Taking a step outside with Terremoto's David Godshall, a self-proclaimed punk and art-historian-turned-landscape-architect

This article offers a virtual tour of 14 spectacular homes belonging to renowned artists and architects around the world. These residences, usually open to the public but now virtually accessible, provide a glimpse into the personal spaces and creative environments that shaped these influential figures. The article highlights unique architectural styles, interior designs, and personal touches that reflect each artist's personality and work. The tour begins with Frederic Church's Olana in New York's Hudson Valley, a 19th-century landscape painter's home that blends Victorian and Middle Eastern motifs. Oscar Niemeyer's Casas das Canoas in Rio de Janeiro showcases his signature curves and reinforced concrete, with organically positioned boulders integrated into the design. Frank Lloyd Wright’s Taliesin in rural Wisconsin is described as his architectural autobiography, an 800-acre estate that is now a UNESCO World Heritage site. Philip Johnson’s Glass House in New Canaan, Connecticut, features wraparound windows designed to integrate with the surrounding landscape, a meticulously sculpted environment inspired by a 17th-century painting. Duncan Grant and Vanessa Bell’s Charleston House in Sussex, United Kingdom, embodies bohemian charm with hand-painted cupboard doors, patchwork chintz curtains, and stenciled paisley walls, complemented by a vibrant garden. Frida Kahlo’s Casa Azul in Mexico City, the site of her birth, death, and many years of her life, is a cobalt-washed residence with chartreuse floors and bright white walls, showcasing local folk art, handmade ceramics, and pre-Columbian sculptures. Auguste Rodin’s La Villa des Brillants in Meudon, France, served as his workshop, business place, and home, filled with dazzling white sculptures. Jackson Pollock and Lee Krasner’s East Hampton home has remained untouched since Krasner’s death, featuring paint-splashed floors in the studio and an eclectic interior with a broken anchor and Krasner’s seashell collection. Georgia O’Keeffe’s home and studio in Abiquiu, New Mexico, radiates natural light and includes surprises like a rattlesnake skeleton, along with an extensive potager garden. Clementine Hunter’s modest cabin at Melrose Plantation in Louisiana showcases her prolific artistry, with thousands of paintings depicting daily life. Frederic Church's Olana, a Persian-inspired fortress, is rich with hues of mustard, cherry, and clay, lavishly draped in Turkish rugs and ornate frames. Jim Thompson’s teak Thai-style home in Bangkok, though not an artist's own work, houses an extraordinary collection of traditional Thai art. Sam Maloof’s 1952 California ranch-style home, relocated to Pomona, features treehouse vibes with redwood walls, a hand-carved spiral staircase, and whimsical stained-glass windows. Irma Stern’s The Firs in Cape Town, South Africa, is a colorful collage of portraits and tribal artifacts, painted in mint green, sunny yellow, and and vivid corals. Finally, Claude Monet’s home in Giverny, France, is famous for its poetic interior with a stream of copper pots in the kitchen and lemony yellow dining room, alongside his collection of Japanese art. #ArtistHomes #ArchitecturalDesign #InteriorDesign #CulturalTourism #VirtualTours #ArtHistory #HistoricHomes #TravelInspiration #GlobalArt

The article presents an interview with Chris Dorsey, an architect and artist based in the Downtown LA Arts District, detailing his journey of starting his own architectural practice. Dorsey established Chris Dorsey Architects in January 2021, at the tail end of the COVID-19 pandemic. Before this, he did not consider himself an entrepreneur, but a period of self-reflection during the pandemic led him to reevaluate his career trajectory. He previously worked as an in-house architect for a national juice company, managing the design and construction of new stores across the U.S. While initially enjoying the role and his colleagues, he found himself increasingly drawn into corporate management aspects, moving away from the creative architectural work he cherished. The slowdown during COVID-19 provided the opportunity to prioritize and decide that launching his own firm was the best path forward. Chris Dorsey Architects focuses on a variety of projects, from small, custom restaurant and retail spaces to larger adaptive reuse projects, which involve converting existing industrial buildings into new uses. Dorsey emphasizes the collaborative aspect of his work, partnering with clients to achieve the best version of their projects. He cites a veterinary clinic renovation as a favorite recent project, where he incorporated color, sound, sight, and texture to create a nurturing and healing environment for animals, highlighting the profound impact of architectural design on its occupants. Although his primary experience is with commercial projects, Dorsey has also undertaken custom residential Accessory Dwelling Unit (ADU) and renovation/addition projects, finding satisfaction in this different pace and experience compared to the often fast-paced and technically demanding restaurant and retail sector. A significant aspect of Dorsey's work that he finds most exciting is the ability to unlock the hidden potential of challenging sites or ideas. He acknowledges that every project comes with its unique constraints and complications. However, he believes that by understanding and leveraging the distinct characteristics of a site, unique design possibilities can emerge that might not have been apparent otherwise. This approach allows him to transform limitations into opportunities for innovative design solutions. When asked about local recommendations, Dorsey shares insights from his life and work in the Arts District. A perfect day for him would begin with a visit to the Hauser & Wirth galleries, followed by lunch at Manuela, where the cream biscuits remind him of his Georgia roots, and he enjoys seeing the chickens raised on-site. For evening entertainment, he recommends The Obscure, a speakeasy that features live artists and performers, particularly noting its special ambiance during Halloween. When he ventures outside downtown, Playa Provisions in Marina del Rey is a favored spot for coffee and beach walks, appreciated for being less crowded than Santa Monica and having many dogs playing in the sand. Dorsey also takes the opportunity to acknowledge his wife, Ashley Sims, a TV writer and author, as a significant influence and source of support. He credits her as the reason he is in Los Angeles and praises her creativity and strong work ethic, recognizing her consistent encouragement since the beginning of his endeavors. #ChrisDorsey #Architect #Artist #ArchitecturalPractice #Entrepreneurship #LosAngelesArtsDistrict #AdaptiveReuse #CommercialDesign #ResidentialDesign #CreativeProcess #LocalRecommendations

Dana Toledo's journey began in Los Angeles, where she established her career as a hospitality interior designer. She relocated to LA from Atlanta in 2014 and developed a strong connection to the city, building her chosen family and professional network. In the summer of 2021, after a 5-month layoff due to the pandemic from a respected design firm, she experienced a pivotal shift. This period, while challenging due to reduced staff and increased workload, offered invaluable creative and professional growth and mentorship opportunities. The shift to remote work in March 2020 freed up commute time, allowing Toledo to rediscover metalsmithing, a craft she had recently picked up. Her enjoyment in interior design involved material curation during the concept phase, appreciating the process of combining diverse materials like metals, fabrics, stone, glass, wood, and wallpaper to form cohesive palettes. This tactile satisfaction translated into metalsmithing, where she found flow and could spend hours filing, sawing, and hammering metal to create jewelry. Upon being laid off, Toledo launched a collection of ten rings, selling seven within 48 hours, suggesting a potential livelihood as an independent artist. However, a mutual decision to end her relationship with her partner put her jewelry plans on hold as she prioritized finding new housing. Initially set on staying in LA, the financial strain of zero income made living alone daunting. She quickly pivoted, signing a lease for a loft in Atlanta three weeks before her LA lease ended. With limited funds and no clear job prospects, she left LA, a city she loved, to return to Atlanta, a place she had previously vowed never to revisit. The initial months in Atlanta were challenging. The city had changed significantly, and she was starting anew, compounded by personal losses earlier that year. Despite anxiety from unemployment and limited resources, perseverance eventually led to positive changes. She secured a website design client, leveraging a bootcamp course she had taken, and received a call for a remote, part-time position from her first interior design job in LA. Toledo credits this turnaround to the principle of starting with what one has and doing what one can. Moving back to Atlanta, though impulsive, proved transformative. She rejected the option of moving in with her mother in Texas, fearing complacency, as her ambitious nature required a catalyst to pursue her dreams of becoming a successful multidisciplinary artist and creative entrepreneur. Toledo later launched Medjo Rebelde, translating to “A Little Rebellious” in Tagalog, a brand born from years of self-discovery and challenging cultural expectations within her Filipino upbringing. Despite early artistic inclinations, her father discouraged art, labeling it “useless,” which led her to abandon art for 15 years. Coming from a family of medical professionals, she pursued a science-oriented academic path, moving from pre-pharmacy to IT, then Exercise Science, ultimately graduating with a B.S. in Exercise & Health Science, aiming for a doctorate in Physical Therapy. Her interest in interior design was initially rejected by SCAD. A year into living in LA, inspired by the city's diverse creative influences, she reconsidered grad school and enrolled in UCLA’s Interior Design & Architecture program, simultaneously starting her career as a hospitality interior designer. This marked LA as a place that allowed her to embrace her creative identity, while Atlanta facilitated its full adoption. The decision to return to school for interior design at 24 was daunting, fueled by fear of family disapproval. After exploring various options, including sports marketing, she found a Craigslist job that launched her interior design career, confirming her path. Interior design became her entry into the creative world, leading her to explore metalsmithing, painting, and eventually apparel design with Medjo Rebelde. This passion project, developed during her transition from LA to Atlanta, emphasizes stepping out of comfort zones and pursuing passions, irrespective of societal expectations, while respecting heritage. She aims to empower Filipinos and Filipino-Americans to break away from traditional mindsets, encouraging self-expression and permission to live authentically, fostering a “little rebellious” spirit. Toledo acknowledges the bumpy but rewarding path to thriving as a creative entrepreneur and building stronger family relationships through living her truth. Toledo finds the creative process itself most rewarding, entering a state of flow where time ceases to exist. Working primarily with her hands in metalsmithing or painting, she values the direct transfer of ideas to a medium. The satisfaction of seeing thoughts materialize into a unique, personal expression, open to interpretation, is a core motivator. To foster a supportive environment for artists, Toledo advocates for active engagement and open-mindedness. Learning about the artist, being present with their work, and recognizing the significant thought and effort invested in concept development and presentation are crucial. She emphasizes that artistic creations, whether by a painter, musician, baker, or architect, are carefully curated and deliberately planned, resulting from extensive repetition and experimentation. Financial support is acknowledged as vital for sustaining artistic endeavors, akin to any business. Beyond financial contributions, she encourages continued engagement, sharing artists’ work with others, and fostering deeper connections through repeated interactions. #DanaToledo #CreativeJourney #InteriorDesign #Metalsmithing #Entrepreneurship #MedjoRebelde #FilipinoCulture #CareerTransition #ArtistSupport

Jayde Jonathan Glover, a professional operating as both a General Contractor and a Touring DJ, discusses his approach to risk-taking and career management. He believes in pursuing endeavors that make him feel alive, regardless of uncertainty or the opinions of others, choosing a life with a healthy combination of predictability and surprise over a purely safe existence. This philosophy allows him to navigate two demanding and seemingly disparate careers successfully. As the owner of Ardor Design & Build, Glover specializes in ground-up construction and extensive renovations for residential and commercial properties. He acknowledges the high-stress nature and significant liability associated with the construction industry, crediting his partners, Albert Valdez and Zeke Evers, for helping manage the business more smoothly. Together, they have completed notable projects, including several for Fat Sal’s Deli, from their Venice Pier location to their new corporate headquarters in Los Angeles. Concurrently, Glover maintains a vibrant career as a DJ under the name “Kieffer Smutherland.” He holds residencies at prominent Hollywood clubs such as Bootsy Bellows and Hyde, and regularly performs at other well-known venues like The Highlight Room and Poppy’s. He collaborates with restaurant groups like the Vanderpump Group, hosting the popular “Smutherland” event every Friday at Tom Tom with Tom Schwartz, an event that draws fans globally, especially bachelor/bachelorette parties and 'Vanderpump Rules' enthusiasts. Additionally, he has a weekly residency at “The Hideaway” in Pacific Beach, San Diego. Glover's daily schedule is intense, often involving construction site oversight, building regulation navigation, and collaboration with architects and engineers from 6 AM to 5 PM, followed by DJ performances from 10 PM to 2 AM. He finds that the stress of his contracting work is effectively balanced by the exhilarating experience of performing for large crowds as a DJ. He views the demanding schedule and associated lack of sleep as a necessary “price to be paid” for moments of peace and the fulfillment derived from his dual passions. If a friend were visiting Los Angeles, Glover would craft an itinerary showcasing both his professional and leisure worlds. This would include dining at Fat Sal’s on the Venice Pier, visiting other restaurant groups he collaborates with for drinks, and attending his DJ sets at either Bootsy Bellows or The Highlight Room, complete with VIP treatment. A weekend would also involve overseeing a construction project in Santa Monica, visiting other local bars like Tom Tom or Tower 12, and another DJ performance. Sundays would feature a brunch party he DJs at Hyde nightclub, followed by a trip to San Diego for his show at “The Hideaway,” illustrating his non-stop, dynamic lifestyle. Glover extends credit to Andrea De Lancellotti, whom he identifies as an exceptional designer and real estate agent, and his father, Jeffrey Glover, for his newly published book, “Jungle Steam.” This recognition highlights the supportive network and influences in his life and career. #GeneralContractor #TouringDJ #RiskTaking #CareerBalance #ArdorDesignAndBuild #KiefferSmutherland #LosAngelesNightlife #Entrepreneurship

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

Randyland, located in Pittsburgh’s Northshore, is an immersive art environment created by Randy Gilson. Originally a dilapidated property, Gilson purchased the home in 1995 with the goal of transforming the neighborhood. For a decade prior, he had been actively involved in community improvement, including trash removal, establishing community gardens, and placing flowers in front of abandoned buildings. This proactive approach, though sometimes leading to encounters with law enforcement, was driven by his desire to enhance the living environment of the area. Randyland is characterized by its vibrant, colorful aesthetic, visible from several blocks away. The main three-story house at the corner of Arch and Jacksonia Streets is painted a bright yellow with various scenes, while an adjacent house features pastel green with painted window motifs. The artistic style has been likened to a blend of Sesame Street and the Beatles' "Magical Mystery Tour," reflecting a playful and imaginative approach to home decoration. Gilson's creative process heavily relies on repurposing recycled materials, transforming discarded items into unique art installations. Upon entering Randyland, visitors are greeted by a cutout of Gilson and a profusion of recycled art pieces that adorn the entrances. The back gardens are designed to feel like a welcoming home, furnished with chairs and tables, where Gilson himself is often seen working. The creator defines Randyland not merely as an art project, but as "a giant heart of love," embodying his life philosophy of joy and happiness, particularly given his own challenging background. This personal connection is evident in the transformative power of the space, which aims to uplift spirits and inspire positive emotions. The essence of Randyland is intrinsically linked to Randy Gilson's personality and life story. His ability to radiate happiness and wisdom, despite claiming not to be "smart," is a central theme. The property serves as a physical manifestation of his optimistic outlook, demonstrating how creative expression and a positive mindset can transform both a physical space and the experiences of those who visit it. This unique artistic endeavor has earned Randyland the reputation of being "Pennsylvania’s happiest destination," offering an engaging and uplifting experience for all who explore its colorful domain. #RandylandPittsburgh #PublicArt #RandyGilson #NorthshorePittsburgh #PennsylvaniaTravel #OutdoorArt #RecycledArt #ArtisticHomes #CommunityTransformation

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

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 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

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

The author reflects on the ubiquity of concrete in the built world, drawing a parallel between the echoing sound of rocks in the Swiss Alps and the lasting impact of concrete structures. Concrete, a mixture of gravel, cement, sand, and water, is a fundamental material whose form is determined by its negative space—the formwork. This essential characteristic distinguishes it from carved stone, highlighting the precision and craftsmanship required in its creation. Once the formwork is removed, the cured concrete stands as a silent testament to its intricate process, defying gravity through the embrace of its constituent elements. Le Corbusier significantly contributed to the modernist understanding of concrete, recognizing its sculptural potential and its ability to symbolize modernity through its malleability and strength. His use of board-formed concrete, known as *béton brut* or Brutalism, became a defining feature of his architectural style, imprinting the memory of wooden molds onto the concrete surface. Paul Rudolph, a daring practitioner of modernism, further developed this legacy by allowing concrete to express its inherent qualities. Unlike Le Corbusier, Rudolph designed custom formwork with trapezoidal fins that, once cast, were broken away to reveal rhythmic patterns and luminous textures. This technique created tactile, golden-hued surfaces that celebrated the raw beauty of the material. The exhibition *Materialized Space: The Architecture of Paul Rudolph* at the Met Museum showcases Rudolph's approach, emphasizing the interplay between material and craft. The exhibit features his intricate drawings and models, with a preserved section of the formwork used for Yale's Art and Architecture Building (1963) standing out. This artifact, framed in a custom case, highlights the estrangement of the tool from its original function, serving as a relic of a time when complex formwork and skilled carpentry were commonplace. Rudolph's architecture often appears in science fiction, symbolizing a world of unbridled experimentation and ambition, contrasting with contemporary trends prioritizing optimization and efficiency. The author's firm, SO–IL, has reinterpreted Rudolph's corrugated concrete façades in various projects. At the Manetti Shrem Museum at UC Davis, precast panels and wide silicon joints were used to meet seismic demands, integrating them into a vertical corrugated pattern to create the illusion of a continuous surface. At the Amant Foundation in Brooklyn, corrugation was employed to break up vast façades and absorb concrete imperfections, allowing depth to shape their expression through light and shadow rather than raw materiality. At 144 Vanderbilt, a residential building, SO–IL expanded concrete's tactile and aesthetic potential by incorporating red dye, carefully selected aggregates, and scalloped form liners for rhythmic depth. Bead blasting and acid etching were applied to impart texture and nuance, creating a façade that balances expressive massing with an embrace of its panelization. These projects recontextualize Rudolph's grooves, honoring his legacy while creating new echoes for contemporary architecture. #Architecture #PaulRudolph #Concrete #Modernism #MaterializedSpace #Formwork #Brutalism #ArchitecturalExhibition #SOILArchitecture

The article presents an interview with Rachel Valenziano, ASLA, an associate at TEN x TEN Landscape Architecture and Urbanism, and the first recipient of the Roger Bond Martin Travel Prize. This $10,000 fellowship, established by the ASLA Minnesota Chapter and the University of Minnesota, is awarded annually to an emerging landscape architect. Valenziano recently returned from Rome, where her project concentrated on the city's "everyday and the in-between" aspects. Valenziano explains her choice of Rome, highlighting the city's rich history, politics, and constant change, which she describes as a "lasagna" of layers. Her project intentionally focused on exploring areas exclusively within walking distance, anticipating that every location would offer meaningful narratives for investigation through pedestrian movement. Preparations for the experience involved extensive reading and discussions with individuals interested in walking as a practice. A significant part of her preparation centered on experimenting with various drawing techniques. She aimed to create long, linear drawings to document her walks and refined these methods before her trip to effectively capture her observations. Valenziano details how her experimental drawing approach influenced her perceptions during the walks. She realized the impracticality of creating a single drawing that encompassed an entire day's journey across the city, leading her to concentrate on distilling ideas. During her time in Rome, she also utilized GPS to track her movements, generating a map that visually represented her path through the city. This digital trace, she notes, revealed the main thoroughfares and the underlying urban fabric, effectively becoming a form of drawing with her body in space. She found inspiration in Richard Long's work, which explores the traces left by walking, with her digital tracks serving a similar purpose. She recommends three influential books that guided her project. The first is Francesco Careri’s *Walkscapes*, which examines walking as an aesthetic practice and chronicles its history as an art form. The second, *Through Time and the City: Notes on Rome* by Kristi Cheramie, is noted for its ability to distill Rome's complex, layered history. The third, Will Self’s *Psychogeography*, helped her to frame her role as an observer and a designer, maintaining a degree of detachment from her immediate surroundings. Valenziano acknowledges the inherently romantic nature of her project, emphasizing her desire to find inspiration and delight. She contrasts this with the potential for cynicism, particularly concerning contemporary issues like climate change, and advocates for designers to appreciate intriguing moments and develop a keen eye for detail. Despite the romantic ideal, she admits there were moments of unpleasantness and days when she chose not to draw, opting to engage in the creative process only when genuinely inspired. Timothy A. Schuler, a contributing editor at the magazine, conducted the interview. Schuler's work has appeared in various publications, including *Metropolis*, *Bloomberg CityLab*, and *Places Journal*. #RachelValenziano #RomeTravel #LandscapeArchitecture #WalkingResearch #RogerBondMartinTravelPrize #UrbanExploration #DrawingTechniques #Psychogeography

Todd Hido, born in Kent, Ohio, in 1968, transitioned from photographing skateboarding and BMX culture to becoming a highly admired and influential photographer known for his cinematic depictions of suburban housing and eerie landscapes. His artistic evolution is rooted in a complex process of recognition, where current subjects resonate with past experiences, including films, books, music, and personal memories. This essay explores Hido's distinctive approach, emphasizing how his work taps into a shared unconscious memory of images, blurring the lines between personal experience and received cultural imprints. Hido's photography, particularly his series like *House Hunting*, often features suburban homes at night, their glowing windows hinting at unknown domestic dramas within. This evocative style, described as distinctly cinematic, draws inspiration from Hido's lifelong engagement with film. The essay references early cinematic experiments by André Breton and Jacques Vaché, who sought mental impressions from film fragments, highlighting a historical precedent for assembling a creative life from disparate visual elements. This fragmented approach resonates with Hido's method, where individual images, much like film stills, are freed from rigid narrative obligations to evoke a sense of ambiguity and deeper resonance. The essay posits that Hido's work thrives on the interplay between description and suggestion, embracing the muteness and fixity of still photography to create provisional narratives. The arrangement of his photographs, particularly in his book *Intimate Distance*, is chronological but designed to reveal the artist's thematic spiraling through motifs such as intimacy and distance, explored in titles like *House Hunting*, *A Road Divided*, and *Outskirts*. This arrangement encourages viewers to wander through and around his themes, creating a subjective experience where untold tales and possibilities are as much a product of the viewer's imagination as Hido's intentions. Hido’s photographs are characterized by their slow creation, prompted by flashes of recognition where the world-as-image aligns with something half-remembered. Despite their sumptuous detail and rich atmospheres, they possess a minimalist economy, sketching complex emotional landscapes with simple elements like a horizon, a telephone pole, or the sodium light of suburbia. He confidently inhabits familiar iconography, such as the picket fence, transforming clichés into deeply personal expressions that confirm how cultural motifs gain meaning through individual inflection. The essay dissects the symbolic weight of the picket fence in Hido's work, connecting it to a rich American cultural history of division and domesticity, while also highlighting the emotional complexities conveyed through his use of color and composition. A central metaphor in understanding Hido's process is the camera as a dark chamber, a concept extended to the rooms he photographs and even his car, which serves as a mobile chamber for capturing landscapes. This allows light to be observed, calibrated, and made tangible, reflecting human emotions—affectionate, indifferent, or cruel. The act of moving through Hido’s work is akin to moving through these chambers, experiencing how light shapes perception and feeling. The essay concludes by reflecting on the transient yet profound sensation of leaving a cinema, drawing a parallel to the sustained engagement with a book of photographs. Unlike the complete immersion of film, Hido’s photographic sequences allow for a conscious and continuous engagement with individual images, creating a deeply immersive yet reflective experience where meaning is continuously churned and recombined, much like the wandering nature of photographs themselves. His work, therefore, is not merely a documentation but an ongoing journey of rediscovery, both for the artist and the viewer. #ToddHido #Photography #SuburbanLandscapes #CinematicPhotography #IntimateDistance #HouseHunting #ArtisticProcess #VisualStorytelling #MemoryAndImagery

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

This blog post highlights the significant contributions of Grafico, a printing company, during 'Courtyard Week' on a renovation show, focusing on their innovative wall solutions. Grafico partnered with two competing couples, Jesse & Mel and Mitch & Mark, to deliver custom-printed wall finishes for their outdoor spaces. Jesse & Mel's winning courtyard prominently featured an 8.5-meter high wall adorned with 'Mosaico Digitale.' This particular product, custom-printed by Grafico, utilizes bio-resin mosaic tiles, which are noted for their lightweight properties and versatility. The unique aspect of 'Mosaico Digitale' is its exclusive Italian-made technology that enables almost any image to be printed onto these tiles. Furthermore, the shape of the tiles is customizable, and they are suitable for various applications, including indoor, outdoor, and even wet areas, demonstrating a high degree of adaptability and design flexibility. The judges were particularly impressed with the outcome in Jesse & Mel's courtyard. Simultaneously, Grafico collaborated with Mitch & Mark, providing them with 'Palm Breeze' Outdoor Wallpaper. This wallpaper was specifically designed to wrap over existing Colorbond cladding, contributing to a 'Palm Springs'-inspired aesthetic for their courtyard. This installation was equally challenging, given its height of over eight meters. The Grafico team successfully completed the installation of both extensive walls in a remarkably short timeframe, specifically less than 24 hours, showcasing their efficiency and skill under pressure. The blog post emphasizes the intensity of 'Wall Week' and the demanding nature of these large-scale installations. The article also includes a mention of a video episode featuring Damian from Grafico, detailing the behind-the-scenes action of 'Wall Week,' inviting readers to explore the process further. It concludes by encouraging readers to subscribe to a newsletter for updates and offering a discount on future orders. The overall focus is on the successful implementation of high-impact, custom wall treatments in a competitive design environment, showcasing Grafico's specialized capabilities in custom printing for architectural and design purposes. #WallWeek #Grafico #CourtyardDesign #MosaicoDigitale #BioResinTiles #PalmBreezeWallpaper #OutdoorDecor #CustomPrinting #TheBlock