In the 1970s, Michael Friedlander was an architecture student at the Cooper Union, his head bursting with bodacious, unconventional designs. Upon graduating, he settled for a stopgap job with the City of New York, which included more prosaic assignments like drafting blueprints to renovate locker rooms for sanitation workers.
Over his 40-year career with the Sanitation Department — he was an in-house architect, a manager of various projects and finally director of special projects — Mr. Friedlander never gave up on his crusade to transform the public’s view of civic architecture from intrusive mediocrity to something worthy of approval, or even veneration.
His vision was ultimately epitomized in the form of a sculptural Sanitation Department salt-storage shed on the fringe of TriBeCa. The glacially blue concrete crystalline cubelike structure, 69 feet high, is called the Spring Street Salt Shed and appears, with a little imagination, to form a coarse grain of salt.
Mr. Friedlander described the $20 million structure as a whimsical “architectural folly” that can hold 5,000 tons of salt.
in 2015: “Opponents of the sanitation project in Hudson Square may not have gotten exactly what they wanted. But they were fortunate. They got something better.”
Mr. Kimmelman added, “I can’t think of a better public sculpture to land in New York than the shed.”
Mr. Friedlander replied, unpretentiously, “There are people inside.”
That garage won an award in 2007 from the city’s Art Commission (now the Public Design Commission). So did a shed with translucent tent fabric in Far Rockaway, Queens, that is used to store ice-melting salt for sanitation trucks to spew on winter roadways. He also received a lifetime achievement award from the commission.
But Mr. Friedlander is probably best known for overseeing the design and construction of the Spring Street Salt Shed, at West and Spring Streets near the Hudson River, as well as the adjacent garage. Those structures won an Honor Award from the 2018 American Institute of Architects.
Tobi Bergman, the chair of Community Board 2, which had initially opposed the project, told Architect magazine in 2016: “Anybody who has seen it has to be happy with it. It’s a real example of how these things can be done well.”
Mr. Friedlander told The Times in 2015 that his secret to overcoming not-in-my-backyard opposition to public works was straightforward: “Build the best building in the neighborhood.”
“I keep learning from one building to the other,” he said. “I may not make a ton of money, but I’m having fun.”
Michael Jay Friedlander was born on June 6, 1957, in Manhattan to Frances (Kempner) Friedlander, a teacher, and Joseph Friedlander, an insurance representative.
Jeffrey, Bruce and Kenneth. Jeffrey Friedlander retired as second in command in the city’s Law Department in 2015.
The salt shed had many mothers and fathers, starting with the architects who collaborated on the project, WXY and Dattner Architects; Amanda M. Burden, who chaired the City Planning Commission under Mayor Michael R. Bloomberg; and James S. Polshek, a member of the Public Design Commission.
Rick Bell, executive director of the excellence program in the city’s Department of Design and Construction, said in 2015 that the shed might be the most important change to the public face of the Sanitation Department since its fleet was painted white in 1967.
The shed’s concrete walls are six feet thick, leading the architect Richard Dattner to imagine some future civilization stumbling upon it just as Charlton Heston’s character discovers the remnants of the Statue of Liberty in the film “Planet of the Apes.”
“They will wonder,” Mr. Friedlander said, “why did these people worship salt?”
Since the pandemic sent workers home last year, a slew of modifications have been made to office buildings to protect against the spread of the coronavirus. Now, as companies prepare to bring workers back, experts say even more changes are on the way.
Expect expanded gathering spaces and fewer personal workstations, for instance, changes that are being fueled by the success of working from home. Companies like Google, Microsoft and Walmart have already announced proposals for hybrid work models that will allow employees to continue to work remotely at least a few days a week.
These new arrangements mean companies may need less office space, and some have already cut back on their real estate needs, according to a survey from the consulting firm PwC. Target said this month that it was giving up office space in downtown Minneapolis, and in September, the sporting goods retailer REI sold its newly built headquarters in Bellevue, Wash.
“We really are at an inflection point,” said Meena Krenek, an interior design director at Perkins+Will, an architecture firm that is revamping offices, including its own, for new modes of working.
a return to the office in the summer and fall. Desks were dragged six feet apart and Plexiglas barriers installed between them. One-way arrows were stenciled on corridor floors, chairs were removed from conference rooms, and an elaborate choreography was developed to determine how and when teams would return to avoid overcrowding.
Then many workers simply stayed home. As the pandemic dragged on and people got the hang of Zoom, many discovered it was possible to be productive while parked on living room sofas or in backyard lawn chairs.
Now, as company heads are again planning for a return to the office, not only safety measures but also the new work arrangements are driving discussions about the postpandemic workplace. More than 80 percent of companies are embracing a hybrid model whereby employees will be in the office three days a week, according to a new survey by KayoCloud, a real estate technology platform.
Workplaces are being reimagined for activities benefiting from face-to-face interaction, including collaboration on projects and employee training, as a way to promote a company’s culture and identity.
holographic representations of employees who are off site but could still take a seat at the table.
For now, some companies are having in-person attendees continue to use their laptops so that remote workers can see everyone on their Zoom screens, an effort to “help maintain a sense of equivalency that we’ve come to expect,” said Peter Knutson, chief strategy officer of A+I, a design firm.
Devices combining 360-degree cameras, microphones and speakers are being placed on a table or tripod to improve sound and visibility. In the future, these technologies are likely to be built into gathering places and the number of screens increased, transforming the conference room into a “Zoom room,” Ms. Krenek said.
Likewise, some phone booths — the closet-size pods deployed in open-plan offices to give workers a place to make private calls — may give way to videoconferencing booths, which some manufacturers have introduced with built-in screens.
Screens are destined to pop up elsewhere. One near the coffee bar or at a cafe table could allow those on the premises to meet virtually for a latte or lunch with colleagues working remotely.
And digital whiteboards are likely to become more popular, so workers at home can see what’s being written in real time.
foot pedals to activate elevators. Buttons on walls outside restrooms can be pressed with an elbow, averting the need to touch door handles. Some companies are adding foot-operated door openers.
The coronavirus has focused attention on air quality in what may be a lasting way. Outdoor spaces — roofs, terraces and courtyards — were popular before the pandemic and have become more so as fresh air has gone from being a nicety to being a necessity.
Landlords have in some cases adjusted HVAC systems to increase the amount of outdoor air being pumped in. They are also upgrading filters to trap smaller airborne particles.
Some measures are being enshrined in leases, said Geoffrey F. Fay, a real estate lawyer with Pullman & Comley. But landlords are doing such things proactively, he added, as they try to make offices as enticing as possible at a time when tenants may be wondering if they even need to rent space anymore.
“Landlords realize we are on the precipice of change,” he said. “They want to make employees feel comfortable to the extent they’re coming back to the office.”
The challenges of the past year gave designers every reason to recede into the shadows, but creativity won’t be denied.
If anything, they are finding inspiration in global upheaval. From hundreds of possibilities, here are just a few examples we selected of projects begun or realized despite closed borders, disrupted supply chains and economic collapse.
Designers are recycling the rubble from Mexico City’s streets, for example, creating play spaces so Beirut’s children can find comfort in a city ripped apart by an explosion and proposing textiles as a building material to replace environmentally cruel concrete. More than just surmounting challenges, many are looking ahead to a greener, healthier and more equitable world.
Dadaï, a Thai, Vietnamese and dim sum restaurant that opened in August in the Shibuya district of Tokyo, takes its inspiration from the avant-garde Dada art movement — or at least a 21st-century Japanese interpretation of it.
A chevron, or zigzag, pattern covers the walls, floor and ceiling. Arched bays are filled with classical-style nude statues that look as if they’ve been ensnared in webs of washi tape. And at the center of the dining room, angled vertiginously over the bar, is a giant photographic portrait of a woman interrupted by collaged smears of color.
Located in the new, fashion-centric Miyashita Park retail development, the restaurant’s design, by Yasumichi Morita of the aptly named Tokyo studio Glamorous, makes no obvious concessions to a post-pandemic world. (Japan’s self-described “state of emergency” ended on March 21.)
Institute for Advanced Architecture of Catalonia in Barcelona designs a self-sufficient structure aimed at reducing the effects of climate change. But the class of 2019-2020 chose to take on another global crisis by imagining an architectural response to the coronavirus pandemic.
“We had two crises at the same time,” said Vicente Guallart, a director of the master’s program in advanced ecological buildings and biocities. “And the question was what we can learn about that.”
Over five months and under strict quarantine conditions, Mr. Guallart and his co-director Daniel Ibáñez led the group of 17 students in constructing an ecological wood cabin, known as the Voxel, a structure designed with everything one might need to quarantine for 14 days. The design was executed with just 40 pine trees, all harvested less than a mile from the construction site in Barcelona’s Collserola Natural Park. It also includes solar panels, independent battery storage and a rainwater collection and gray-water recycling system.
The roughly 130-square-foot cabin, which rises almost 14 feet, now stands nearly camouflaged among the same pines used to construct it. valldaura.net
17th-century home near Montpellier in southern France with a newly frescoed ceiling in his 250-square-foot bedroom.
The fresco’s single-named artist, Rochegaussen, had worked with Mr. Yovanovitch previously on a restaurant interior in London (he painted cutlery and cookware on a field of cobalt over the chef’s table). Given carte blanche for the bedroom, Rochegaussen arranged woodland animals in his signature energetic line — a motif Mr. Yovanovitch described as “a joyful Mediterranean dance.” The creatures were inspired by fauna from a Provençal forest and include boar, snakes and owls. The designer said that a refreshed environment helped him stay inspired, especially in a period of isolation. And, he added, “there’s something so special about looking up from bed and seeing a painting.” pierreyovanovitch.com, rochegaussen.com
branch institution in Tianjin welcomed its inaugural class of graduate students to a campus designed by Diller Scofidio + Renfro. Located about an hour outside of Beijing, the new 350,000-square-foot complex began construction in 2017 and features performance halls, rehearsal rooms and teaching studios, connected by a ground-level lobby that is open to the public. Expansive windows offer visitors a view into the educational and creative processes.
In China, “there’s still a sense of fascination and curiosity with Western music,” said Charles Renfro, the partner in charge of the project, noting that the building was designed to be a teaching aid for both students and the community.
As the building neared completion in early 2020, Mr. Renfro said he spent many evenings viewing video walk-throughs, trusting that the firm’s partners in China were meeting the precise specifications.
HMC Architects, and his colleagues recently completed a speculative design for a mixed-used project on the Lekki peninsula near Lagos, Nigeria. This relatively sparsely populated area in a region of more than 21 million people is being readied to accommodate millions more in the coming years.
Approached by an environmentally minded local developer who is seeking to acquire 400 acres on the peninsula, the architects envisioned a “forest city” with abundant greenery cleansing the air and a narrow street grid that allows breezes to slip past and passively cool buildings. Rain in the monsoon season would fill basins in parks and gardens. Shaded houses would have communal courtyards and reclaim the climate-responsive earthen materials and decorative patterns of precolonial people like the Yoruba.
an estimated 6,000 buildings, including more than 150 schools. This left Etienne Bastormagi, Sandra Richani and Nada Borgi, local architects and urban planners, wondering how they could help their city as children prepare to return to class.
Their Let’s Play initiative, will rebuild playgrounds at six schools affected by the explosion, with help from other architects and volunteers. Construction on the first, at École Secondaire des Filles de la Charité school in the Achrafieh district, just began.
The public-private initiative also reconsiders what a playground can be, incorporating materials, large-scale objects and landscapes that can be experienced or manipulated in more than one way. Rather than jungle gyms, swing sets or slides, the spaces will have colorful platforms, canopies and pathways that encourage directionless play. Such ambiguities are meant to promote experimentation and social interaction outside of the classroom.
The team also hopes that these new ways to play will help children confront the traumas of 2020, blast and coronavirus pandemic alike, by allowing them to feel safe again in their city. “The therapy effect is not just for the kids,” Mr. Bastormagi added. “I think it starts with us.” instagram.com/lets_play_initiative
Safdie Architects, the hospital opened in January with its more than half a million square feet (and more to come) oriented toward courtyards, gardens and a bucolic lake.
According to Sean Scensor, the project’s lead architect, greenery even determines how visitors move through the building: The main pedestrian corridor parallels a bamboo garden, and five wings stretch perpendicularly from this spine to carve out lush courtyards that open onto a lake. A “healing garden” accessible from the oncology department offers sanctuary in a grove of Indian lilac, red and white frangipani trees and scarlet-blossomed royal poinciana.
Visitors also can steal away to a glass-walled chapel tucked into a bamboo enclosure. The goal, Mr. Scensor said, was to avoid “institutional anonymity” in favor of a “new kind of hospital: highly efficient but inherently humane.” chsm.com
Yinka Ilori, a British-Nigerian artist, has spent the last year designing and installing affirmation-laced murals throughout the city — like one in which bubblegum-pink letters announce “Love always wins” against a backdrop suggestive of ice cream cones.
Mr. Ilori recently extended this “theme of positivity,” as he has called it, to table linens, pillows, rugs and socks sold through his website and a few retailers. The latest designs include bone china mugs and plates emblazoned with his chirpy slogans. This venture compensates for “a loss of projects during the pandemic,” he said. And then some. The line has proved so successful that he has hired additional staff members to manage it into a post-Covid future. Mug 45 pounds, or about $62; plate £70, or about $97. yinkailori.com
Shark Tank”) with his first commercial product: a lamp called Lumio that opens like a book. In October, Mr. Gunawan introduced on Kickstarter a second object that similarly trades in the thrill of the unexpected. Teno is a bowl-shaped sculpture, five inches in diameter, with a jagged golden scar — a reference to the Japanese art of repair called kintsugi. Crack open the bowl, and light pours out (it can be increased or dimmed with a tap). Open the sculpture fully, and it becomes a portable Bluetooth speaker.
MT Objects is a ceramics studio that turns out singular pieces referencing local craft traditions and the architectural splendor and battered infrastructure of its home base, Mexico City, and beyond. Thanks to a masked and socially distant pair of artisans employed by the studio, operations have continued throughout the pandemic, said Tony Moxham, a co-founder with Mauricio Paniagua.
In one recent series, slip-cast vessels were drizzled with black glaze in imitation of the tar used by the Totonac people who occupied what is now the state of Veracruz to represent “the moisture, fertility and darkness of the underworld,” Mr. Moxham said. Another collection, described as “brutalist,” is cast from sidewalk rubble and streaked with traditional colonial lead-based glazes from the western state of Michoacán.
“We wanted to create something that was very different from what everyone else was doing,” Mr. Moxham said. “And in Mexico City, almost any sidewalk you walk down has bits of broken concrete.” Prices range from $1,000 to $5,000 per piece. ceramicalamejor.mx/mt-objects
Aïssa Dione’s 2020 collection of textiles carries the vibrant colors and traditional designs of Senegalese handweaving, though reimagined in various sizes and with fibers like raffia, cotton and viscose. The fabrics are produced in Ms. Dione’s workshop in Rufisque, a town outside of Dakar, where she employs nearly 100 Senegalese weavers who work on looms. They are then sold to luxury interior design companies to cover sofas, armchairs and windows in homes around the world.
Ms. Dione’s 2020 collection also continues the textile designer’s nearly 30-year commitment to revitalize the craft and her continued focus on cultivating raw materials from Senegal, rather than importing them. Working locally and small helped her during a year when the pandemic exposed vulnerabilities in the global supply chain.
It also gave Ms. Dione a chance to develop a client database, organize photos of past work and shoot a film that captures her weavers’ process. “We had time to sit down and develop things we had no time to do,” she said. aissadionetissus.com
DeMuro Das, an interior design studio near New Delhi, unusual materials are a calling card. It has topped a coffee table in unakite, a speckled, metamorphic rock, and lined a cabinet in koto, a West African hardwood. More recently, the founders, Brian DeMuro and Puru Das, tried wrapping a low cabinet with the parchmentlike substance Carta, lending the piece a pretty, mottled surface, like asphalt after a rainstorm.
Pirjo Haikola, a designer in Melbourne, has 3-D-printed coral reefs that are on view at the art and design triennial at the National Gallery of Victoria.
Anna Aagaard Jensen, a Danish artist, and a wig-like lamp by Laurids Gallée, an Austrian-born designer. The lamp is part of a lighting collection, curated by the Brussels dealer Victor Hunt, titled, appropriately enough, “The Lights at the End of the Tunnel.” May 28 to 30. collectible.design
Nobel Prize Museum in Stockholm and the curator of a show about the banquet that revels in bespoke table settings, secret menus, eye-popping floral arrangements and glossy evening wear. Timed to open with the — ultimately canceled — 2020 event, it is fully installed and ready for visitors whenever entry is deemed safe.
The show reveals the banquet as a stage for perfectionism — a chance to source the ultimate raspberry for a dessert or prepare the most challenging potato dish.
But it also highlights modest gestures, like the time in 2018 when Victoria, the Crown Princess of Sweden, recycled the Nina Ricci gown her mother, Queen Silvia, wore to the event in 1995.
“She looked fantastic in it,” Ms. Ahlvik said, though the princess is taller than her mother. “We were all wondering how she did it.” nobelprize.org
China agreed to invest $400 billion in Iran over 25 years in exchange for a steady supply of oil to fuel its growing economy under a sweeping economic and security agreement signed on Saturday.
The deal could deepen China’s influence in the Middle East and undercut American efforts to keep Iran isolated. But it was not immediately clear how much of the agreement can be implemented while the international dispute over Iran’s nuclear program remains unresolved.
President Biden has offered to resume negotiations with Iran over the 2015 nuclear accord that his predecessor, President Trump, abrogated three years after it was signed. But he says Iran must first commit to adhering to the terms of the agreement.
demanding that the United States act first to revive the deal it broke by lifting unilateral sanctions that have suffocated the Iranian economy. China was one of five world powers that, along with the U.S., signed the 2015 nuclear agreement with Iran.
draft obtained last year by The New York Times.
That draft detailed $400 billion of Chinese investments to be made in dozens of fields, including banking, telecommunications, ports, railways, health care and information technology, over the next 25 years. In exchange, China would receive a regular — and, according to an Iranian official and an oil trader, heavily discounted — supply of Iranian oil.
a 2016 visit — as a breakthrough. But it has been met with criticism inside Iran that the government could be giving too much away to China.
Hesamoddin Ashena, a top adviser to President Hassan Rouhani, called the deal “an example of a successful diplomacy” on Twitter, saying it was a sign of Iran’s power “to participate in coalitions, not to remain in isolation.” He called it “an important decree for long-term cooperation after long negotiations and joint work.”
A spokesman for Iran’s foreign ministry, Saeed Khatibzadeh, called the document a “complete road map” of relations for the next quarter century.
Mr. Wang has already visited Iran’s archrival, Saudi Arabia, as well as Turkey, and is scheduled to go to the United Arab Emirates, Bahrain and Oman in the days ahead. He has said that the region is at a crossroads and offered China’s help in resolving persistent disputes, including over Iran’s nuclear program.
China is even ready to play host to direct talks between the Israelis and the Palestinians, hinting that American dominance in the region has hindered peace and development.
like Sri Lanka.
Supporters of the deal said that Iran had to be pragmatic and recognize China’s growing economic prominence.
accusations that the company was furtively trading with Iran in violation of those sanctions.
Ms. Hua, the foreign ministry spokeswoman in Beijing, emphasized that both countries needed to take steps to resolve the nuclear dispute.
“The pressing task is for the U.S. to take substantive measures to lift its unilateral sanctions on Iran and long-arm jurisdiction on third parties,” she said, “and for Iran to resume reciprocal compliance with its nuclear commitments in an effort to achieve an early harvest.”
The leaders of Google, Facebook and Twitter testified on Thursday before a House committee in their first appearances on Capitol Hill since the start of the Biden administration. As expected, sparks flew.
The hearing was centered on questions of how to regulate disinformation online, although lawmakers also voiced concerns about the public-health effects of social media and the borderline-monopolistic practices of the largest tech companies.
On the subject of disinformation, Democratic legislators scolded the executives for the role their platforms played in spreading false claims about election fraud before the Capitol riot on Jan. 6. Jack Dorsey, the chief executive of Twitter, admitted that his company had been partly responsible for helping to circulate disinformation and plans for the Capitol attack. “But you also have to take into consideration the broader ecosystem,” he added. Sundar Pichai and Mark Zuckerberg, the top executives at Google and Facebook, avoided answering the question directly.
Lawmakers on both sides of the aisle returned often to the possibility of jettisoning or overhauling Section 230 of the Communications Decency Act, a federal law that for 25 years has granted immunity to tech companies for any harm caused by speech that’s hosted on their platforms.
393 million, to be precise, which is more than one per person and about 46 percent of all civilian-owned firearms in the world. As researchers at the Harvard T.H. Chan School of Public Health have put it, “more guns = more homicide” and “more guns = more suicide.”
But when it comes to understanding the causes of America’s political inertia on the issue, the lines of thought become a little more tangled. Some of them are easy to follow: There’s the line about the Senate, of course, which gives large states that favor gun regulation the same number of representatives as small states that don’t. There’s also the line about the National Rifle Association, which some gun control proponents have cast — arguably incorrectly — as the sine qua non of our national deadlock.
But there may be a psychological thread, too. Research has found that after a mass shooting, people who don’t own guns tend to identify the general availability of guns as the culprit. Gun owners, on the other hand, are more likely to blame other factors, such as popular culture or parenting.
Americans who support gun regulations also don’t prioritize the issue at the polls as much as Americans who oppose them, so gun rights advocates tend to win out. Or, in the words of Robert Gebelhoff of The Washington Post, “Gun reform doesn’t happen because Americans don’t want it enough.”
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In 2017, a new Mazda MX-5 Miata RF, resplendent in Soul Red Metallic paint, listed for $35,901. By 2020 that jaunty two-seater had an average resale value of $24,112. If finished in stolid Machine Gray Metallic paint, however, that same model fetched an average of $1,046 less, thanks to the color alone.
Because many other factors influence car value, color is easy to overlook. Yet both paint and car manufacturers maintain international departments of stylists and colorists who not only monitor what consumers are buying but — drawing from the fields of art, architecture, fashion, popular culture and consumer research — predict what people will want up to five years in the future.
Decisions are exasperatingly complex. A popular color for sedans might not work for sports cars. A hit color in Florida might tank in Michigan. According to iSeeCars, a search engine catering to car buyers, the worst color for S.U.V.s was beige, which lost 46 percent of its value over three years. For pickup trucks the best color was … beige. Beige pickups lost only 18 percent in value in the same time period.
The importance of color to cars is almost singular. It’s nothing to chuck a formerly fashionable fuchsia T-shirt, and you can repaint a room in a weekend. But repainting a car costs thousands and requires skilled technicians. With the possible exception of kitchen appliances, there are few color decisions as costly that consumers live with for as long. In a routinely quoted poll from 2000, 39 percent of car buyers said color was more important than brand.
An iSeeCars analysis compared list prices for new 2017 cars with their resale prices in 2020 to see which colors hold value best in different vehicle classes. In addition, some larger paint manufacturers publish annual color popularity reports and predictions for the coming year. Combined, they help draw broad rules for picking the best values in car colors. And while color doesn’t wholly determine a car’s value, if it’s not part of a buying decision, you might get stuck with a gray Miata.
Paint is also about durability, not just aesthetics. It was intended to prevent rust. Henry Ford famously offered customers “a car painted any color that he wants so long as it is black.” Black paint was durable and inexpensive — and using a single color sped up production, said Matt Anderson, a curator at the Henry Ford museum in Dearborn, Mich.
“Popular myth says black was chosen because it dried fast,” he said, “but there’s no evidence that black dried any faster than dark greens or blues,” both among the colors that Ford initially offered.
By the mid-1920s, a DuPont paint formulation helped expand the palette, and color was used as a marketing device; General Motors’ Oakland Motor Car division advertised the True Blue Six model after its bright color in 1924. Even Ford Motor caved in when it needed a marketing boost in 1925.
“Colors then returned for the T’s final two model years in an effort to stimulate slumping sales,” Mr. Anderson said.
Cars came in more than a dozen hues by the mid-50s — the better to attract the female drivers of the family’s second car, the thinking went. Those colors became more vivid in the psychedelic ’60s.
Metal and paint technology upped rust resistance in the ’70s, and then a new process from Europe gained notice, said Clifford Schoff, a paint chemist who spent 30 years at the manufacturer PPG. Clear coating was about to arrive in America.
“We started hearing about the ‘wet look,’” Mr. Schoff said. “The color plus clear meant you kept a higher gloss for a longer time.”
Over the years, those technologies that improved the longevity of cars and paint may help explain the unprecedented 10-year run for white as the most popular color. Its functional advantages also help. White is good in hot climates and hides scratches and dings well, making it popular with fleet buyers.
“Rental car companies love white,” said Karl Brauer, executive analyst for iSeeCars.
But, as the iSeeCars data shows, there is a big gap between what is popular and what retains value.
The 2020 Color Report from the paint provider Axalta (formerly DuPont) said fewer than 1 percent of new cars on lots in America were yellow. Yet iSeeCars data shows yellow retained the most value over all. An overwhelming 30 percent of cars on dealers’ lots are white, followed by 19 percent for both black and gray and 10 percent for silver.
It’s the law of supply and demand. “It’s not that yellow is a popular color. It’s that yellow is popular in relation to how many people want it,” Mr. Brauer said.
“You can’t go wrong buying the popular colors — black, white or silver — but you can’t go right, either,” he added. The most popular colors generally fall in the middle of the value chart.
Rarity alone doesn’t guarantee value. Purple, brown and gold are about as rare as yellow yet retain the least value over all.
There are other anomalies, such as the previously mentioned beige paradox. Trucks did well in muted colors, possibly because, as work vehicles, those hues show less dirt and company names painted on the sides are easy to read.
S.U.V.s did best in flashy colors, possibly because the drivers didn’t want to feel like drudges.
“You are buying the S.U.V. to avoid the minivan,” said Jonah Berger, a professor at the University of Pennsylvania’s Wharton School with expertise in marketing psychology. A lively color, he said, “makes us feel like: ‘I am driving a fun car. I am a fun, exciting person.’”
Apparently minivan owners are focused on utility. Blue retained the most value, losing 39 percent, but that wasn’t much different from the worst, brown, at 42 percent.
This makes it difficult to assess the “best” color for a car. It might be better to consider the best color for a type of buyer.
“People buy things for different reasons,” Mr. Berger said. “Sometimes we buy them for what they do. Sometimes we buy them for what they say about us.”
People who buy cars for utility, like minivan and fleet buyers, seem to value subtle colors that are easy to care for. People who buy a car as a personal statement — sports- and muscle-car owners — value glitzy colors.
That still complicates the paint choice for vehicles that defy categorization. Jeeps and trucks are utility vehicles for some and showpieces for others, who bolt on lift kits, light bars and custom grilles. The Jeep Wrangler retained the most value in Xtreme Purple, a color usually at the bottom of the overall chart. Purple Wranglers kept $2,398 more value than the same model in utilitarian silver.
Color prognosticators agree that the new color to reckon with is blue. Last year it accounted for 10 percent of cars on lots, equal to silver. But which blue? Dark? Light? Metallic? People who make a livelihood from car paint see vast differences between shades of a single hue, even mundane white.
“The white we have is not the white we had 20 years ago,” said Paul Czornij, head of color design for car paint at BASF. A carmaker might ask him for “a white metallic that is a little bluish, and from this grazing angle it has this property, and from this angle is has that property,” he added. “That is very exciting.”
For consumers, those fine points appear to have little effect on value. The iSeeCars data shows that metallic paint’s value advantage over nonmetallic is insignificant.
Ultimately, many buyers may choose paint color disregarding both value and popularity to achieve a third goal, Mr. Berger said: “Maybe having a color that’s different than white makes you happy.”
Fonio, a cereal grain imported from West Africa, was once relegated to the shelves of tiny grocery stores frequented by immigrants primarily from Senegal and Mali. But it has gradually made its way to Whole Foods, where pouches decorated with a painted map of Africa are nestled amid packages of rice and lentils, aimed at a broader range of American consumers.
That journey was pushed in part by a Brooklyn company, Yolélé, which roughly means “let the good times roll” in Fula, a West African language. Yolélé also offers seasoned fonio pilafs, a line of fonio chips and, coming soon, fonio flour.
The company was founded in 2017 by Philip Teverow, a food industry veteran, and Pierre Thiam, a chef from Senegal who grew up eating fonio. Mr. Thiam is confident that Americans would eat fonio, too, if they had better access to it.
American Community Survey by the New American Economy, a research organization. Chinese and Mexican immigrants owned most, selling cuisines familiar to American palates. But entrepreneurs from countries like Guinea, Kazakhstan and Senegal are gaining a foothold with less well-known cuisines.
Marketing these foods in the United States has its challenges, like cultural identity and consumer perception. The savviest entrepreneurs work with designers and brand strategists to make their products more approachable.
One of the biggest hurdles is choosing visual clues — fonts, colors, illustrations and photographs — that channel a product’s physical or conceptual provenance. A brand identity that’s too sleek and polished might appear inauthentic and lose credibility. Yet folksy designs or a reliance on regional symbols can look cliché and dated.
Creating the right visuals is a “subtle balance,” said Paola Antonelli, senior curator of the department of architecture and design at the Museum of Modern Art. A new foreign food’s packaging must stimulate curiosity and radiate authenticity, “making you feel like there’s some sort of familiarity that maybe you had not yet discovered in yourself,” she said.
Cultural heritage is crucial for a new product, said Phil Lempert, a food industry analyst known as the Supermarket Guru. “You have to stand out,” he said, adding that there is a strong appetite for foreign cuisines and products, especially among younger generations: “They love to experiment with food.”
The global food industry has changed substantially over the past several decades, Mr. Lempert said. New foreign food brands today tend to celebrate their origins, whereas businesses just 10 years ago might have pushed to Americanize their products.
“There was a stigma there,” he said.
Supermarket distribution has also changed. “A lot of these smaller ethnic brands used to be distributed by ethnic food distributors,” Mr. Lempert said. “Now, these companies are going direct to the supermarket.”
Other strategies include posting on social media, especially Instagram, which is considered an effective, low-cost way to market products, and selling directly to consumers through websites and e-commerce marketplaces like Amazon.
But the key is often packaging. A designer’s ability tends to be a blend of creative thinking, diverse professional experience and wide travels. This often outweighs a shared nationality, ethnicity or culture; in fact, many entrepreneurs prefer working with designers from different backgrounds to better see their story through a fresh lens.
Mr. Thiam wanted to use Yolélé to claim fonio’s West African identity while avoiding labels like “exotic” and “ethnic.” He and Mr. Teverow approached Paula Scher, a partner at the design firm Pentagram, where Mr. Thiam already had connections because of his cookbooks. He said that he would have liked to use a designer of African descent, but that when he saw Ms. Scher’s map of Africa, it was “love at first sight.”
After Ms. Scher’s design hit the shelves last spring, sales surged 250 percent, Mr. Teverow said.
Using product names in foreign languages is a common hurdle for food business owners. To broaden the appeal of her classic Middle Eastern spice blends like hawaij, baharat and ras el hanout, Leetal Arazi, a co-founder of New York Shuk, worked with the graphic designer Ayal Zakin to craft a visual solution.
The labels feature elegant illustrations of the contents in each jar, like turmeric or chili peppers, balanced with a modern gold logo and a tiny stylized camel in silhouette.
“All of a sudden, you are less afraid and intimidated to pick it up,” said Ms. Arazi, whose products are sold at supermarkets like Whole Foods and specialty stores.
Mohammed and Rahim Diallo, brothers from Guinea, faced the same challenge for their intensely flavored gingery drink, Ginjan. The designer Ruen Ellis removed any mystery about the drink by listing the ingredients — ginger, pineapple, lemon, vanilla and anise — on the label below a circular logo that centers on a silhouette of Africa.
A straightforward or celebratory story that can bolster a brand’s identity isn’t always possible. Some immigrant founders have fraught relationships with their homelands, or history has convoluted their story.
In late 2018, Daniyar Chukin and the design firm Little Fury rebranded Mr. Chukin’s vaguely Russian-sounding company, Misha, to the vaguely German-sounding Wünder Creamery.
Mr. Chukin had struggled with how to market quark, a creamy yogurtlike product popular in Germany. He grew up eating it in Kazakhstan, where the Soviets had brought it. “Here I am, a Kazakh guy, marketing a product I knew as a Russian one, as a German one to American consumers,” he said with a laugh. “It’s starting to work now.”
His quark is packaged in a yogurt cup with a clean, Nordic look, and Wünder Creamery’s annual earnings are about $1 million after growing 50 percent a year, he said.
Some immigrant entrepreneurs choose to have zero visual references to their food’s country of origin.
“What if we basically just remove the whole idea of being an ethnic food?” said Nigel Sielegar, a designer from Indonesia and the owner of Moon Man, minimalist Southeast Asia dessert stall in the cavernous basement below Essex Market on Manhattan’s Lower East Side.
After pandemic restrictions closed his eatery, Mr. Sielegar pivoted in July to producing sweet kaya jams featuring purple ube, golden palm sugar and green pandan. The coconut milk-based jams are packaged in glass jars with “Moon Man” running diagonally in huge white type across a black label.
The company has sold more than 1,000 kaya jam jars directly to consumers nationwide, Mr. Sielegar said, and recently expanded to selling half-gallon containers wholesale to restaurants.
Package design and brand identity might seem superfluous, even shallow, but they are often the needed prompt for customers to buy, said Dan Formosa, a design consultant.
“There is a expectation of what it’s about and a sense that it’s worth trying,” he said.
Richard H. Driehaus, an avid investor who grew his grade-school coin collection into a fortune that he wielded to champion historic preservation and classical architecture, died on March 9 in a Chicago hospital. He was 78.
The cause was a cerebral hemorrhage, said a spokeswoman for Driehaus Capital Management, where, as chief investment officer and chairman, he had overseen some $13 billion in assets.
Mr. Driehaus (pronounced DREE-house) restored landmarks in the Chicago area and gave the city a palatial museum that celebrates the Gilded Age. He also established a $200,000 annual prize in his name for classical, traditional and sustainable architecture as a counterbalance to the $100,000 Pritzker Prize, funded by another Chicago family, which he viewed as a validation of modern motifs that were a “homogenized” rejection of the past.
He was immersed in the stock market from the age of 13, took nosebleed gambles on risky rising stocks, and in 2000 was named one of the 25 most influential mutual fund figures of the 20th century by Barron’s.
Institute of Classical Architecture & Art in 2012.
“The problem is there’s no poetry in modern architecture,” he said in an interview with Chicago magazine in 2007. “There’s money — but no feeling or spirit or soul. Classicism has a mysterious power. It’s part of our past and how we evolved as human beings and as a civilization.”
Asked whether he considered buildings designed by Ludwig Mies van der Rohe, for example, to be appropriate, he told Architectural Record in 2015: “They’re mechanical, industrial, not very human. It’s like my iPhone, which is beautiful, but I wouldn’t want the building I live in to look like that.” He added: “Architects build for themselves and build for the publicity. They don’t really care what the public thinks.”
The first Richard H. Driehaus Prize, presented through the University of Notre Dame School of Architecture, was awarded in 2003 to Léon Krier, a designer of Poundbury, the model British town built according to the Prince of Wales’s architectural principles. The first American laureate, in 2006, was the South African-born Allan Greenberg, who redesigned the Treaty Room Suite at the State Department.
Philanthropy magazine in 2012. “What my dad couldn’t do, I wanted to do.”
he decided that “this was the industry for me” and invested the money he made from delivering The Southtown Economist in stocks recommended by financial columnists. The stocks tanked, teaching him to research each company’s growth potential on his own.
He flunked out of the University of Illinois at Chicago, enrolled in Southeast Junior College and then transferred to DePaul, where he earned a bachelor’s degree in 1965 and a master’s in business administration in 1970. He worked for the investment bank A.G. Becker & Company, becoming its youngest portfolio manager, and for several other firms before starting his own, Driehaus Securities, in 1979. He founded Driehaus Capital Management in 1982.
He married when he was in his early 50s; the marriage ended in divorce. He is survived by three daughters, Tereza, Caroline and Katherine Driehaus, and two sisters, Dorothy Driehaus Mellin and Elizabeth Mellin.
“I never did anything until I was 50,” Mr. Driehaus told The New York Times in 2008. “I spent my early years making money for my clients. Now I’m ready to have some fun.”
He did, staging his own extravagant themed birthday parties for hundreds of guests at his mansion on Lake Geneva (at one gala, he made his grand entrance on an elephant) and indulging his passion for collecting.
He started with furnishings he provided to a bar called Gilhooley’s, then moved on to decorative arts and art nouveau for the landmark Samuel M. Nickerson mansion, a palazzo that he restored as the Richard H. Driehaus Museum. He also amassed a fleet of vintage automobiles.
He gave as good as he got, several hundred million dollars’ worth — to DePaul and to Chicago theater and dance groups, Catholic schools and other organizations often overlooked by major philanthropies. And he felt quite at ease being a very big fish in what he acknowledged was a smaller pond — but a more hospitable one.
“In New York, I’m just another successful guy,” he told the City Club of Chicago in 2016. “You can’t make an impact in New York. But in Chicago you can, because it’s big enough and it’s small enough and people actually get along enough.”