Architects often see setbacks worthy of quitting when trying to integrate the restrictions and requirements of GC’s into their artistic design.
One of history’s most important artists could have also let setbacks and failures crush him as a young painter. Giving up would have been more than understandable, as Paul Cézanne’s father saw no future in the world of art for his son and, ultimately, was instrumental in pushing his young son to study law and work in the bank he had founded instead of following his heart.
Further disappointment followed when Cézanne finally applied to enroll in the École des Beaux-Arts in Paris (one of the most prestigious schools) and he was rejected almost immediately. Likewise, in the various salons in Paris, time and again his work was refused. A lesser man’s dreams would have been extinguished and one could only imagine the pressure and anxiety that accompanied every stroke of the brush. It’s no wonder he was quoted as saying, “It’s so fine and yet so terrible to stand in front of a blank canvas.”
The blank canvas to Cézanne was equally torture and pleasure, but none can dispute the energy he drew from it. It led to him being one of the most influential artists of his time. He was drawn to the blank canvas, simultaneously pushed and pursued by it.
High School football is a great place to learn life lessons. Just a few include: (1) teamwork and planning leads extraordinary success, (2) hard work pays off, (3) how to win with grace, (4) how to lose with dignity, and, lastly, punishment is capricious and arbitrary.
Once upon a time, while I was playing football in high school, we lost a big game to a cross county rival. I did my job just fine. I blocked as I should, pushing myself and my opponent the extra yard. Not once did the guy across the line of scrimmage from me take part in any tackle. He never laid a finger on the quarterback or running back, and I did this without landing a single penalty. However, when the time came to pay for the loss, we all took the hit.
At the time, we had a punishment that has since been banned in most high schools as it was both cruel and unusual and was certainly banned by the Geneva Convention: the dreaded belly-flop. It was a torturous drill that involved chopping your feet as fast as you can, as you moved forward in increments of five yards and then hitting the ground – belly first (hence the name) on each five-yard line when the maniacal, spittle-spewing coach blew his whistle, only to spring back to our feet and continue on our perilous journey up and down the dirt covered practice field. Regardless of my personal efforts and my on field successes, I too had to join in the cloud of dust churned up by the 20 guys on the team going goal line to goal line. We can get you an elevator in just eight weeks …Find out how here!
In a CNN online article about boutique hotels, the focus was on impressive finishes and features of various boutique hotels around the world. The story highlighted several pieces that made up the architectural design and set the hotels apart, enhanced the experience and told visitors exactly what the hotel is all about.
For instance, in the article it shows the lobby of the Hotel Vagabond in Singapore. It is outfitted with several imposing pieces, including a golden elephant “hoisting” up the main elevator. The work was designed by artist Franck Le Ray and his artistic ability certainly added a unique touch to the lobby. It gives the visitor’s eye plenty of opportunities to remain busy while waiting patiently for the elevator. Beyond that, it lets you know precisely where you are, in a unique place that is fun and exciting. Cladding the hoistway with the impressive sculpture was certainly a departure from the ordinary, but the lesson learned should go deeper.
The lesson is not about putting a massive pachyderm in your lobby at all, but instead forces the question “What message do the elevator fixtures, hall calls, car interior and hoistway finishes say about the building you are in?” Most likely, if you are reading this blog post, you are not in a Singapore hotel, but that should not prohibit you from thinking about the message your elevators give to visitors. It is important because the one place that you know for sure people will look in your building, beyond almost anywhere else, is the elevator and its fixtures.
Think about it. You go through the lobby with your eyes darting all over the place. You are taking in the visual cues from the front desk to the lobby furniture, but then all that visual stimulus stops when you press the elevator button. You look down at the button, give it a gentle poke and your eyes move immediately to the floor indicator. Unless interrupted, it generally stays there until the elevator arrives. You then walk into the elevator car, taking in the look and feel, and again your eyes shift to the floor indicator light. That’s a lot of time and opportunity to tell people about your organization by the look of the car and the fixtures. Sometimes the elevator conveys a professional feel with a clean, simple, efficient buttons and displays. Other times, something more quirky or modern is warranted.
The same is true with the hoistway. If the elevator is on the outside of the building, it should enhance or at least work with the architectural vision of the building. If the elevator is a free standing element of the lobby, it has to be carefully integrated with the interior design.
Fortunately, if you are thinking about a new elevator, Phoenix Modular Elevator has a solution that is right for you. We have flexibility to make architectural design easy with a hoistway that can be clad in any material you need, even a golden elephant. Also, the interior of the elevator car can be custom made, from standard laminates, stainless steel to unique coverings such as barnwood or any combination of the three. The fixtures can also be any style or type available, from a classic look to modern. This will help your architect design the impact you are looking for.
From simple, off-the-shelf elevators to one of a kind masterpieces, we can accomplish anything you desire. Your building lobby may not need a golden elephant, but never let limited options prevent you from that if it is your dream.
In 1913, when Henry Ford rolled out the first Model-T from a factory in Highland Park, MI, the manufacturing process was forever changed. Seventeen million cars later, this moving assembly line increased the quality and speed of manufactured goods while simultaneously lowering prices.
Exact tolerances could be obtained in the factory environment that were not achievable before large-line production became commonplace, resulting in improved quality. Due to ever increasing efficiency of the assembly line, speed of production also increased. The first Model-T’s took over 12 hours to build, but by 1927, the factory cut production time dramatically, spitting out an impressive 9,000-10,000 cars per day. Assembly line production also allowed the price to plummet. In 1925, the price of a touring car version of the Model T was just $290, $560 less than the initial price in 1909.
This new, improved quality and efficiency, plus the drop in price, was unique thanks to the production system, where prices for the product diminished as better cars were manufactured. We have seen similar improvements in almost every industry where mass production is employed. For instance, many credit a lesser known Ford employee, William “Pa” Klann, with the innovative manufacturing process after observing a slaughterhouse in Chicago. What works with meat, works with cars and even works with elevators and modular building overall.
In the construction industry, assembly line production of various components in a commercial building is now commonplace. Just like the Model-T, quality and speed of production increases while prices drop. It is now realized that quality can be increased when efficiency is introduced in a factory setting, even when building the various parts of a commercial structure.
The downside to Henry Ford’s assembly line dream of an affordable car for the masses and the argument of some detractors of a manufacturing process, is that choice is restricted. As proof of the lack of flexibility, it is pointed out that Henry Ford famously equipped, “Any customer can have a car painted any color that he wants, so long as it is black.” Although the earliest Model-T’s came in several colors, by 1914, there was precious little versatility in the “Tin Lizzy.” It turns out that black paint was less expensive and it had a shorter drying time, so color was sacrificed for efficiency.
The image of the all black Model-T led many to incorrectly assume that something manufactured in a factory setting will always result in less choice. While some segments of manufacturing have limited choice, this is not true for all. For example, when a modular manufactured elevator is produced and installed, the interior designers and architects have complete control over the look of the cab design, as well as the size of the elevator, number of stops and the type of propulsion (hydraulic, traction or machine roomless), just like the stick-built version. The elevators can be constructed to match any interior and exterior design.
The only difference between an old-fashioned, stick-built elevator and a modular is the construction layout. Modular elevators are constructed horizontally on a factory floor to ensure stringent standards are met, resulting in increased quality while also allowing for faster construction and fewer job site delays. It also means that the elevator will be competitively priced and take less time to install. A modular elevator has approximately eight weeks of lead time and a one week installation time, while a stick-built elevator can take between six months to a year or more from start to finish.
Current modular elevators are high quality and built with exacting standards, and unless you know you are in a factory-built elevator, you would never know the difference. And unlike the Model-T, they come in more colors than black.