Pergola Community Arts Space / CLUSTER + THISS Studio

The Shed, located in New York, United States, is a non-profit cultural organization dedicated to commissioning, developing, and presenting original works of art across various disciplines for diverse audiences. Completed in 2019, the building, known as the Bloomberg Building, was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group. The facility spans an area of 18,500 square meters and is notable for its physical adaptability, engineered to accommodate a wide range of artistic endeavors. The Bloomberg Building features an eight-level base structure. This base includes two dedicated levels for gallery space, providing ample room for art exhibitions. Additionally, it houses the versatile Griffin Theater, designed to host performances and events. The upper levels of the base are home to The Tisch Skylights, which encompass a rehearsal space, a creative lab for local artists, and a skylit event space, offering flexible areas for artistic development and public engagement. A key architectural feature of The Shed is its telescoping outer shell. This shell can be deployed from over the base building and glides along rails onto an adjoining plaza, creating an expansive outdoor performance area known as The McCourt. This innovative design allows the building to physically transform, effectively expanding its footprint and capacity to host large-scale performances, installations, and events, responding dynamically to the needs of different artistic presentations. The project involved a comprehensive team of consultants and specialists to bring its complex design to fruition. Diller Scofidio + Renfro served as the lead architects, with Rockwell Group collaborating on the architectural design. Key consultants included Thornton Tomasetti for structural design, facade engineering, and kinetic engineering services, highlighting the intricate movable structure. Jaros Baum & Bolles handled MEP and fire protection, while Vidaris provided energy modeling consultation. Lighting design was managed by Tillotson Design Associates, and acoustic consultation by Akustiks. Construction management was overseen by Sciame Construction. Vertical transport consultants Van Deusen & Associates contributed to the building's internal logistics. Specialized consultants for the kinetic systems included Hardesty & Hanover, and Fisher Dachs Associates served as theater consultants, ensuring the functionality of the performance spaces. Cimolai was the structural steel fabricator, and Vector Foiltec fabricated the ETFE (Ethylene TetrafluoroFluoroethylene) material used in the outer shell. Additional expertise was provided by Code Consultants Inc. for building codes, Ducibella Venter & Santore for security, Entek Engineering for facade maintenance, James R. Gainfort for waterproofing, and Construction Specifications Inc. for specifications. Graphic design and wayfinding were handled by Other Means. The project's photography was primarily captured by Timothy Schenck, documenting the building's exterior and interior spaces. #CulturalArchitecture #ExhibitionCenter #NewYork #DillerScofidioRenfro #RockwellGroup #KineticArchitecture #PublicArtSpace #ArchitecturalInnovation #BuildingTransformation

The H-House, located in a dense neighborhood in Surat, India, addresses the challenge of creating private living spaces that maintain a strong connection to nature. The design, conceptualized by Co.lab Design Studio, reverses the traditional bungalow-in-a-garden model by integrating gardens directly within the house's structure. This approach ensures that residents experience a continuous connection with green spaces, despite the urban setting. The project was completed in 2019 and spans an area of 19,375 square feet. The architectural strategy for the H-House focuses on intertwining the built environment with natural elements. The design incorporates various green spaces, such as courtyards, terraces, and internal gardens, which are seamlessly integrated into the floor plan. This allows natural light and ventilation to penetrate deep into the interior, enhancing the living experience. The choice of materials and the overall aesthetic contribute to a sense of openness and tranquility, contrasting with the busy surroundings. The house features a sophisticated interplay of concrete, glass, and wood. Large glass panels and strategically placed windows blur the boundaries between indoor and outdoor areas, offering expansive views of the internal gardens and maximizing daylight penetration. Concrete elements are utilized for their structural integrity and aesthetic appeal, providing a contemporary and robust framework. Wooden accents add warmth and natural texture to the interiors, creating a balanced and inviting atmosphere. The interior layout is designed to facilitate a fluid progression through spaces, with each area offering unique visual and functional connections to the integrated green zones. Living areas, bedrooms, and common spaces are arranged around these natural pockets, ensuring privacy while fostering a sense of expansive living. The design emphasizes functionality and comfort, providing a luxurious and spacious home tailored to the owner's desire for a natural retreat within the city. Co.lab Design Studio acted as both the architects and landscape designers for the H-House, ensuring a cohesive vision for the project. Key consultants included Essact, Mandala Design Studio, and Malwawala Engineering Services Private Limited for consulting, and Sai Consultants for engineering. The photographs by Sebastian Zachariah capture the essence of the design, showcasing the integration of nature, the use of diverse materials, and the overall ambiance of the H-House. #ResidentialArchitecture #HouseDesign #CoLabDesignStudio #Surat #India #IntegratedGardens #ModernArchitecture #ConcreteGlassWood #UrbanLiving #ArchitecturalPhotography

The Mary Heaton Vorse house in Provincetown, a historic home purchased by interior designer Ken Fulk, serves as a unique exhibition space for the Provincetown Arts Society. Rather than a conventional white-box gallery, the house, with its meticulously renovated yet historically preserved interiors, provides a domestic setting for showcasing art. Gene Tartaglia, director of the Provincetown Arts Society, highlights the distinctiveness of exhibiting art within this context, noting that the art “resonates in a way it doesn’t in a gallery.” This approach creates a more intimate and personal connection between the artwork and the viewer, contrasting sharply with the often sterile environment of traditional galleries. The current exhibition, “A Community Affair: PAGA at the Mary Heaton Vorse House,” is the largest to date, featuring 140 works by 40 artists from 14 galleries, all members of the Provincetown Art Gallery Association. This marks the second group show for PAGA at the Vorse house. The interior design, overseen by Fulk, intentionally retains elements of the house's history, such as peeling paint, exposed laths, and worn treads, which are complemented by eclectic furnishings. These historical traces provide a rich backdrop against which contemporary and traditional artworks are displayed, creating a dialogue between the past and present. Tartaglia emphasizes the curatorial process, which involves considering how each artwork interacts with the house's interior. For example, Joel Janowitz’s watercolors of dune pathways are strategically placed next to a window, giving the impression that the pathway leads outside. Rob DuToit’s painting, "The Raft," with its cool tones, harmonizes with the patina of the wall behind it. Joshua Meyer’s "Polyphony," a portrait painted with a palette knife, finds a textural kinship with the exposed wood where it hangs. These thoughtful placements create “vignettes” throughout the house, encouraging close looking and discovery in various nooks and hidden corners. Notable pieces in the exhibition include Jane Paradise’s photograph of a dune shack, displayed in a small bathroom, offering a unique self-reflection moment for the viewer. "Mary’s Room," formerly Vorse’s bedroom, hosts a range of historical and contemporary paintings, including Charles Hawthorne’s full-length female nude, whose demure pose and placement reflect the sensibilities of its era. Another bedroom features Mike Carroll’s abstract painting, "Pareidolia," whose horizontal width corresponds to the bed next to it, inviting contemplation on its title's meaning. Downstairs, Bailey Bob Bailey’s "GLOW" at the east entrance complements and contrasts with the surrounding bookshelves, showcasing its compositional symmetry and stacked forms. The Provincetown Arts Society, under Tartaglia's direction, aims to be a “conduit and collaborator” for existing arts organizations in Provincetown. Beyond exhibitions, it hosts artist residencies, fundraising events, film screenings, dinners, and lectures. Tartaglia curates based on his instinct and personal preferences, believing that if he loves a piece, others might too, leading to sales that support the artists. The unique atmosphere of intimacy and informality at the Vorse house fosters a personal connection between art, artists, and the community, embodying the quirky spirit of Provincetown. The exhibition is open on Fridays from 5-7 p.m. and Saturdays from 11 a.m.-3 p.m. through May 18, and admission is free. #ProvincetownArtsSociety #MaryHeatonVorseHouse #ArtExhibition #KenFulkDesign #ProvincetownArtGalleryAssociation #CuratorialPractices #LocalArtists #HistoricHome #CommunityArts

The article presents an interview with Tom Pergola, an artist known for his "Assemblage Plastique" art form. Pergola discusses his journey into the art world, which began in 1978 with Martin Lawrence Limited Editions as an artwork shipper. He quickly advanced to curator and general manager, gaining extensive knowledge of the business aspects of fine art. After eight years, he transitioned to managing artists and producing videos of prominent artists, contributing to millions in art sales globally. Pergola later co-founded DATZ ART with a friend, focusing on art created with resins. Their work gained national recognition through fine art trade shows and exhibitions in prestigious galleries, including Caesars Palace Las Vegas and Rodeo Drive in Beverly Hills, California. His unique 3-dimensional wall and table sculptures, which immortalize everyday objects and popular culture icons, are highlighted as a continuation of the Pop Art tradition established by artists like Andy Warhol and Claes Oldenberg. He was invited by the Los Angeles County Museum of Art to participate in their "Appetite for Art" exhibition, where his works were also sold. Pergola's "Pop Art Sculptures" have been purchased by thousands, and his work has been displayed in galleries across the United States. Notable celebrity collectors include Jay Leno and Carol Burnett. His art has been featured in various cities, including New York, Los Angeles, and Las Vegas. Pergola has received commissions for hundreds of limited-edition pop art sculptures from major brands such as Kellogg's (Fruit Loops and Frosted Flakes) and Corona Beer. He also undertakes custom commission work for private clients. Beyond commercial endeavors, Pergola has contributed his sculptures to charity events for organizations like Make-A-Wish and Stop Cancer, helping to raise funds for their causes. His artwork has also been showcased at major golf tournaments, with full-page announcements in high-end golf magazines featuring his pieces like "Hole In One" and "It Takes A Lot Of Balls." Pergola's primary mission in his creative journey is to create large-scale installations of his images, aiming for pieces 20 to 50 feet tall to be displayed in front of corporate headquarters and in museums. He expresses that the most rewarding aspect of his creative work is bringing smiles to people's faces through his art. #TomPergola #AssemblagePlastique #PopArt #FineArt #ArtistInterview #ArtBusiness #Sculpture #CreativeJourney #ArtExhibitions

This blog post features an interview with Jason Apilado, a Senior Interior Designer, who offers insights into the interior design industry, discusses his notable projects, and shares his recommendations for cultural experiences, dining, shopping, and community engagement in Los Angeles. The interview begins by addressing common misconceptions about interior design, highlighting the blend of creativity and business acumen required for success. Apilado emphasizes the technical skills involved, including mathematics, geometry, engineering for cost calculation and collaboration with architects, and deep dives into psychology, history, and cultural studies for robust conceptual development. He also touches upon the challenges of navigating new design languages and effectively communicating these to various stakeholders, all while managing logistics and meeting deadlines. Apilado stresses the importance of artistic restraint and balancing imagination with practicality, without compromising design values. He introduces his '3 R's' approach—Recognize, Reassess, Recalibrate—to prioritize time management and support creative discipline, a skill he developed over 14 years in the field, including a significant period as a freelancer. Resilience, problem-solving, and leading with confidence without ego are also identified as crucial for designers. Apilado then shares details about some of his favorite projects, including a brutalist home/event space in Eden, Utah, designed in collaboration with Tom Wiscomb Architects and Benchmark Modern. This project features art installations and furniture by renowned artists and designers such as Jónsi, James Turrell, Rick Owens, Vibha Galhotra, Naama Tsabar, Pedro Reyes, and MAD Architects. Other significant works mentioned are the Soulmate Restaurant in West Hollywood, a G550 jet interior, and a contemporary residence in the Hollywood Hills, developed with Belzberg Architects and Dobkin Construction. The discussion also covers his recent ventures into dealing antique furniture, launching a textiles collection, and selling curated goods online. The interview shifts to local recommendations for Los Angeles. For cultural experiences, Apilado suggests Casa Perfect Los Angeles 3.0, Anat Ebgi gallery, Vardan Gallery, Arcana Books, and the Endeavour space shuttle. Dining recommendations include Santa Monica Seafood Market, Santa Monica Farmers Market, Spoon & Pork, Kang Ho Dong, and Siam Night Market. Shopping highlights feature H. Lorenzo and the Rose Bowl Flea Market. For community engagement, he recommends In Sheep’s Clothing hifi, Ambient Church, Brain Dead Studios, Aroma Golf Range, and the LA River West Bank Bike Trail. Finally, Apilado expresses gratitude to numerous individuals who have inspired and supported his career. He acknowledges fellow designers and craftsmen, emphasizing the importance of community and mutual support among artists. He specifically thanks his parents for fostering his creativity, his brothers for their support, and his high school teachers and college mentors for seeing his potential and never giving up on him. Special recognition is given to Sean Leffers for trusting him to build a design studio, and a list of influential figures such as Riza Stillwell, Scott Pennington, David Waggoner, David Goggins, Bjarke Ingels, Ridley Scott, The Wachowskis, Craig Green, and Richard Feynman are mentioned for their impact on his professional journey. #InteriorDesign #CreativeProcess #DesignProjects #LosAngelesCulture #BusinessAcuemen #ProfessionalJourney #ArtisticRestraint #CommunitySupport

The book "Work From Shed" by Hoxton Mini Press showcases a diverse collection of garden studios, garages, and sheds from various international locations, offering insights into their architectural possibilities as home workspaces. The book's creation was influenced by the increased adoption of working from home due to the coronavirus pandemic, leading to a new fluidity in work environments. Martin Usborne, creative director at Hoxton Mini Press, highlights the personal nature of working from home, which fosters greater expression in the design of workspaces, encouraging surprising, playful, and beautiful structures that are also varied and adaptable. This compilation features ten distinct home studios, each demonstrating unique design approaches and functionalities. One featured design is the Remisen-Pavilion in Germany by Wirth Architekten, a brick garden office that serves multiple purposes, including a parking space and dining room. Its design incorporates large oak wood doors and perforated brickwork for natural ventilation and lighting. In Scotland, WT Architecture designed a Writer's Studio for two writers, featuring a low brick base combined with an exposed timber and steel structure. This studio is intended to be visually simple, reminiscent of a dilapidated greenhouse that previously occupied the site. The LA Pottery Studio in the USA, a collaboration between ceramist Raina Lee and architect Mark Watanabe, is a stilted shed nestled among trees and accessed by a wooden bridge. This structure functions as both a studio and a display space for Lee's ceramics, utilizing salvaged shipping crates for shelving and incorporating natural elements like tree branches. Carmody Groarke's Two Pavilions in England include an artist studio built within the brick walls of an 18th-century ruined farmhouse, extended with weathered-steel panels that define large windows and create a sheltered outdoor area. FT Architects designed the Light Shed in Japan, an open-plan photography studio with a timber framework supporting corrugated plastic walls. The roof's unique shape maximizes open space and minimizes structural interference for photography. Studio Ben Allen's A Room in the Garden in England draws inspiration from an artichoke, featuring green shingles and constructed from a flat-pack kit of CNC-cut timber elements, allowing for easy dismantling and relocation. The Enchanted Shed in Austria by Franz&Sue; is a converted 1930s outhouse near Vienna, now serving as a light-filled writing studio on its upper level, complete with a glazed gable end and upholstered seating, capable of functioning as a guestroom or playspace. In England, TDO designed the Forest Pond House, a studio suspended over a body of water in a family garden. Its curved plywood shell and glazed end wall aim to immerse occupants in nature, promoting relaxation and focus. A31 Architecture's Art Warehouse in Greece, enclosed by a curved concrete shell, is an art studio designed for an artist to accommodate large sculptures, featuring a spacious open-plan interior and a mezzanine storage level accessible via floating steps. Lastly, Tini by Delavegacanolasso in Spain is a prototype of a prefabricated wooden office, designed for online ordering and truck delivery, constructed from galvanized steel, oriented strand boards (OSB), and local pine wood, and was craned into its garden site to prevent disruption. #GardenStudios #HomeWorkspaces #ArchitecturalDesign #SustainableArchitecture #PrefabricatedBuildings #ArtStudio #WriterStudio #PhotographyStudio #CompactLiving

This article details the latest project by Open Studio, an emerging Australian architectural practice, focusing on an artist's studio located in Flemington, a suburb of Melbourne. Established in 2005, Open Studio specializes in designing combined and separate live and work environments. The firm is recognized for its innovative and clear approach to architecture, which was crucial for the success of this particular commission. The project originated from two relatives owning adjacent properties in Flemington who decided to remove the dividing fence between their backyards. This action freed up an unusually wide and largely unused garden area, creating the necessary space for the new artist studio. The unconventional placement of the studio, situated between two existing properties, posed a significant challenge for the architects due to Melbourne's strict planning regulations. To navigate these regulatory hurdles, Open Studio devised a solution that involved designing the building as two distinct structures, which were then combined into a single volume. Heribert Alucha, a partner at Open Studio, explained that this approach aimed to reinforce the concept of shared backyard space. The specific positioning of the new building and its angular design elements were intentionally aligned with the actual title boundaries of the properties. The careful placement of the studio within the site resulted in the creation of three distinct landscaped areas: a playground, a vegetable patch, and a seating area. The studio's unique, distorted box-shape, characterized by its angular resections and curves, plays a functional role in defining these separate outdoor zones, contributing to a harmonious integration with the surrounding landscape. The interior of the Artist Studio is meticulously designed, featuring a brightly lit painting studio, a substantial storage and workshop area, a garden shed, and a garage. The internal spaces are characterized by their clean and neutral aesthetic. Although the indoor and outdoor areas maintain their distinct identities, they are aesthetically unified through the generous openings incorporated into the painting studio space, fostering a sense of continuity and connection. Flexibility and clarity are core principles of Open Studio's design philosophy, and these are evident in the Artist Studio project. The Melbourne-based architects have successfully delivered a compact yet beautifully conceived studio on a site that might initially seem challenging. This project exemplifies how thoughtful design can overcome site-specific constraints to create functional, aesthetically pleasing, and well-integrated architectural solutions. #ArtistStudio #ArchitectureDesign #MelbourneArchitecture #OpenStudio #ArchitecturalInnovation #UrbanPlanning #ResidentialArchitecture #AustralianDesign

Norwegian architecture practice Superunion has meticulously designed a small, multifunctional space for Atelier Felix, located within Oslo's renowned Kunstnernes Hus. This project, undertaken by a firm Wallpaper* identified as 'ones to watch' in their 2014 Architects Directory, transforms an existing gallery space into a versatile area accommodating a workshop, reading room, and exhibition space. Kunstnernes Hus, an early example of Norwegian functionalism designed in 1930 by architects Blakstad and Munthe-Kaas, continues to be a central hub for contemporary art in Oslo. Superunion's design respectfully integrates into this historic context while introducing a distinct new character. The Atelier Felix space is designed for maximum flexibility, featuring three distinct zones. A bespoke wall unit serves as a floor-to-ceiling shelving system, providing ample display space for artists and the public to showcase temporary works. This shelving unit also cleverly encloses a more private reading area behind it, complete with space-saving window seats, maximizing the utility of the compact footprint. A key element of the design is a spiralling, sheer curtain that acts as a flexible room divider. This weightless partition allows for the separation of the workshop area from the rest of the room, creating an intimate setting without completely isolating it. The transparent nature of the curtain ensures that natural light continues to permeate the entire space, maintaining an open and airy feel. Further enhancing the connection to its surroundings, a wall-length window offers views of the bustling café below, allowing visitors to engage with the vibrant atmosphere while maintaining a sense of tranquility within the Atelier Felix. Architect Vilhelm Christensen from Superunion emphasizes that the design drew inspiration directly from the historical building itself. The practice's primary goal was to honor the existing architecture while imbuing the new space with a unique contemporary identity. This balance is achieved through the incorporation of crisp lines and a Scandinavian minimalist aesthetic, which directly mirrors the classical cubic forms of Kunstnernes Hus. The color palette of the space also pays homage to the building's heritage. The architects specifically chose a blue wall color, sampled from a fresco found in the building's foyer, to ensure a cohesive and historically sensitive integration. Additionally, the linoleum floor in Atelier Felix is a continuation of the flooring material used throughout the existing 1930s gallery space, further blending the new with the old. This functionalist-inspired approach and light touch by Superunion have resulted in a modern, adaptable space that respectfully complements its iconic historical host, Kunstnernes Hus, enhancing its capacity to host diverse artistic and cultural activities. #Architecture #InteriorDesign #MultifunctionalSpace #NorwegianDesign #KunstnernesHus #Superunion #AtelierFelix #Functionalism #OsloArtScene

Linnea Pergola, an artist whose career began unexpectedly in the 1980s, shared her journey, challenges, and inspirations. While living in the San Fernando Valley, a chance encounter led to her being signed by Martin Lawrence Galleries. This opportunity provided significant compensation and a platform for her art, though it came with commercial pressures and the need to produce commercially viable paintings. Pergola acknowledged the demanding nature of the contract, which involved painting extensively and participating in numerous art shows across the country, all while balancing her personal life, including raising a child. Despite graduating with a degree in history from CSUN, not art, Pergola developed her distinct artistic style independently. She supplemented her learning with art classes, particularly enjoying life drawing, a discipline that contrasts sharply with her well-known cityscapes. Her passion for travel profoundly influenced her artistic focus, leading her to specialize in painting cities. Pergola became recognized for her ability to "mix up" and "recreate" cities, incorporating intricate details, humor, and vibrant colors. She noted that she instinctively knows which cities inspire her to paint, citing Prague, Amsterdam, Paris, and Edinburgh as examples. The detailed nature of her work is a consistent draw for her audience. A significant turning point in her career was when Liberty Puzzles, a puzzle company based in Colorado, contacted her around 2009. This collaboration proved to be highly successful, elevating her national recognition. Many individuals discovered her work through these puzzles, subsequently purchasing her original pieces. Pergola expressed her excitement about an upcoming trip to Vienna in June 2025, where she plans to take photos and create new paintings, hoping one will be selected for a future puzzle. Pergola also recounted a period of personal and professional resilience during a previous relationship when she moved to France. Due to visa restrictions, she was unable to sell her artwork, leading to a significant pause in her artistic output and a decline in motivation, despite being surrounded by artistic beauty. She found the language barrier challenging and experienced feelings of isolation. Upon returning to the United States and ending the relationship, she embarked on a journey of rebuilding her life and rediscovering her passion for art. Joining two art groups in Scottsdale, Arizona, proved instrumental in her recovery, allowing her to reconnect with her artistic self. This period marked a return to exhibiting her work and renewed her passion for travel, which included volunteering four times at the Elephant Nature Park in Chiang Mai, Thailand. Her creative journey is currently driven by a desire to explore new inspirations and enjoy the artistic process. In May 2024, she relocated to South Africa, a country whose natural beauty and diverse culture have deeply inspired her. This move has led to a shift in her artistic themes, with a greater focus on animals and nature. She also anticipates visiting other African countries, further expanding her artistic horizons. Linnea Pergola's career is marked by adaptation, resilience, and a continuous pursuit of new creative expressions, influenced by her personal experiences and a profound connection to the places she encounters. #LinneaPergola #ArtistInterview #ArtCareer #Cityscapes #ArtisticResilience #TravelInspiration #PuzzleArt #CreativeJourney #SouthAfricaArt

This article highlights essential items for enhancing a home arts and crafts studio, emphasizing the importance of creating an inviting and inspiring space for creative endeavors. Whether the space is a small corner or a dedicated room, the goal is to improve both functionality and style. Different crafts and art forms have varying requirements, but common needs include easy access to materials, adequate storage, and suitable work surfaces. Potential locations for a home art studio, such as small sheds, attics, or underutilized dining rooms, are also mentioned. Several key items are recommended to immediately improve a creative workspace. Proper lighting is crucial, and while industrial task lighting is common, stylish options with similar functionality are available. Effective storage solutions are paramount for organization. For illustrators and painters, compartmentalized shelves help keep canvases tidy and prevent damage. Slender drawers are suggested for safely storing and easily accessing pens, markers, and brushes, with the added benefit of being stackable for increased storage capacity. Rolling storage carts offer discreet storage and mobility, allowing supplies to be moved as needed within the workspace. Metal lockers, offering a blend of functionality and distinct style in various colors, serve as an alternative to traditional industrial cabinets. Technological tools also play a role in a modern craft studio. A vinyl cutter, such as the Cricut Air, is highlighted for its versatility in creating stickers, stencils, and iron-on patches, often available with starter kits. Pegboard storage systems, a long-standing favorite for garages, are presented as a great addition for organizing small items and hanging tools like scissors and rulers. Comfortable and adaptable seating, such as adjustable stools, is essential for long hours of creative work. Functional tape dispensers, especially those designed to hold various types of tape, combine practicality with aesthetic appeal. For those needing flexible workspaces, a foldable supply cart is ideal for art spaces that need to be tucked away when not in use. A trash can that is both functionally sized and aesthetically pleasing is important for managing waste in a space prone to creative messes. A rolling cart with features like side space for paper rolls and ample drawers offers versatile storage for various art supplies. Flexible work surfaces are critical, with corner desks providing space for both digital and analog work, including raised drafting sections. Chalkboards are recommended for sketching, brainstorming, or reminders, adding an old-school, creative touch. Rotating organizers are presented as an industrial-chic solution for storing small materials like buttons or stamps. Drawered cabinets, reminiscent of antique apothecary furniture, are suggested for housing small supplies. An antique flat file is identified as a high-end, functional, and visually striking item for storing large paper and materials without creasing. A wall-mounted kraft paper roll is highlighted for its utility in note-taking, package wrapping, and sketching. Wire storage baskets offer a durable and easily cleanable alternative to traditional baskets, allowing visibility of contents. For artists who work with analog mediums, a large flatbed scanner is an essential tool for digitizing artwork accurately. Finally, a standing desk or table provides ergonomic flexibility, allowing artists to work comfortably in seated, standing, or intermediate positions, with options for custom accessories. #HomeStudio #CraftRoom #ArtStudio #HomeOrganization #CreativeSpace #WorkspaceDesign #ArtSuppliesStorage #StudioEssentials #HomeImprovement

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

This article features an interview with David Godshall, co-owner and principal of TERREMOTO, a landscape architecture firm with offices in Los Angeles and San Francisco. Godshall, who describes himself as a self-proclaimed punk and art historian turned landscape architect, founded the firm with Alain Peauroi. TERREMOTO specializes in creating localized landscapes that are both formally and conceptually adventurous. The firm currently comprises seven individuals, including Godshall, Peauroi, Diego Lopez, Jenny Jones, Nadia Alquaddoomi, Story Wiggins, and Erik Schmahl. Godshall manages the Los Angeles office, while Peauroi oversees the Bay Area office. This dual-office structure allows them to undertake projects in both regions. Godshall explains that his motivation for starting TERREMOTO stemmed from a perceived lack of conceptual and philosophical depth in landscape architectural work in the United States, particularly in residential projects. He and Peauroi aimed to establish a practice that would enable them to explore innovative ideas and create intellectually and formally distinct work, while also structuring their office in an unconventional manner. Regarding challenges, Godshall notes that in a small office, every team member must be versatile and willing to handle a wide range of tasks. While he acknowledges that this can be a hurdle, he also finds it enjoyable. Cash flow is another occasional concern for the small but growing firm. Despite these challenges, Godshall expresses gratitude for their supportive clients, collaborators, and projects. When asked about scaling the practice, Godshall indicates that maintaining the current size, ideally not exceeding ten people, is a preference. He values the familial dynamic of the present team and believes it fosters creativity, a quality often lacking in larger, more corporate landscape architecture firms. Godshall views mainstream landscape architecture as fundamentally flawed due to its inability to support the creative and philosophical inclinations of its professionals. TERREMOTO aims to operate at the fringes of the profession, taking risks and maintaining an avant-garde approach, rather than becoming a conventional, profit-driven business. However, he acknowledges that this perspective could evolve as the firm and its members grow. The benefits of running their own practice include the ability to define their own rules and integrate work into their lives in a flexible manner. Godshall describes his work-life balance, highlighting that he maintains long hours but still allocates dedicated time daily for his family. The firm also implements an hourly pay model for employees, which, while offering competitive salaries, ensures that team members are compensated for overtime, promoting a healthier work environment and thoughtful time management by the owners. Godshall emphasizes that staying small necessitates honesty and a lack of ego, requiring everyone to be hands-on with all aspects of the business, from client management and conceptual design to construction documents, tree tagging, and even mundane office tasks. This approach has fostered a team of well-rounded, versatile individuals who contribute broadly to the firm's diverse projects and internal discussions, preventing the over-specialization often seen in larger firms. #SmallStudioSnapshots #LandscapeArchitecture #TerremotoLandscape #DavidGodshall #StudioPractice #ArchitecturalInnovation #WorkLifeBalance #CreativeProfession

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Australian artist Ian Strange has completed a significant urban intervention in the Załęże district of Katowice, Poland, by wrapping the facade of a historical residential building with 600 square meters of golden, patterned wallpaper. This artwork, titled 'Złoty' (Polish for 'golden'), is a continuation of Strange's ongoing artistic exploration of the concept of 'home.' The installation directly addresses the history and subsequent decline of the Załęże district, which experienced a downturn after the closure of its last mine in 2004. The project was commissioned by the Instytucja Kultury Katowice, and Strange collaborated with curator Michał Kubieniec and the Katowice Historical Museum. Over three weeks, Strange and a team of volunteers meticulously applied sheets of vibrant, floral-patterned wallpaper to the building's exterior. This specific pattern was chosen because it is commonly found inside many local houses, adding a layer of intimate familiarity to the public display. By recontextualizing an element typically found within the private, safe interior of a home and placing it on the exterior, Strange exposes it to the elements. This deliberate act highlights the vulnerability of the installation and signifies a crucial aspect of the artwork: its intended natural deterioration and decay over time. The gradual fading and breakdown of the golden veneer are central to the piece's purpose, mirroring the district's own narrative of prosperity followed by decline. The artwork acts as a visual metaphor for the shift in Załęże's circumstances, evolving from a flourishing mining town to one grappling with the aftermath of industrial closure. The intervention transforms a private, decorative element into a public spectacle, inviting contemplation on themes of resilience, memory, and the passage of time. The act of exposing an interior aesthetic to the outside world creates a dynamic tension between protection and vulnerability, domesticity and public space. The choice of gold, often associated with value and prosperity, further emphasizes the historical wealth of the mining community and its subsequent loss. This temporary nature of the artwork underscores the ephemeral quality of economic booms and the enduring impact of their decline on communities. The collaboration with local institutions and volunteers also integrates the community directly into the artistic process, adding to the work's local relevance. #IanStrange #PublicArt #ArchitecturalIntervention #SiteSpecificArt #KatowicePoland #UrbanArt #ContemporaryArt #CommunityEngagement

Ab Rogers Design has completed the Fishmarket project in Kanazawa, Japan, transforming a former commercial space into a versatile artist's studio and residence for Japanese artist Hiraki Sawa. The design centers around a series of four rotating fluorescent partition walls that allow the open-plan area to be reconfigured into three distinct multipurpose zones. Sawa, who lives in London but frequently visits Kanazawa, collaborated with Ab Rogers on this "co-being space" after meeting at the Wonderfruit music festival in Thailand in 2019. The design approach involved stripping the interior back to its industrial shell, then introducing specific interventions like the movable plywood walls. Foil-backed insulation was added to certain walls, but the overall aesthetic aimed to maintain the raw character of the existing structure rather than creating a conventionally polished or 'cosy' environment. The objective was to maximize natural light and integrate these dynamic elements within the industrial bones of the building. The fluorescent panels, each painted in a vibrant highlighter hue, serve both functional and aesthetic purposes. Functionally, they can pivot to conceal private areas like the bathroom or to transform the bedroom into a workshop, an exhibition space, or a social gathering area. Aesthetically, their bold colors inject vibrancy into the otherwise minimalist concrete and plywood setting. The choice of fluorescent colors was deliberate, intended to make the walls appear "electrified" and dynamic when exposed to natural light, thereby adding character to the space. On the second floor, a nine-meter-long, monolithic workbench functions as a highly adaptable central element. This single piece of furniture serves as a kitchen counter, a worktop, and a dining table, illustrating the design's emphasis on flexibility and multi-functionality. Rogers explained that its purpose shifts based on the activity being performed, easily converting from a cooking area to an office or a textile workshop. This adaptability aligns with the concept of a "co-being space" that supports various creative and living functions. All construction materials were sourced locally, contributing to the project's affordability and reflecting a pragmatic design approach influenced by local building regulations. For instance, the need to line certain walls with plywood panels was dictated by these regulations. The project's development was characterized by a collaborative and iterative process between Rogers and Sawa, with Sawa managing on-site problem-solving and material procurement in Kanazawa, as Rogers did not visit the site himself. This organic, symbiotic design process is credited with producing a result that effectively merges both client and designer visions. Ab Rogers Design has a diverse portfolio, including a cancer treatment hospital clad in glazed red terracotta and a compact, space-efficient apartment in London. The Fishmarket project exemplifies the studio's interest in creating adaptable and characterful spaces through innovative use of materials and modular elements. The photography for the project was done by Takumi Ota. #ArtistStudio #CoBeingSpace #AbRogersDesign #Kanazawa #HirakiSawa #FluorescentPanels #FlexibleSpaces #IndustrialInterior #MultipurposeDesign