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    Prehistoric Rock Art ‘Irreparably Damaged’ by Vandals, Officials Say

    Geometric rock carvings that are believed to be at least 3,000 years old were scratched with names and dates at Big Bend National Park in Texas.Abstract geometric designs at Big Bend National Park in Texas that had survived for thousands of years were “irreparably damaged” by vandals who scratched names and dates into the prehistoric designs, the National Park Service said.The Park Service said on its website that the ancient rock art was damaged on Dec. 26 in the Indian Head area of the park, which encompasses more than 800,000 acres in southwest Texas and stretches along 118 miles of the United States border with Mexico.Since 2015, archaeologists at the park have documented more than 50 instances of vandalism, the Park Service said.Damaging park resources is against federal law and defacing rock art and ancient cultural sites violates the Archaeological Resources Protection Act, which aims to protect archaeological resources and sites on federal and Native American lands.Tom Alex, an archaeologist who retired from the park in 2014 after working there for 32 years, said that the damaged abstract designs were known as petroglyphs and that they had been pecked into the rock panel.“There’s wavy lines, curvilinear lines, geometric patterns, squiggles and things that just kind of meander across the rock surface,” Mr. Alex said on Saturday.Mr. Alex said it was difficult to determine precisely how old the art was, but, based on the weathering, the petroglyphs were most likely made somewhere between 3,000 and 8,000 years ago. He said these types of designs represented some of the oldest rock art in North America. In the more recent time period, rock art included more representations of people and animals.The abstract pecked art is common across the southwestern United States. It is not yet possible to determine what group of native people were responsible for the designs at Big Bend, Mr. Alex said.It was also not known who damaged the rock art, though the person, or people, responsible left some clues. Four names were scrawled on the art: Adrian, Ariel, Isaac and Norma, according to photos shared by the Park Service. The year 2021 and the date “12-26-21” were also scratched on the rock.Tom VandenBerg, the chief of interpretation and visitor services at Big Bend, told Texas Monthly that the park had received “pretty strong potential leads” about who was responsible for the vandalism. Mr. VandenBerg added that the park avoided providing maps and directions to the carvings to prevent damage to the ancient site.Bob Krumenaker, the superintendent of Big Bend, condemned the vandalism in a post on the park’s website. “Damaging natural features and rock art destroys the very beauty and history that the American people want to protect in our parks,” he said.Park staff members tried to repair the damage, but much of it was permanent, the post said.Mr. Alex said some of the scratches on the panel were superficial and possible to clean up so they would be less obvious, but others had penetrated the prehistoric designs. “Those scratches are going to be there forever,” he said.Stewards of public lands have complained about an increase in vandalism and graffiti in recent years.In December 2020, Zion National Park in Utah said that nearly every day, staff members there found “words and shapes carved, drawn, painted (with mud, dirt, pigment, paint) or scratched on rocks.”In January 2019, several of the signature spiky-leafed Joshua trees at Joshua Tree National Park in Southern California were damaged during a government shutdown. More

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    Brickworks launch range of GB Vertico Split Face masonry

    Brickworks’ new range of GB Vertico Split Face masonry by GB Masonry offers a linear appearance and natural texture with a tactile quality. A contemporary reimagining of the traditional split face finish, the GB Vertico Split Face block has a distinctive style that fits seamlessly across a vast array of architectural styles, from mid-century projects […] More

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    Herman Miller's Aeron task chair gets a sustainable upgrade

    The Herman Miller Aeron has set the benchmark for ergonomic seating since 1994, when it was designed by Bill Stumpf and Don Chadwick. The classic Aeron has been remastered to incorporate the most up-to-date and advanced ergonomic knowledge and materials. Its latest update offers not only a better chair for the user but also the environment, introducing the use of ocean-bound plastic to the body of the chair.
    Living Edge will be the first Australian dealer of the Aeron task chair. The design aligns with its sustainable initiative, Living On. Since the inception of Living On in 2008, Living Edge has become a leader in sustainability within Australia’s high-end furniture market, and continues to reduce its environmental footprint through partnering with like-minded businesses such as Herman Miller.
    With an estimated eight million tons of plastic entering the ocean each year, plastic waste in oceans is a growing cause for concern. Herman Miller partnered with Next Wave to play an active role in the ocean plastic issue by transforming this waste into a recyclable material used within the Aeron chair.

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    The Aeron chair has been re-engineered to contain ocean-bound plastic, which is categorised as abandoned, mismanaged waste found 50 km off a coastline. By redirecting and reforming this material, Herman Miller is estimated to save 150 tonnes of plastic from entering and contaminating oceans each year.
    Sourced from India and Indonesia, ocean-bound plastic is collected, ground, washed and pelletized before being sold to manufacturers who then incorporate this new material into product designs.
    As a result, this sustainability initiative creates a supply-chain for ocean-bound plastic within these local communities, ultimately encouraging the collection of waste and creating employment opportunities.
    The new updates to the Aeron task chair are part of Herman Miller’s Next Wave plastics membership, its ongoing commitment to sustainability, and long-term goal to increase recycled content to at least 50% by 2030.
    “The unwavering alliance between Living Edge and Herman Miller highlights our unanimous commitment to protecting the environment through conscious and sustainable design,” says Living Edge CEO Aidan Mawhinney.
    “From becoming the first Herman Miller dealer in the world to offset transportation emissions in 2009, to now being the first stockist nation-wide to feature the next generation of ocean-bound plastic Aeron chairs, Living Edge is incredibly proud of the relationship we have cultivated with Herman Miller through our shared values and passion for authentic, original and sustainable design.”
    The Aeron chair comes in four distinct tonal colourways inspired by elements of the Earth. Onyx is an ultra-black shade, offering a modern edge to the classic shape. Graphite is a quintessential darker grey with a textured finish, while Carbon is a neutral stone colour that adapts to both warm and cool environments. The last and lightest shade is Mineral, which highlights Aeron’s finer details.
    Living Edge – Herman Miller More

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    Proposed hospital to be ‘epicentre for surgical research and innovation’

    Mode and HSPC Health Architects have prepared designs for a eight-storey private hospital at Mundoo Boulevard, Maroochydore on the Sunshine Coast, with plans submitted to the Queensland government. The $100 million development will include surgical facilities as well as allied medical and teaching facilities. Developer Barwon Investment Partners said that the University of the Sunshine […] More

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    Fears of 'irreversible damage' to Seilder's Shell House, as minister calls in tower application

    The Victorian planning minister Richard Wynne has taken the fate of Melbourne’s heritage-listed Shell House, designed by the late Harry Seilder, into his own hands after calling in a development application to constructed a new tower on the site of the existing northern plaza.
    The proposed 33-storey tower designed by Ingehoven and Architectus would be taller than the existing Shell House and would require the partial demolition of the building.
    Heritage Victoria refused the permit application in August 2021. The executive director of Heritage Victoria, Steven Avery said the demolition of the northern plaza “would permanently and irreversibly demolish original fabric and spaces, and would significantly diminish the legibility of Harry Seidler’s original concept and design of the place.”
    The proposed tower “would dominate the north section of the place and almost entirely block views to the north elevation of the tower,” continued Avery, who considered the proposal to be “an overdevelopment of the heritage place.”
    In September, the proponents requested a review of the executive director’s determinations. The minister informed Heritage Council of Victoria he would call in the application on 11 November and, as such, a scheduled Heritage Council hearing to review the determination has been cancelled.

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    A proposed second tower on the site of 1 Spring Street designed by Ingenhoven and Architectus.

    The Australian Institute of Architects Victorian chapter took the unusual step to make an objection to the application, when it was advertised earlier in 2021, warning the construction of “a second tower on the site “would result in irreversible damage to a significant heritage place that actually helps define the high quality environment of Melbourne.”
    The National Trust also objected to the application. “It would have an adverse and irreversible impact on the heritage significance of the place, and … this impact is not justified by the case for reasonable or economic use,” said Felicity Watson, the National Trust’s executive manager, advocacy.
    Shell House was completed in 1989 and won the 1991 RAIA National Award for Commercial Architecture as well as a state award. It was added to the Victorian Heritage Register in 2017.

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    A proposed second tower on the site of 1 Spring Street designed by Ingenhoven and Architectus.

    The proponents for the second tower claim that the site is “underdeveloped” and that a new tower is appropriate. However, the Institute argued that “The site is purposefully designed to have a tower sitting amongst two plazas, it does not consider an additional tower and was not envisaged as an underdevelopment of the site, rather it was considered as an appropriate development of all of the site in a holistic vision.”
    The application also calls for demolition of a conference centre and theatrette on the lower floors. “The demolition of the theatrette, and other key workplace support spaces to the base of this building is a significant loss to the building’s design vision,” the Institute said. “The theatrette is beautifully designed space that reinforces the design of the approach of the building. It also has a number of signature Seidler design elements such as the curvaceous battened ceiling that link it to other Seidler theatre/auditorium projects of this period.”

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    A proposed second tower on the site of 1 Spring Street designed by Ingenhoven and Architectus.

    “The new tower will result in the loss of the urban public plaza open to the sky, the loss of the reading of the sinuous geometric form and expressed stairs from the Street, the loss of the theatrette for both private and public use and, critically, the loss of the original design intent.”
    The design of the proposed tower has been endorsed by a number of experts, including Greg Holman from Harry Seidler and Associates, architectural historian Philip Goad, and the Victorian Government Architect Design Review Panel.
    However, the Institute and the National Trust both argue in separate submissions that support for the current design proposal is “irrelevant.”
    “We believe that the correct question to be asked is not how the redevelopment should proceed, but whether it should proceed, with respect to the heritage values of the place, as protected under the Heritage Act 2017,” the National Trust said. “With due respect to the experts that have been consulted as part of this application, including the office of Harry Seidler and Associates, this commentary is therefore of limited value in relation to the fundamental question of whether the development is appropriate.”
    The Institute said, “It is the Australian Institute of Architects’ opinion that, irrespective of the quality of the design outcome being proposed, no significant modification to this heritage listed project is appropriate.”
    Victorian planning minister Richard Wynne told The Age, “Calling in the application means the heritage permit and development applications can be considered in tandem in a single forum. The Heritage Council will provide a report on the amended application that will inform the decision.” More

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    HVG acquires Wilsonart Australia

    HVG has acquired the business of Wilsonart Australia from AICA Kogyo Co Ltd. Wilsonart Australia manufactures low-pressure melamine (LPM) panels and cabinet doors and is located in Somerton, Victoria.
    HVG CEO Bruce Rayment said, “We are excited by the growth potential of the business and the opportunities that this vertical integration opens up for us. Wilsonart/AICA have been a partner since 2012, and we look forward to working together, maximizing sales of their brands in the Australian and New Zealand markets into the future. All of the existing staff are being retained and there are opportunities for them to grow in the wider HVG business. For our existing customers, and those that have been dealing directly with Wilsonart Australia, we look forward to continuing to serve them with an expanding product range in the years ahead.”
    The current Wilsonart Australia CEO Andrew Janka said, “We could not have found a better business to take over Wilsonart Australia than our long-term Australian partner HVG. They have demonstrated a long-term commitment to the brand in Australia, and they are the right people to drive the business forward into the future.”
    The acquisition is expected to be completed before the Christmas break, after which existing direct customers of Wilsonart Australia will be serviced by an expanded HVG Building Pty Ltd sales and specification team.
    “The acquisition of Wilsonart Australia is a clear and positive next step in the growth of the Wilsonart Brands and the wider HVG business. This move will ensure stability in supply, improved quality and lead times and a better focused range offer in the products that are manufactured in Australia. It will also ensure that the LPM manufactured by HVG Manufacturing in the future will be from a fully Australian owned company,” Mr Rayment said.
    The HVG group of companies are privately owned Australian businesses that import and distribute building facade products, engineered stone, melamine panels, cabinet doors, graphics media, performance fabrics, and decorative building products. HVG distributes across multiple sectors, including residential, commercial and industrial construction, caravan manufacturing, agriculture, print, exhibition and display industries.
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    Preston Lane Architects collaborate with James Hardie

    James Hardie has partnered with Nathanael Preston and Daniel Lane of Preston Lane Architects on a conceptual collaboration that explores possibilities for an Edwardian single-fronted, two-storey terrace addition – Zig-Zag House in inner-city Melbourne – using Hardie Fine Texture Cladding and the supporting range of corner and junction accessories. “The experimental nature of this collaboration […] More

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    TON has been making bentwood furniture for 160 years

    To mark their 160th birthday, TON has released the publication +- 160 Years, a creative culmination of TON’s history that documents the early innovation, design journey, materials and iconic products of the brand’s current and historic offerings. Melding heritage and innovation, TON creates heirloom pieces that can be traded down through generations. TON furniture is […] More