It shouldn’t come as a surprise but toilet paper isn’t the only thing that’s scarce these days – face masks and other personal protective equipment (PPE) is in dire need too. Naturally, this led to some people getting creative and coming up with all sorts of ways of protecting themselves. And let’s just say that not all attempts were entirely successful.
People are using anything at their disposal – from pads to medieval armor – to protect themselves and it seems like there’s no limit to their creativity. Check out all the unique ways people are protecting themselves from the coronavirus in the gallery below!
#1 Quarantine Fun With Mom! Only Masks Available On-Line
Leveling the single-story smattering of 1950s garages and factories was one option. Renovating, repurposing, and enlarging them was another. The former would provide a blank slate, the latter more of a challenge—but more character. Rapt Studio CEO and chief creative officer David Galullo, prolific designer of workplaces for such companies as Google, Twitter, and PayPal, opted to retain all but one of the six brick and concrete-block structures for the Marina Del Rey, California, campus now called MDR Truss. Today, it’s home to Zefr digital advertising, the Bouqs Co., an online farm-to-table flower delivery service, and real estate developer the Bradmore Group, the client that hired Rapt for the 130,000-square-foot project. So enamored with the result, president and CEO David Bohn decided to move the company into one of the buildings.
“David was looking to take advantage of what was here before,” begins Galullo, just off the plane from Milan, where Rapt showcased its debut Salone del Mobile installation Tell Me More. “He and his team understood that these little industrial buildings could actually add up to something pretty.” Rapt was tasked with creating the master plan for MDR Truss: Initial meetings with the client illustrated how the 3-acre site would be used, where cars could park, and how Rapt would work with the landscape architect to plant low-water and native species and create pedestrian pathways, among other essential changes. Bradmore was so impressed with the concept that the initial budget was increased. Ultimately, Rapt added a second floor to one building, decks to two of them, cleaned and re-painted all exterior masonry, and relocated entryways and exits and inserted roll-up glass garage doors for more light and better flow in nearly all the buildings. Additional outdoor spaces such as fire pits and a lawn for employee pets even “feel a bit resort,” Galullo notes.
Rapt was then hired again by Bradmore for its interiors and by Zefr for its offices, which occupy 40,000 square feet across four buildings. “We were morphing the exterior design based on what the interiors needed,” Galullo explains. Because all six buildings were leased prior to the completion of construction, the firm was able to deeply customize the design.
Creating an upgraded space for Zefr meant pushing a company with a start-up mentality—it was founded in 2008 and focuses on YouTube content targeting—into a more sophisticated space. “The idea was like Hey, we still want to be scrappy, but let’s have moments where we remind people that we’re heading in the right direction,” Galullo says. “For us, a brand is about the organization’s attitude, personality, and culture.” The result is a mixture of refined custom sectionals and walnut tables with furnishings from the hipper end of mass retailers and unpretentious, locally focused artwork. “It doesn’t feel like a dorm room, more like your second apartment,” Galullo adds, glancing down from the deck off one of the building’s newly added second floor at the rack of staffers’ sandy surfboards and the Zefr-branded skateboard ramp.
In Zefr’s main building, Rapt took advantage of the 16-foot ceiling with site-specific installations. One is at the entry: a cascade of white ribbons designed by art fabrication company Settlers LA that’s akin to an enormous ocean whitecap but that Galullo describes as “kind of flowy.” Neptune Glassworks, another area artisan, pitched its canopy of handblownglass orbs to Rapt and it ended up above the café, where occasional blue walls further nod to sea and sky.
Galullo calls Rapt “transdisciplinary, which is like equal measure on every discipline coming together to form something new.” In the case of Zefr, that meant curating an art and furniture offering “that’s an interesting and eclectic blend,” he says. “The last thing we want is for the office to feel like it was decorated to be perfect. People spend a lot of time here, so we focused on the spaces where people are going to hang.” So, for Zefr’s myriad lounge, meeting, and break-out areas, there’s always a duo of lounge chairs, plus a sofa, coffee table, and rug—a homey configuration that differentiates them from the rows of workstations.
The approach also meant eschewing corner offices (although there are private phone rooms in the core of each building as well as traditional conference rooms). One corner did surprise Galullo, however. It’s that outdoor deck space he created off a building’s new second floor. “I was worried it might feel like a cage because we wrapped it into the structure,” he recalls. “But it turned out to be an unexpected nugget.”
“When we set out on this project, we had to tell the story of both Zefr and the site’s history,” Galullo concludes. “It couldn’t just be about maximizing the number of parking spaces, although we did wrestle with that for quite some time.” In a locale where car culture still rules, that’s saying something.
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Project Team: Sam Farhang (Creative Director); Kristen Woods; Derrick Prodigalidad; Krisada Surichamorn; Glenn Yoo; John Stempniak; Gigi Allen; Andrew Ashey; Scott Johnson; Michael Maciocia; Sasha Agapov; Alex Adamson; Semone Kessler; Rosela Barraza; Daniela Covarrubias; Justin Chen: Rapt Studio. EPT Design: Landscape Architect. Structural Focus: Structural Engineer. KPFF: Civil Engineer. E Engineers: Electrical Engineer. Tarantino Construction: General Contractor.
In 2015, the Madrid-based studio SelgasCano, the first Spaniards commissioned, created a charming cocoon-like work of a colorful membrane fabric. This summer, that construction will be reincarnated and transported to Los Angeles, marking its debut in the U.S. Visitors will be able to experience the architects’ themes of light, shadow, color, transparency, and materials as they enter through various openings and proceed through the structure. The venue is the La Brea Tar Pits, the historical site that is mere steps from LACMA, the Los Angeles County Museum of Art.
The LA installation, running from June 28 through November 24, coincides with the Hollywood opening of the London-based co-working venture Second Home, which is sponsoring the endeavor with the Natural History Museums of Los Angeles County. Encompassing 866 square feet, Serpentine redux will be a meeting ground for public talks, film screenings, music and cultural events. So far, named collaborators include BBC host and DJ Gilles Peterson; the film streaming and distribution firm, Mubi; and the Goldhirsh Foundation addressing LA’s future with its initiative LA2050. Everything will be open to the public and free.
The world knows Rudi Gernreich for his monokini. That image of his model-muse Peggy Moffitt, with her sleek, five-point Vidal Sassoon haircut in the topless bathing suit, was the shot seen around the world and a symbol of the freewheeling 1960s. Arguably America’s first contemporary fashion designer, he gave us miniskirts, pantsuits, and unisex clothing, as well as the thong.
What many do not associate with Gernreich, however, was his social activism. Ideas we take for granted—body freedom, androgeny, gender equality, and fluidity—were less part of conversation than they are today. For Gernreich, they were his core concerns and he used fashion as a vehicle for expression. As portrayed by “Fearless Fashion: Rudi Gernreich” at the Skirball Cultural Center in Los Angeles, which features more than 80 of his bold, graphic designs as well as accessories and sketches, the designer was fearless in his thinking as well as his approach to fashion.
A Viennese émigré who arrived in Los Angeles at age 16 in 1938, Gernreich was fleeing anti-Semitism abroad. Upon settling stateside, he experienced homophobia, yet he found sanctuary studying dance in the racially integrated Lester Horton Dance Theater, where Alvin Ailey was later a student. Ergo, the duotard and swan costumes plus jumpsuits and caftans allowing for freedom of movement. The gay rights Mattachine Society also provided solace as did Los Angeles’s coterie of artists. Later, when Vietnam protests roiled the youth culture and hippies came on the scene, Gernreich studied these kids and made clothes that they might actually want to wear.
Upon the designer’s death in 1985, his partner of more than three decades established the ACLU Rudi Gernreich-Oreste Pucciani Endowment Fund to support the fight for LGBT rights. “Fearless Fashion: Rudi Gernreich” runs through September 1, 2019.
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