After a few weeks off the road, moe. brought their jams to the Saranac Brewery in Utica, NY to kick off a two-night run yesterday. Few bands have captured the hearts of Upstate New York music fans as powerfully as moe., and their return to Utica was certainly cause for celebration. With their Hoppy Hour Hero on tap and Ryan Montbleau Band opening up, moe. brought a ton of energy and some great moments during their performanceThe show started with an insane “Timmy Tucker > Threw It All Away > Timmy Tucker” combination, before the band dusted off their classic tune “Don’t Fuck With Flo.” After giving fans a version of “CalifornIA,” the group segued into the David Bowie cover “Fame.” Once the funky song was done, moe. called on Ryan Montbleau and vocalists Kit Holliday and Lydia Harrell for a set-closing cover of Steely Dan’s “Bodhisattva.” What a set!The second set was also chock full of great jams, with a sequence of “Water > Hector’s Pillow > Bring You Down” to open things up. The next section was easily a highlight of the night, as the band brought out No Guts, No Glory track “Silver Sun” and segued into Grateful Dead classic, “The Other One.” Not played since 1/24/15, moe. rocked the Grateful cover before returning to their psychedelic “Silver Sun” song. “Mar-DeMa” into “Y.O.Y” kept things going, and it was “Plane Crash” that closed out the set. With an encore of “Sensory Deprivation Bank,” moe. bid their fans a fond farewell.moe. continues their run at Saranac tonight, July 30th, with support from Pigeons Playing Ping Pong. Check out some video highlights and the full setlist, provided by moe., below.Bring You Down (clip)Silver Sun > The Other One (clip)Setlist: moe. at Saranac Brewery, Utica, NY – 7/29/16Set One: Timmy Tucker > Threw It All Away > Timmy Tucker, Don’t Fuck With Flo > CalifornIA >(nh) Fame, Bodhisattava*Set Two: Water > Hector’s Pillow > Bring You Down, Silver Sun > The Other One# > Silver Sun, Mar-DeMa >(nh) Y.O.Y, Plane CrashEncore: Sensory Deprivation Bank* – w/ Ryan Montbleau, Kit Holliday and Lydia Harrell# – Last Time Played = January 24, 2015
In 1959, a young Japanese architect named Kiyonori Kikutake introduced two concepts that shook the design world — so hard that the vibrations are still felt today.See for yourself at “Tectonic Visions Between Land and Sea,” a room-filling, eye-filling exhibit up through Oct. 16 at Gund Hall at the Harvard Graduate School of Design (GSD). Kikutake — whose work influenced architects from Louis Kahn to Rem Koolhaas — died last year. This solo retrospective of his work is a first in North America.One of Kikutake’s ideas was futuristic, and to this day remains a dream: a marine metropolis — self-sustaining, flexible, clean, safe. Tower-Shaped Community (1958), for example, would be built on circles of steel more than two miles in diameter. Below, bottlelike forms would keep the floating city stable, while doubling as farms teeming with aquaculture. It called for towering structures holding 1,250 steel living units in place — magnetized so they could be popped in and out like light bulbs.It was this vision that Kikutake never abandoned, because he saw the borderless oceans as the land of the future. “Over these past fifty years, from the beginning to the end,” he wrote as an old man, “I have held fast to the dream of making a residential environment upon the splendor of the sea.”Another early concept from Kikutake was smaller scale, practical, and very real. Sky House, built in 1958, was his Tokyo residence. A solid 10 square meters, it sat — and still sits — on four piers 21 feet high. Its open, flexible floor plan — with verandas on all four sides — recalls the style of traditional Japanese interiors. It is also an embodiment of one of Kikutake’s lifelong design principles: Architecture has to embrace change.So, under the concrete shell roof of Sky House, he devised a system of movable furniture and utility units that would change as the needs of the family changed. Kikutake called it the “movenette” system. In 1962, for instance, he hung a children’s living unit on the concrete pad, and devised a ladder entry. More changes came through the years as sunroom, living room, bedrooms, kitchen, and bath clicked into different places. “It keeps changing to this day,” said the show’s curator, Ken Tadashi Oshima.In 1959, he added, Kikutake’s two concepts — modular house and city on the sea — “were absolutely radical.”Japanese architect Kiyonori Kikutake offered a futuristic view through his designs. “Over these past fifty years, from the beginning to the end,” he wrote as an old man, “I have held fast to the dream of making a residential environment upon the splendor of the sea.”Oshima, a graduate of both Harvard College and GSD, is an associate professor of architecture at the University of Washington.Sky House embodied a concept that Kikutake helped popularize in 1960 — Metabolism, a vision that defied the design norm of fixed forms and functions. Instead, “metabolist” practitioners imagined buildings that were changeable and that could grow organically. “It’s all about a building that changes, but in an organic way,” said Oshima. “It embraces biology and the whole organic system we live in as a model.”Sky House is as flexible as a plant — but as sturdy as a rock. Kikutake called his home a “fundamental resistance unit.” It signified protection against the earthquakes, floods, and typhoons of his boyhood on coastal Kyushu, Japan’s southernmost and third-largest island. It was protection too from the noise and pollution of city life. In 1958, Kikutake was proud to offer his own home as both his first major project and as the signature design of the future. “An architect’s ability,” he wrote, “is said to be best judged from the house he lives in.”A platform house that is aesthetic but fortresslike. This idea came from a man who was 17 when World War II ended. The cities of his native land were scorched and flat. (One of them, Nagasaki, was on Kyushu.) His wealthy family — landlords over big tracts of land for 600 years — was suddenly land-poor after postwar reforms.“Japan being bombed during the war, and so many economic changes — that was the whole context in which he was growing up,” said Oshima. “He was confronting this barren landscape and trying to think: How do we live in this context?”There are echoes of Buddhism’s mutability of things in Kikutake too, beginning with the plantlike changeability of Sky House.But Sky House was also “a test case for a larger structure,” said Oshima. He wanted to expand the idea of modular living units — to go from a small residence to residential living on the scale of a skyscraper. In 1966 Kikutake experimented with the idea of tree-shaped mass housing — living platforms suspended on a common structure, with gardens and social spaces below.That was never built. But Hotel Tokoen was, in 1964: an eight story building overlooking the Japan Sea in southwest Japan’s Tottori Prefecture. It is metabolic architecture writ large — “a collection of Sky Houses,” said Oshima. Six primary columns link to three tie-beams, creating a treelike superstructure. The fifth and sixth floors, suspended like observation platforms — hang from a steel superbeam. “You feel like you’re floating,” said Oshima of the space. “It’s organically connected to the environment.”Kikutake — whose practice began 60 years ago — can inspire practitioners today, said Sanford Kwinter, a GSD professor of architectural theory and criticism. “This is like air, like oxygen, for modern designers. It’s systematic, but also very free.”There is renewed interest now in the metabolist ideal of organic flexibility in architecture. “Metabolism — The City of the Future,” an exhibit at Mori Art Museum in Tokyo, closed earlier this year. And one year ago, “Project Japan: Metabolism Talks” appeared in hardcover, co-edited by Rem Koolhaas, who teaches at GSD. It’s based on interviews with surviving practitioners, done from 2005 to 2011. Kikutake is one. (A “Project Japan” exhibit, a satellite show to “Tectonic Visions,” is on view in the GSD’s Loeb Library.)And there is only one way to end a Kikutake exhibit, said Oshima — and that is with a talk by Kikutake protégé Toyo Ito. “What Was Metabolism” is scheduled for 6:30 p.m. Oct. 16 at Gund Hall’s Piper Auditorium.
6Grimacing faces are immortalized in the entranceway to Austin Hall at Harvard Law School. 16Floors constructed of concrete, as seen in the Sert Gallery lobby, are featured throughout the Carpenter Center. 4Graphic details decorate the walls of Memorial Hall. 2The architectural model titled “Real and Imaginary Variables” by Arthur Liu, Nicholas Croft, and William Quattlebaum is on display in an exhibit at Harvard Graduate School of Design. 12Elegant forms are carved into the walls of the grand entranceway to Robinson Hall. Impressions of the Cambridge campus are rich with red brick and twining ivy. But a lighter side of Harvard exists, too. Marble, concrete, and dappled canopies give the University subtle shades and nuance, while columns, grandstands, and arches in pale tints offset the traditional greenery of the Yard. Harvard’s true color might be crimson — but beauty can be found in the neutral palette of the campus. 10Columns of Widener Library face out onto Tercentenary Theatre. 7A domed ceiling hovers above the tunnel connecting Wigglesworth House to Harvard Yard. 17The modernist William James Hall designed by Minoru Yamasaki stretches 15 stories high. 9The arches of Harvard Stadium form a repeating pattern. 18Spindles beautify the balcony of Memorial Church. 13Inside Robinson Hall, the swirling mane of a lion made of marble decorates the stairs leading to the History Department. 1The stands of Harvard Stadium are beautifully weathered. 11The trees of Harvard Yard form a canopy casting shadows onto the president, deans, dignitaries, and honorary degree recipients in Tercentenary Theatre on Commencement Day. 14A warm, soft light illuminates the ceiling of Memorial Church. 15Concrete pillars shape a covered pathway under the Laboratory for Integrated Science and Engineering. 3Elements on an exterior wall of Gund Hall at the Harvard Graduate School of Design form a face. 5Charlie Chaplin tips his hat from a mural along Church Street. 8Over 30 inches in length and 200 pounds in weight, this giant clamshell is on view at the Museum of Comparative Zoology. 19The Veritas shield adorns the fallen soldier in the Memorial Church sculpture titled “The Sacrifice.”
The UK government has today launched a consultation on improving outcomes for defined contribution (DC) pension schemes, which encourages investment in a more diverse range of long-term assets, including illiquid products such as venture capital and green infrastructure.The consultation, which runs until 30 October 2020, is the government’s response to the February 2019 consultation Investment Innovation and Future Consolidation.In addition to promoting investment portfolio diversification, it also consults further on changes to regulations and statutory guidance designed to improve DC pension scheme governance, and signal the UK’s commitment to transparent disclosure to scheme members.Under diversification, the government is proposing amendments to the charge cap to accommodate performance fees in order to facilitate investment in illiquid investments, and “to put the exclusion of physical assets on a statutory footing”, it said. “We also announce our intention to develop a further alternative option for schemes to use in calculating performance fees, to facilitate investment in less liquid assets such as venture capital,” it added.Guy Opperman, minister for pensions and financial inclusion, said: “We want all pensions scheme members to benefit from efficient administration, first class investment governance, and access to diversified investment strategies.”He added that it is important to “encourage scale and innovation by pension schemes, and help drive new investment in important sectors of the economy as we build back better”.LCP welcomed the government’s relaxation of charge cap rules which should free up further interest and support for illiquid assets.“It’s also interesting to see the greater clarity and support to hold physical assets outside of the charge cap restrictions, clearly highlighting the intent to allow infrastructure focused investments. The charge cap relaxations and clarities offered are going to help significantly with enhancing investment strategy design,” the consultancy added.ConsolidationAdditional steps to encourage the consolidation of smaller pension schemes into larger schemes are also included in the consultation.“We believe consolidation is the most effective way to ensure that all savers are receiving the best value from well governed schemes that can achieve economies of scale,” the consultation paper noted, adding that consolidation will also deliver greater opportunities for members to access a more diverse range of investment products and investment strategies.Of around 3,000 DC schemes on The Pensions Regulator’s (TPR) register, approximately 2,150 have 100 members or less. Of these, approximately 850 have between 12 and 100 members and 1,300 have less than 12 members.Most smaller schemes are also paying higher charges than larger schemes, with average charges in smaller schemes nearly double that of the largest schemes. Members of some of these smaller schemes are therefore likely to achieve better value in a larger scheme, the paper concluded.“We propose that the new value for members assessment applies for schemes with less than £100m in total assets that have been operating for at least three years at the end of the previous scheme year from when their chair’s statement falls due,” it said.LCP believes the £100m (€106m) mark for smaller schemes “seems a good level for requiring them to assess whether they offer value for money compared to the market”.The full consultation can be found here.Looking for IPE’s latest magazine? Read the digital edition here.