Opposites Attract: Elizabeth Turk Explores Nature and the Manmade

— By Steffany Martz

Elizabeth Turk’s new pieces are so different visually from the critically acclaimed marble sculptures that preceded them that they may not be immediately recognizable as hers. “I’ve introduced a lot of raw elements—natural elements in their beautiful, unsculpted state as they come up against my own intentional carved work,” she says. But for Turk these raw elements, essentially unworked stones from the Baja Peninsula or green quartzite from Idaho, provide a link and allow her to see the new pieces as a continuation of her previous work. “I’ve always used marble that was a found object—you know, that had a history before I used it, and that sort of put me into situations where there were other stones. I was captivated, for instance, by the green of that Idaho quartzite, and I just wanted to find a way to integrate it into the work itself. So it’s been a continuation of that theme—it just expanded out into the natural elements of the West.” She does, however, admit to a change in emphasis. “The general idea of the show is to bring the incredibly intense, intentional [manmade] efforts on this planet right up against the beautiful wonders of nature, more specifically from the West—the western part of the U.S.” The nature vs. culture theme of the new sculptures is also reflected in the title of this body of work, exhibited at New York’s Hirschl and Adler Galleries from September 17 to October 24. “Tension” broadens the reference from a single object to a relationship between elements, even a psychological or spiritual two opposing modes of existence. Continue reading→


Ode to an Earlier Era, Though Not a Simpler One
— By Adam Dunlop-Farkas


A new show at the Walker Art Center in Minneapolis presents works from the counterculture of the 1960s and ’70s. The exhibition, Hippie Modernism: The Struggle for Utopia (September 10–December 31, 2016), seeks to reexamine the often marginalized and overlooked contributions of artists, designers, architects, and other experimentalists of the era. Continue reading→


Photography by ERHARD PFEIFFER

A new house in Sonoma makes the most of an extraordinary site and picturesque landscape while invoking the architectural traditions of this Northern California wine-growing region.

Under a soaring birch-framed ceiling, the “great room” in the Sonoma House, designed by Tigerman McCurry Architects, accommodates cooking, dining, and relaxing. A bridge connecting the second floor bedrooms to a balcony spans the great room.

BACK IN 2001 THE ARCHITECT MARGARET MCCURRY got a handwritten letter from California. She did not know the sender, but the letter contained a plea that was impossible to ignore. “Our ranch house burned down over three years ago in Sonoma County,” the letter began. “The only thing of the main house left standing is the fireplace chimney. It was a solidly built but old house that we had just renovated. Of course it was a shock, and it was sad. On the other hand, I can’t but feel excited about the possibilities now.” The letter writer went on to tell McCurry that “the homes you designed give me a very serene feeling. There is a quietness that surrounds me when I look at the photographs. And from what I read, I like you.” Continue reading→

Gray Today



The rough oak exterior of E.7. E.11 by Emmet Kane, 2015, contrasts sharply with the smooth, glistening surface of the lacquer interior.

EILEEN GRAY ONCE SAID, “SOMETIMES ALL THAT IS REQUIRED is the choice of a beautiful material worked with sincere simplicity.” One hundred years on, a new group of Irish designers has embraced Gray’s ethos, by applying it through a fusion of traditional ideas and modern materials and methods. A self-taught architect who helped change the face of the field in the 1920s, Gray was also a lacquer artist of formidable skill; a furniture designer who experimented with a variety of innovative materials such as celluloid, scorched wood, perforated metal, cork, and chrome; and a carpet designer whose work reflected the De Stijl, cubist, and Russian abstract art movements. Continue reading→

Making the Beach Scene


THERE ARE TIMES WHEN BEING A NEW YORKER is a little like being a character in a Dickens novel. And with an upturn in the ongoing interactions with numerous city, state, and federal agencies regarding beach restorations post-Hurricane Sandy here in the Rockaways, where I live, the Dickensian factor has been on the rise.

But sometimes the agencies get it right. The new bleacher-style stairs/benches leading to the beach from the surviving Robert Moses-era bathhouses and concession stands were a brilliant addition. Though subsequent phases of the rebuild involved covering them over with sand they were nice while they lasted. Continue reading→


By Sarah A. Lichtman

In 2013 Hella Jongerius and Jongeriuslab undertook a top-to-bottom redesign of KLM Royal Dutch Airlines’ business class cabins, creating a unified aesthetic and rethinking everything from the construction of the seats to travelers’ onboard experience.

Hella Jongerius is one of the most influential designers at work today. Here in conversation with Sarah A. Lichtman, she discusses her thoughts on color and her collaboration with KLM Airlines. Continue reading→


Irvington Place, London, UK, 2007. By Adjaye Associates.

The Art Institute of Chicago’s aptly titled exhibition, Making Place: The Architecture of David Adjaye, epitomizes not only architect David Adjaye’s rich and varied portfolio of projects in cities around the world, but also a design ethos that is simultaneously expansive and specific. His work is guided by diverse geographic influences and styles, and yet always attuned to local context, even in today’s ever- changing, globalizing world. Opening this fall, the show will be the first mid-career survey of the prolific, Ghanaian-British architect.

Adjaye’s international upbringing (he grew up in Ghana, the Middle East, and England) coupled with his extensive studies of architecture, has informed his aesthetic, which draws from a heterogeneous design vocabulary and is especially responsive to place, to both its unique character and needs. His practice—located in London, New York, Berlin, and Accra—has completed more than fifty projects, with many more in the works, for renowned clients and institutions, including the Moscow School of Management, the Smithsonian’s National Museum of African American History and Culture (NMAAHC), and the recently completed Sugar Hill affordable housing development in New York City.

Filling several galleries of the museum and set within an installation design conceived by Adjaye Associates, the show will feature housing, public buildings, master plans, and furniture, as well as drawings, models, and sketches. A film specially commissioned for the exhibition will include conversations with artists, curators, and art world figures who have collaborated with Adjaye. artic.edu

— By Nicole Anderson



In the dining area Canadian artist William James Frampton’s anguler 1972 painting Split Red boldly contrasts with a wood and steel dining table provided by Klaus Nienka?mper and ten Ludwig Mies van der Rohe Cane chairs.

CHARLES EAMES ONCE REMARKED that “Eventually everything connects — people, ideas, objects. The quality of the connections is the key to the quality per se.” In the case of the Wolf House in Toronto, several people connected over thirty years to create and maintain this award-winning architectural landmark. The initial link was forged by Mary and Larry Wolf who hired the architect Barton Myers to design the house in the early 1970s. A further tie occurred when Myers wanted to hire Heather Faulding, a South African, to work as an architect in his firm approximately a decade later, but she was denied a visa by the Canadian government. A final connection happened when the Wolfs hired Faulding to update the house in 2008. Continue reading→

The Fabulous Bakker Boys

They are father and son. They are designers. They work within walking distance of each other in Amsterdam. We visit the studios of Gijs and Aldo Bakker and find similarities, but also differences, in the ways they work, think, and create.


Father and son designers Gijs (right) and Aldo Bakker.

NO ONE HAS SEEN DUTCH DESIGN EVOLVE as closely as Gijs Bakker. Indeed, no one has had a hand in that evolution as much as Gijs Bakker. The seventy-three-year-old Dutchman is a silversmith and jewelry maker, a creator of furniture and of lighting; he was a co-founder of the ever sassy Droog Design in 1993 and, in 1996, of the jewelry brand now called “chp…?” He also taught for many years. And he still designs. He’s busy. On a sunny morning he opens the front door of his studio on the Keizersgracht in Amsterdam with a welcome question: “Coffee?” Continue reading→

Architecture as Art and Adventure

In Los Angeles, A Frank Gehry Retrospective
By Beth Dunlop


It’s not often possible to speak in absolutes, but it is safe to say that no other living architect has transformed the field as much as Frank Gehry has. In more than six decades of practice (he opened his Santa Monica, California, office in 1962), Gehry has changed not just the aesthetics of architecture, but also the way in which architecture affects society. His most prominent buildings—the Guggenheim in Bilbao and the Walt Disney Concert Hall in Los Angeles (to name just two)— are powerful landmarks of our time, expressing more than the architect’s particular vision by expressing the cultural aspirations of a generation. Continue reading→