A House Shaped Like a Flying Saucer Takes Earthling Design to New Heights (and Shapes)
Interested in buying this house? It’s yours if you are ready to spend a million dollars.
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Interested in buying this house? It’s yours if you are ready to spend a million dollars.
Atwood [$]
This seasonal American restaurant gets its name from the original architect of the building it’s housed inside, the landmarked Reliance Building, built in 1895 by Charles B. Atwood. But it’s BCDG Studio that’s refreshed the current interiors with appealing white subway tile and tufted black-leather banquettes. But the minimalism stops there. The menu serves up such homey flavorful classics as monkey bread, pan-seared chicken, and rhubarb upside-down cake.
1 West Washington Street; 312-368-1900.
Bangers & Lace [¢]
After the success of its Wicker Park location, Footman Hospitality has opened a second outpost of this cozy beer hall. The name suggests the menu’s specialties—for the uninitiated, “bangers” is slang for sausage and “lace” for the veil of foam that clings on a stein—and there’s no shortage of either: eight choices of “dogs” and 32 beers on tap. Décor is typical beer-hall convivial: Bar stools line communal tables, taxidermy and sofas surround faux fireplaces, and old-time music crackles on the record player.
810 Grove Street, Evanston; 847-905-0854.
Brass Monkey [$]
Plans for Marc Bushala’s new brasserie were well underway when he happened to see American Hustle. The film’s 1970’s aesthetics as well as the nostalgia he felt for the era’s food and drink struck him. So his plan took a left turn, and the result, he says, is “a dinner party on Warren Beatty’s yacht with Tom Jones entertaining and Julia Child cooking.” That translates to a setting awash in brass accents and kooky geometries. As for the menu, French classics, like steak frites, join dishes from what he calls the “decade that taste forgot”—think fish sticks, sloppy joes, fondue, even a TV dinner—finished with an A1 glaze of course.
401 North Morgan Street; 312-763-3316.
Brindille [$]
You might recognize this newcomer: It’s the 2015 James Beard Foundation Award for Outstanding Restaurant Design, which went to Bureau of Architecture and Design. Turns out, it’s a family affair. Principal Tom Nahabedian is a cousin of the chef, Carrie Nahabedian, and he outfitted the space in a serene arboreal theme (brindille is French for twig)—think branchlike Lindsey Adelman light fixtures and walnut accents redolent of a forest. Of course, the cuisine is equally exquisite: lobes of foie gras, caviar atop Cortes Island oysters, sweetbreads with cocoa—and those are just the appetizers.
534 North Clark Street; 312-595-1616.
Charlatan [¢]
Looks old-school, but is actually quite post-modern. That’s pretty much the deal at this Italian joint. White-painted brickwork reads typical trattoria, but plumbing pipes fashioned into light fixtures and wallpaper patterned with dancing skeletons are more irreverent. That divergence from tradition also shines through in the pastas—truffle-flecked messinese topped with a sous-vide egg, charred-fennel tortellini sprinkled with pollen—all of which are made in-house and offered in sensible half portions.
1329 West Chicago Avenue; 312-818-2073.
Cochon Volant [¢]
As the general public continues its fascination with culinary culture, a trade term has entered the layperson’s lexicon: the family meal, which is what’s served to employees before a restaurant opens for dinner service. When chef Roland Liccioni was tapped for this new brasserie inside the Hyatt Centric, he thought about the meals that made his colleagues in the kitchen happiest, thus the menu’s mix of comforting French classics, such as omelettes, French dip, and steak frites. Serving breakfast, lunch, and dinner. Photo at right by Mikelangelo Design.
100 West Monroe Street; 312-236-1234.
Community Tavern [$]
Launched by Quay Tao and Joey Beato, this restaurant appreciates meat in all its forms. To start, there is roasted bone marrow or a terrine of short rib and oxtail. Entrees include bouillabaisse with smoked tomato or tuna crudo. Birdcage pendants, mismatched mirrors, and blue-velvet seating lend the steakhouse a shabby chic ambiance.
4038 North Milwaukee Avenue, 773-283-6080.
Dove’s Luncheonette [¢]
From the team behind the Publican and Nico Osteria comes this 41-stool diner. Walnut wainscoting, earth-tone tilework, the original tin ceiling, and a jukebox evoke a bygone era of Chicago, when legendary local eateries Sophie’s Busy Bee and Leo’s Lunchroom existed. This menu, however, a fusion of Southern and Mexican, is no typical greasy spoon. Fried chicken comes smothered in chorizo-verde gravy. The ham-and-cheese sandwich is flecked with cilantro and salsa. And everything can be topped with a fried egg.
1545 North Damen Avenue; 773-645-4060.
Frontier [¢]
Should you really want to break away from the Mart, head on over to what’s referred to as “the edge of civilization,” aka West Town. Your palate should have that same sense of adventure, since nature dictates what’s on the menu. There are sausages made out of wild boar or venison, smoked beef-cheek tacos, and an entire section dedicated to alligator (hot fried gator legs anyone?). Saddle up to the generous wooden bar in the rustic main dining room, or kick back in the open-air beer garden.
1072 North Milwaukee Avenue; 773-772-4322.
Intro [$]
Rich Melman has closed his successful L2O to recreate it into something between a pop-up and an established restaurant. Every two to three months, Intro will be completely reinvented—new design, new chef, new menu, new music. The current iteration features chef Erik Anderson (formerly of French Laundry and Noma—perhaps you’ve heard of those), who brings a six-course tasting to the table. Reservations encouraged.
2300 North Lincoln Park West; 773-868-0002.
MFK [¢]
American food writer Mary Frances Kennedy Fisher, aka M.F.K., serves as the inspiration for this cozy 28-seat establishment, which opened last July 3, the date of her birthday. It’s even adopted her mantra: “First we eat. Then we do everything else.” The interior could be interpreted as an homage to her California home: light and bright with whitewashed walls and blond wood tables. But the cuisine is Spain-influenced, mostly seafood and unpretentious.
432 West Diversy Parkway; 773-857-2540.
Momotaro [$]
As far as Japanese restaurants go, this one breaks the mold. Its 11,000 square feet, designed by AvroKO, offers multiple dining experiences—from the sushi bar, set in the middle of the main floor, akin to a buzzing stock exchange, to a subterranean
izakaya, dedicated to craft cocktails and inspired by the back alleys of Tokyo. Food choices are equally diverse. The eight-page menu offers nigiri, robata skewers, and hibachi, among countless other options. Photo at right by Derek Richmond.
820 West Lake Street; 312-733-4818.
Parachute [$]
Actual parachutes hang in the windows of this spare yet warm, 40-seat family-run restaurant. Fitting, as the menu lands in a new fusion niche: Korean American, with hints of French, Moroccan, and Indian. That means boudin noir with raspberry vinegar, black udon with squid, and spicy beef hot pot with black radish, clams, egg, and wild fern. But the menu changes nightly.
3500 North Elston Avenue; 773-654-1460.
Rural Society [¢/$]
La Sociedad Rural Argentina, the annual celebration of culture and agriculture, is about to kick off in Buenos Aires. Chef Jose Garces has been, and has since used it as his inspiration for this steakhouse, the second outpost following one in Washington. Billowing canvas curtains reminiscent of fairground tents hang down from exposed rafters, while ephemera, photographs, and ribbons from the show fill the rustic space below. In addition to the menu’s steaks, cooked in the traditional grilled asado style, there are fugazza, a kind of Argentine focaccia, and pastas.
455 North Park Drive; 312-840-6600.
The Betty [¢]
To the owners of this lounge and restaurant, Betty is a rockabilly Southern gal from the 1950’s. That translates to a dimly lit wood-paneled space populated with old records, vintage glassware, and a taxidermied peacock presiding over the retro cash register. Betty also knows how to mix a mean cocktail, flavoring them with house-made juices and syrups. Small plates like fried cauliflower and charred endive make it easy to stay late into the night—especially when the pianist starts knockin’ out good ‘ole rock ‘n’ roll.
839 West Fulton Street; 312-733-2222.
As a craftsman, I appreciate exploring different avenues regarding different mediums. One of my most loved mediums recently is watercolor. I admire it can be overwhelming medium to some, however as with most things in life, the more you practice, the less demanding it gets to be. The excellence of watercolor is the dynamic results you can accomplish by controlling it for basic theoretical craftsmanship, or dazzling and complex authenticity workmanship.
It's no big surprise watercolor has made such an awesome return in style as well as stylistic layout and configuration.
With fall quick drawing closer, I thought it would be fun and fitting to demonstrate to paint an extremely fundamental watercolor leaf. You can apply the same system to different leaves and make a delightful gem.
Foliage can be discovered all over the place and in all seasons, arriving in a variety of shapes, sizes and hues.
The accompanying instructional exercise gives an essential procedure to paint leaves, however ideally urges you to attempt different systems to accomplish your own particular painting style.
Supplies needed:
Watercolor set
Different watercolor brushes (I utilized #0, #10 and #20)
Watercolor paper
Different leaves from the greenery enclosure or photographs of leaves for reference
Palette
The main thing you will need to do is set up your shading palette and test the hues on a different bit of paper. Try not to be reluctant to play around with the different shades until you land at hues you are satisfied with and guarantee you mess around with this procedure.
Here is a quick chart of the colors I used:
1. Permanent sap green
2. Green blue shade
3. Raw amber
4. Blue green
5. Burnt sienna
(the other shades are a mixture of the various colors above)
Lightly sketch a basic leaf shape and fill it in with a wet brush. This will make the spreading of the first layer easier.
Apply the lightest shade of green you have prepared.
Allow first layer to dry slightly and apply the second lightest shade (you will see a little bit of bleeding occur).
Here I applied yet another layer of the same color and while the paint was still wet, I tilted the paper ever so slightly to allow the paint to travel to the tip of the leaf. You can see the darker concentration of paint.
Allow to dry and apply yet another shade of green.
As you have undoubtedly noticed, watercolor is all about layers; the more layers you apply, the more vivid the image becomes.
Dip your brush in water and go over the surface of the leaf. While still wet, apply a light layer of the raw amber to the lighter side of the leaf.
While the paint is still wet, load your brush with burnt sienna and allow paint to drip onto leaf. You can see the paint colors bleeding into each other.
Drip the paint in various areas as desired.
With a wet thin brush (#0), draw in some veins and allow to dry. You can continue to add more details if you wish.
Here is the entire process so you can see the progress.
As you become more familiar with this process, you can start to really enhance the detail. Personally, I like the looseness of watercolor.
Practice and have fun with it!
A (good) word of caution – watercolor can become very addictive and the more you pick up that brush, the more likely you will be to fall in love with it.
You can apply the same technique to paint variations of leaves, remembering the beauty of watercolor is it does not have to be perfect
Here is a fun piece I did using similar principles.
I hope you check back for future posts, where I will continue to provide watercolor tutorials.
As a craftsman, I appreciate exploring different avenues regarding different mediums. One of my most loved mediums recently is watercolor. I admire it can be overwhelming medium to some, however as with most things in life, the more you practice, the less demanding it gets to be. The excellence of watercolor is the dynamic results you can accomplish by controlling it for basic theoretical craftsmanship, or dazzling and complex authenticity workmanship.
It's no big surprise watercolor has made such an awesome return in style as well as stylistic layout and configuration.
With fall quick drawing closer, I thought it would be fun and fitting to demonstrate to paint an extremely fundamental watercolor leaf. You can apply the same system to different leaves and make a delightful gem.
Foliage can be discovered all over the place and in all seasons, arriving in a variety of shapes, sizes and hues.
The accompanying instructional exercise gives an essential procedure to paint leaves, however ideally urges you to attempt different systems to accomplish your own particular painting style.
Supplies needed:
Watercolor set
Different watercolor brushes (I utilized #0, #10 and #20)
Watercolor paper
Different leaves from the greenery enclosure or photographs of leaves for reference
Palette
The main thing you will need to do is set up your shading palette and test the hues on a different bit of paper. Try not to be reluctant to play around with the different shades until you land at hues you are satisfied with and guarantee you mess around with this procedure.
Here is a quick chart of the colors I used:
1. Permanent sap green
2. Green blue shade
3. Raw amber
4. Blue green
5. Burnt sienna
(the other shades are a mixture of the various colors above)
Lightly sketch a basic leaf shape and fill it in with a wet brush. This will make the spreading of the first layer easier.
Apply the lightest shade of green you have prepared.
Allow first layer to dry slightly and apply the second lightest shade (you will see a little bit of bleeding occur).
Here I applied yet another layer of the same color and while the paint was still wet, I tilted the paper ever so slightly to allow the paint to travel to the tip of the leaf. You can see the darker concentration of paint.
Allow to dry and apply yet another shade of green.
As you have undoubtedly noticed, watercolor is all about layers; the more layers you apply, the more vivid the image becomes.
Dip your brush in water and go over the surface of the leaf. While still wet, apply a light layer of the raw amber to the lighter side of the leaf.
While the paint is still wet, load your brush with burnt sienna and allow paint to drip onto leaf. You can see the paint colors bleeding into each other.
Drip the paint in various areas as desired.
With a wet thin brush (#0), draw in some veins and allow to dry. You can continue to add more details if you wish.
Here is the entire process so you can see the progress.
As you become more familiar with this process, you can start to really enhance the detail. Personally, I like the looseness of watercolor.
Practice and have fun with it!
A (good) word of caution – watercolor can become very addictive and the more you pick up that brush, the more likely you will be to fall in love with it.
You can apply the same technique to paint variations of leaves, remembering the beauty of watercolor is it does not have to be perfect
Here is a fun piece I did using similar principles.
I hope you check back for future posts, where I will continue to provide watercolor tutorials.
NELSON, an architecture, interior design, and engineering firm with offices worldwide, has announced that it has signed a letter of intent to join operations with Atlanta-based interior design firm VeenendaalCave. The strategic move will advance NELSON’s position in Atlanta and the Southeastern region of the United States and will be the firm’s largest acquisition to date.
“It’s a win-win for both companies,” says John “Ozzie” Nelson, Jr., chairman and CEO of NELSON. “The acquisition will give us greater access to the Atlanta market, which is a geographic area that we’ve been interested in for a while, as well as give us access to potential office, industrial, and healthcare sectors, three verticals that are very attractive to us as a firm. For VCave, it gives them a larger platform and the reach of a wider network.”
Nelson says that the two companies have been talks about a possible acquisition for about five months, and that the deal is scheduled to close by June 30. Once completed, more than 100 employees will work in the company’s Atlanta office.
“I feel really good about this merger,” he adds. “Our intent is to build and strengthen our network by having offices in all strategic major markets.”
NELSON’s completed projects include Atari’s U.S. headquarters, Verizon’s Innovation Center in downtown San Francisco, and Pepsico’s corporate headquarters. VCave’s previous projects include the Boys and Girls Clubs of Metro Atlanta, the offices of advisory firm Egon Zehnder, and numerous healthcare facilities in the greater Atlanta area.
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