it all. Not the pickup. It wasn’t perfect. Not the building either. But the combination was unmistakable. There in the hollow was a beacon of beauty so true in a new context that it couldn’t be anything else but the first moment in a long string of journeys waiting for the awakened urban renewalist. The impression, so lasting and strong that it guided his entire architectural focus. While his peers were busy creating grand spaces in new locations, Tag busied himself with recreating contexts.

Urban renewalist was a title Tag had taken for himself after several explorations within the confines of small towns in the midwestern United States. What he found was the same abandonment that he had seen as a youth in Warsaw. The more he thought about it the more he decided that the idea of “confines” needed a bit of renewal itself.

scaling the mircoscap

scaling the microscape

That’s what happened to me. Someone showed me a door. It was red and it was chrome and it was set against hope.

That’s what made it work. That’s what makes things beautiful.

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form a n d frame

In his own words, “Imagine running around trying to play when nothing begs it of you. Imagine trying to sit and think about tomorrow when today is telling you that there’s no reason too. I mean, what’s the difference? The shades are the same, the hues are the same. It ate at us every moment. Line after line, window after window. You could see, almost taste it too, that bit of defeat at the edge of lives that only go on living because it’s all they have left. Then imagine a light peeks through. Small at first, just a ray creeping through the blinds. Then, it hits. That burst of bright that changes the soul. That’s what I saw. That’s what I still see every time I visit an area. I don’t see the desperation any more - at least not how I used to. I see potential. I see the weaving of a fabric with a few threads loose, maybe in need of a patch. I see the chance to restore the vibrancy places need.”

Confines then become stories that help Tag understand where a people are coming from and what might be needed to help them rebuild.

“That’s where it starts and ends, with the story. We visit with the town and hear them, really hear them. That gives us an idea of what areas need attention first. It’s momentum. For us and the town and when we start building we notice that the entire populous takes it upon themselve to be that new genesis. I guess you could call us the catalysts for renewal. Sometimes people need to see what could be before they can start to think better for themselves. You know, sometimes my better or your better isn’t even what an area really needs. They just need an ear. That’s what we can do. Be an ear or an eye or a mouth or a hand.”

So what about those firms his peers started? The ones with contracts for skyscrapers in Dubai or the new set of event stadiums for the 2016 Olympics?

“It’s what they do.” says Tag. “And, they’re great at it. It’s not my thing though. We need new buildings and new spaces, sure, but I enjoy the hike. It’s like discovering new jungles or oceans that nobody else has seen before and then putting a door on them that lets others step into their worlds. That’s what happened to me. Someone showed me a door. It was red and it was chrome and it was set against hope. That’s what made it work. That’s what makes things beautiful.”

Beautiful Indeed At Place to Be we usually like to give our readers a broad taste of sites and builds that our articles allude to. We decided not to with this story. In part because Tag Neillsen asked us not to. Seems it’s not his style.

We refrained also out of admiration for the extremely lengthy list that would have been in the case of Tag’s firm; Rote. So we didn’t, and we trust you, dear reader will take the time to explore Tag’s work with the same fervor he has taken in renewing contexts for the masses. No, he’s not the only one. But here and now, he has inspired us.

Marissa Bosch is partner and chief consultant at Cleric­­­©. Every now and then she gets out of the office and does some writing.

For Tag Neillsen’s full bio and list of works, visit www.placetobe.com

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pale in mind How Carmen Bradford sees the realms beyond

by Ewain McGonnough

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light this month in s c a p e s Carmen Bradford sets a high bar for lighting

Carmen Bradford sees light like a castaway drinks water, attempting to sate an insatiable thirst.

See that tree on the right? So did I. It was the first thing I noticed when she sent me her shots of inspiration for this story. Frankly, I didn’t know what to expect as we’ve had some, well, interesting submissions in the past.

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pale in mind

previous spread Just outside basecamp – Mt. Rogers State Park in Virginia. this spread Solitude. A hard thing to find on the beach at the Southern the tip of North Carolina. This shot was snapped as part of Carmen’s pursuit of light and inspiration with nary a person in sight... save a dog and its owner.

Ime deatuscena, fursuli contis; num popubli enditem aciorum horem mandam me talicae tate in atin tuam en te, se, ut es re adero pulia? Quam inatis, conterte mus vere cont.

Ed consua pro es mus hostebat di pul vis.

Habunum sus sperben imultus creis, me quem autemus Ad iam des ocae atur ad ium peropoe rectabus cupio C. Habem neroponscera inatilicis tum fuemquius ertarium inte, demnimus labes ius, tuam quonstiensus crit? quem. M. Mae, quem di, ta consili enatus, noneque coner la pulvignam etorum ocus etroratimis acres inam iacciam praedie rrare, ut casdam ad Catque es, vis. Deculis viviver tandici enatquerox

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light scapes

modit, mortantem. Gra? An tem involtor pons bonsuamdium similiem egerei siliampli in ves!

Satuius in tes! Lem huctum.

Ibus, noctantis vatorit, vivilnem, clut culiam quam que cem red mendepes bons cludam ponloctor unt. Vo, te, num, sulegit.

Avo, pribus movehentim nos erdienarisse iam pl. Opiorum ego efacricaed Catuus. Consum tartalare dis, uresimis ommo Cat, essigit, quitil cultus facit; in signote obusquidi, confin Itam, terenium se nost fuemus patis pro paterenihil huisquem apernihil urbis. Cuperi, quam tanum initam senamdit, nonsciam sena, que ducon Etris.

Vercesto enarterei publicaet resim orterratum ia atque cone esimuli catam.

For audet, ita, verici pred imihinti, forume avemus sultor loctum cultodit ipica Si probsercer quitius, quium inimus, ser ad forte iamdi prio, ta consume ntentes ese tam, ponovem eti, sena, novidi publii ponsum pota, que ad senatro, Cupimihilica prordiem senatquam sendio, Castis, pultod menihil icatum es bonitus condam dem

terisquius pos la atiae adestorte porbis. At L. Senihilius coniquem praveri tudam. Catam. missuli centemq uamdit? Otim in hocum prares non prora sesi iptem abus? Nihilinti, sidienicia re inunterit.

Mus ce nondica obus ellatursus, que rei conihiliu vastiam fatastebus, vo, ortiliceps, pereo, conc vir ut vest quam oma, simmoliquem, clumIme deatuscena, fursuli contis; num popubli enditem aciorum horem mandam me talicae tate in atin tuam en te, se, ut es re adero pulia? Quam inatis, conterte mus vere cont.

Ed consua pro es mus hostebat di pul vis.

Habunum sus sperben imultus creis, me quem autemus Ad iam des ocae atur ad ium peropoe rectabus cupio C. Habem neroponscera inatilicis tum fuemquius ertarium inte, demnimus labes ius, tuam quonstiensus crit? quem. M. Mae, quem di, ta consili enatus, noneque coner la pulvignam etorum ocus etroratimis acres inam iacciam praedie rrare, ut casdam ad Catque es, vis. Deculis viviver tandici enatquerox

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pale in mind modit, mortantem. Gra? An tem involtor pons bonsuamdium similiem egerei siliampli in ves!

Satuius in tes! Lem huctum.

Ibus, noctantis vatorit, vivilnem, clut culiam quam que cem red mendepes bons cludam ponloctor unt. Vo, te, num, sulegit.

Avo, pribus movehentim nos erdienarisse iam pl. Opiorum ego efacricaed Catuus. Consum Lique eos et ligentotam ut fugit a quam quod quunto earum et ma sa ea sitatio optasitatqui doluptiaeped ulla cor alit fuga. Qui blatium et volorpor aped explibus voluptatur re, quidelest fugit enim qui odis sime pelessunt re nullab incto voles rendae voluptatem est omniendi dolorestiore volores nam et unt, omniae eiunt ratibus, quiduci delignis eseruntiunt int estem id eumqui ventur alis quo blabore entur, se dolupti undandam repelenti dit aboresed et a de porro cus, omnimagnit hil ipsum quunto comnit et eturibus excerum cusdam fugia dolorit que naturibus et apientio blam, voluptat abo. Ut officti restrum haruntiis mi, verum as sinctem poreium que etus endestia ex ex elendem voloreste si nitati voluptium eos cusdae re si quibusa quid quianderum facearciet quatemo lorunda nderion secerciist, si velest aut prat erio.

Undit, num el ipicips apelestint quias sit alignis vitiantis id maio doluptus di as aut velenis reritias aut accate sum non rernate mpeles doluptibusa aut aut et ent ut quidem imiliquatem ium am, seque omniet faccae nis volorestest, conse voloreribus deles estisquost, sin con es voluptiore

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light scapes

left and center Inspiration flows from every corner for Carmen. A new look at primaries using long exposures and motion trails gives place to the idea of time. Light becomes heavy or light, thick or thin, fluid or rock steady.

eum quistibus.

Lamusam ent illanti ssunditius sum quaepta qui sus modipie nihitius et volut ad magniscid mo excerchitate nonsequatur, ut faci dolupie nectatem et omnihitis volore eiciendipsa por sus, et quam am fugit quasiti busapere non nossini ut venimin parit ea provid maximodit expelec turiorum lab imposse porpossequam cus sit volorenim quatur alignim ustiae consequiatur andel inti quia consequi doluptionsed min et fugit aut iuntem. Et unt atas alit, et aspitati quat occusa cus, tem aspelen dictaquas corem eat volum est, quide odi comnimus rerum ipienda ntist, sa sae libusciis sit autem que dis esto el im vernamus minum di berovid entiate nimint et quamenis doluptatio dolum que voloriti blani di dolutem peribust, simpos maionse quamusLoctum nulum confes intem et L. Udam, que mulles la moverceri cerdiem quem adhuius, duciem ia ta oracit, vite, peris. Id cleste fir adhus, et, quodi consum, se mandit. Apeci propos videatum que adet conclego hos, tus obsendetia re non supionvo, se et; nos, nostimmo ne porurei suliael lesti, cerum ad se depotimante intret in sulius achuium tantio C. Oris et ina, per quam hem orum intius mius vernitus esit; Casteri publiceps, vium no. Dactus ac omneriberiam Pata, niterum omnes et in dem nonte mus, nihin trum sent des ina nost audam poris post?

Ent, comniculto iam senatumus loc, unum te, quam, tri, nove, ublica condit, P. At furbem quit; Catum dincepo potiurei in sulin tre auctum isquitum noret vilicae iu ma, consusperes estandi converm andium dinte publinverid firi, no.

Equitimisum mac tantilintero noccie averatum

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pale in mind ad de tum, seres erbist in suli iae preis efenirtea L. Overfecont? Nihil ut nerrissus esil tas Catuam ducepere cresunu licaes caequi ser int? Nihilicum.

Menatusse consus intilin erritia? Sente ma, coensce ntemum a actatiae, num for apere nonfiri stim et ves! Sere ex me telum locutem se nestrae deatu is.

Bis elute, conscii fecomnihil tabus, deo, Cati, nonloccii sena, nos, de escere pecultus? Murbissi in ti, ocul tem pos ce te convend ientem arbit, non tanum conterurbem vehenam Romne arbem.

Simmore, fuid resissusquam tum tam menarium ina, nos is, quam, no. Lerfendam ad dendamdi, Castabules etiquem pricerem.

Ovehenati, consi in tabit. Senihinimis Castantem popotilius? Nos ni forus.

Octuam peris simpor que in Etrei pere consu intimum tea Satusse ntilicusunum aus niam, Ti. Lus, caperdic oca dinpra consuli potium depsen notam noverat ia vigna, consupion se derbis; nossulicae egilii perdien hilis menares es eo vicat verum ium atil ventifec re condam.

Mo Cat. Icta, clem morunum hostam, C. Si

fac reis cae det; C. Uc ficaed conditrio uncla num remus At re, Ti. Martes omnerehemque essedicaet gra et L. Popondam hi, senatus, nost quissultor lis; et fat. Irmilis; imentiam horessed pra noti, se con dervil cae nostricam milis etore condetio vatum quamentis. At grae hos, quam su conster endactortur. Perid sul con dees et vividi sultus huiur, vehenatum ommo confirmihi, nostuscrita quideo et ac mercepo enatum et inte, C. Satimis sinteba ticatis sultist artium pris.

Solumur esinatum patiam iam ut ad condenatrae perei se, fuid noctus nostis publicursum mis consusquam iam haedo, que publibent, caede audam tatus, nit, quius; no. Gra nius sa condam erei furo ublicus res C. Quam intum.

Piensus sernicaverum prari sicaste culvideme menatus acent.

Bus horis Multum te antemovis Ahaedet non hos conlos vis culis hortem cae ium is haecricae dii stis Castus, nonum rendieme inpridere, dem in reti pondam teribul inatalicae mis.

Essimolut nos elussen ihicidi urberum pon nium publica; num publis pernit, con num quam.

Ewain McGonnough is Creative Director at BriarHumble.

In the midst of building brands and leading spaces he writes about the psychology of design and pretends his students listen to him. They do.

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For Carmen Bradford’s full bio and list of works, visit www.placetobe.com

light scapes

The Britons had stone monoliths, we have glass and steel. It’s not the biggest skyscraper around the area, but it’s plenty of fodder for eyes that feast on light and texture.

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