Clocks and Clouds: The Architecture of Escher GuneWardena

C L O C K S

A N D

C L O C K S

C L O U D S

T H E

A N D

Escher GuneWardena, founded in Los Angeles in 1996, came

A R C H I T E C T U R E

to international recognition for their creative and flexible approaches to a wide range of projects, bringing their diverse interests and talents into play, and cross-pollinating one architectural or artistic discipline with another to achieve innovative solutions. Commercial spaces are treated as responses to difficult sites. Historic preservation projects, including such icons as the Eames House and John Lautner‘s and expertise in, 20th century architectural history. Their presence in the world of contemporary art is confirmed by their numerous collaborations with artists such as Sharon Lockhart, Mike Kelley, and Stephen Prina. Inhabiting both the worlds of architectural history and of contemporary art, the work of Escher GuneWardena reflects the unique conditions of Los Angeles, which has been a stage for 20th-century architecture and is, today, a hub for contemporary art.

for living, for work, for art and for contemplation. Contributors

O F

This publication documents a selection of 25 projects: spaces

A R C H I T E C T U R E

Chemosphere, testify to Escher GuneWardena’s sensitivity to,

T H E

conceptual art works, hillside residences emerge as poetic

Lilian Pfaff, Jocelyn Gibbs, Sabine Eckmann, Barbara Lamprecht, and Mimi Zeiger offer various perspectives in this exploration of the work of Escher GuneWardena Architecture.

L I L I A N

E D I T O R

O F

E S C H E R

G U N E W A R D E N A

P F A F F ,

www.birkhauser.com

C L O U D S

— Don Albrecht, Curator of Architecture and Design, Museum of the City of New York

G U N E W A R D E N A

“They are, in part, scholars, artists, architectural historians, designers, and architects.”

E S C H E R

Nicholas Olsberg, Paulette Singley, Alex Slade, Martino Stierli,

L I L I A N

P F A F F ,

E D I T O R

L I L I A N

P F A F F , editor

With contributions by S A B I N E F R A N K R A V I

E C K M A N N E S C H E R

G U N E W A R D E N A

J O C E L Y N

G I B B S

B A R B A R A

L A M P R E C H T

N I C H O L A S P A U L E T T E A L E X

S I N G L E Y

S L A D E

M A R T I N O M I M I

O L S B E R G

S T I E R L I

Z E I G E R

B I R K H Ă„ U S E R B A S E L

C L O C K S

A N D

C L O U D S :

T H E

A R C H I T E C T U R E

O F

E S C H E R

G U N E W A R D E N A

TA B L E O F C O N T E N T S

16 FOREWORD

J O C E LY N G I B B S 18

23

INTRODUCTION MARTINO STIERLI

I N T E RV I E W BY L I L I A N P FA F F W I T H F R A N K E S C H E R A N D R AV I G U N E WA R D E N A PA RT I : C LO C KS A N D C LO U DS

32

COMPLETE WORKS

R E A D I N G T H E PAST 56

1 8 8 AT M O S P H E R E S , E X H I B I T I O N S , A N D C AT O P T R I C B OX E S

PAU L E T T E S I N G L E Y 198 202 206 210

ELECTRIC SUN I ELECTRIC SUN III HERMÈS PETIT H C LO U D S — R E D C AT

R E L AT I N G TO A R T 214

THE ART OF EXHIBITION SABINE ECKMANN 222 BLUM & POE GALLERY I 2 24 I N S TA L L AT I O N D E S I G N F O R MIKE KELLEY’S PETTING ZOO 228 BLUM & POE GALLERY II 234 EXHIBITION DESIGN FOR B E T W E E N E A R T H A N D H E AV E N : THE ARCHITECTURE OF JOHN L AUTNER 238 EXHIBITION DESIGN FOR LIVING FLOWERS: IKEBANA AND CONTEMPORARY ART 242 EXHIBITION DESIGN FOR SHARON LOCKHART’S LUNCH BREAK 246 EXHIBITION DESIGN FOR S H A RO N LO C K H A RT | N OA E S H KO L 250 SCENOGRAPHY FOR SHARON LOCKHART’S F O U R E X E R C I S E S I N E S H KO L-WAC H M A N M OV E M E N T N OTAT I O N

H I S T O R Y A N D P R E S E R VAT I O N : F O U R C O N V E R S AT I O N S W I T H T H E PA S T BARBARA LAMPRECHT 72 80 86 90 94

99

MAKING OF PLACE

C H E M O S P H E R E R E S TO R AT I O N T Y R E H O U S E R E S TO R AT I O N STEPHEN PRINA: AS HE REMEMBERED IT E A M E S H O U S E C O N S E R VAT I O N PAU L I N E : A N O P E R A

I N T E RV I E W BY L I L I A N P FA F F W I T H F R A N K E S C H E R A N D R AV I G U N E WA R D E N A PA RT I I : B EG I N N I N G S A N D C O L L A B O R AT I O N S

S PAC E S FO R L I V I N G 110

AGA I N S T N AT U R E MIMI ZEIGER 116 122 128 140 146 154

H O L LY W O O D H I L L S H O U S E HOUSE ON TWO TOWERS SOLA/WRIGHT HOUSE PEARSON/TRENT HOUSE HOUSE WITH FIVE CORNERS HOUSE OF SEVEN SCREENS

1 6 1 I N T E RV I E W BY L I L I A N P FA F F W I T H F R A N K E S C H E R A N D R AV I G U N E WA R D E N A

PA RT I I I : T H E T H E N A N D T H E N OW

LANDSCAPES OF REFLECTION 1 70 S PAC E B EC O M E S T I M E : L A N DS CA P E S O F R E F L E C T I O N A N D R E C O N C I L I AT I O N

NICHOLAS OLSBERG 1 7 8 S T. M I C H A E L’ S 1 8 4 W O O D L A N D N AT U R E R E T R E AT

2 5 3 I N T E RV I E W BY L I L I A N P FA F F W I T H F R A N K E S C H E R A N D R AV I G U N E WA R D E N A

PA R T I V: M OV E M E N T A N D S T I L L N E S S

262 264 268 270

ACKNOWLEDGEMENTS S E L E C T E D P U B L I C AT I O N S ABOUT THE CONTRIBUTORS IMAGE CREDITS

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C L O C K S

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COMPLETE WORKS 1996–2016

1. Doyle/Wilson Salon Los Angeles, California (1996) Studio for hair designer Clay Wilson

2. Baskerville Addition Los Angeles, California (1996–2006) Addition to Richard Neutra’s Loring House, 1959

3. House on Two Towers (Jamie Residence) Pasadena, California (1997–2000) Residence lofted above steep hillside on two concrete piers (see p. 122)

4. Electric Sun I Los Angeles, California (1997) Tanning salon treated as a light installation (see p. 198)

5. Ruth Bachofner Gallery Santa Monica, California (1998) Art gallery at Bergamot Station

6. Chemosphere Restoration/Remodel Los Angeles, California (1998–2000) Restoration and remodel of John Lautner’s Chemosphere, 1960 (see p. 72)

7. Hollywood Hills House (unbuilt) Los Angeles, California (1999) Translucent volume perched on a hillside as a house and studio for a sound editor (see p. 116)

8. Fernando Residence Nanaimo, BC, Canada (1999–2001) Residence organized around a central garden/circulation space

9. Gabrielino Tongva Springs Foundation Los Angeles, California (2000–2003) Master plan for Native American historic site and cultural center (completed July 2000) Phase I amphitheater (completed 2003)

10. Chemosphere Guest House and Pool (unbuilt) Los Angeles, California (2000) Glazed bridge as a guest house, pool with underwater bar

11. Electric Sun II Sherman Oaks, California (2000) Tanning salon treated as a light installation

12. Sola/Wright House Los Angeles, California (2000–2008) Three stacked volumes wrapped in a thermoplastic roofing membrane (see p. 128)

13. Electric Sun III Los Angeles, California (2001) Tanning salon treated as a light installation Collaboration with Los Angeles artist Jonathan Williams (see p. 202)

14. Santa Monica Mountains Residence (unbuilt) Sherman Oaks, California (2001–2002) Residence comprising a series of frameless glass pavilions with a cantilevered steel roof structure

15. Sharon Lockhart Museum of Contemporary Art: Chicago, Illinois (March 3–May 20, 2001) Exhibition design

16. Pho Café

17. Mil-Spec Magnetics, Inc.

18. 5th Avenue Residence

Los Angeles, California (2001) Linear arrangement of a Vietnamese restaurant in Silver Lake

Pomona, Californa (2002) Office and production facility for electronics manufacturing company

New York, New York (2002) Remodel and interior design of a quintessential Upper East Side apartment for young art collectors

19. Hollywood Hills Guest House Los Angeles, California (2002–2008) Compact concrete building with green roof

20. Parker/van Zyl Residence (unbuilt) Los Angeles, California (2002–2007) Residence comprising two pavilions surrounding pool and garden court

21. Wilson/Praetorius Residence (unbuilt) Los Angeles, California (2003) Craftsman bungalow raised onto a platform to create an open living space below

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C H E M O S P H E R E R E S TO R AT I O N LOS ANGELES, CALIFORNIA, 1998–2000

After decades of neglect, the purchase of the Chemosphere in 1997 by publisher Benedikt Taschen led to the restoration of this iconic structure. Built in 1960, the Chemosphere is not only one of the most important projects by architect John Lautner (1911–1994), but it is also one of the best-known houses of Los Angeles.

The house was to serve as a residence for Taschen and his family.

Perched on a single concrete column, the Chemosphere is a brilliant structural solution to the problems of building on its precipitous site. The column lofts a steel and wood octagonal platform, supported by eight steel diagonal braces from which spring eight arched glulam beams that are tied to a steel compression ring at the center of the house. None of the interior walls are load-bearing. A large living, dining and open kitchen area occupies roughly half the house, facing the view. The other half, facing the hill, accommodates the bedrooms, bathrooms, and a laundry room.

The original clients for the project, aerospace engineer Leonard Malin and his family, lived in the house until 1972, making only minor changes to it during their time there.

A third owner, however, made significant and unfortunate alterations to the house, removing built-in furniture, altering the fireplace area of the living room and remodeling the bedrooms and bathrooms.

Thankfully, the main structural elements were left intact, with restoration only necessary in selected glulam beams.

In the restoration project many built-in pieces of furniture had to be repaired, restored, or completely reconstructed to match the originals. The electrical and mechanical systems had to be updated or repaired, replacing, for example, about half of the damaged radiant floor heating supply line. The house had to be re-roofed with the original fiberglass emulsion roof material, and the concrete block wall surrounding the fireplace underwent intensive restoration to remove multiple layers of paint.

Historically significant elements of the house were restored or reconstructed. Some elements evident in original drawings, which were not executed in 1960 (due to budget restrictions), were reinterpreted and installed during restoration. One intervention was a change in flooring material. The original floor plan shows a random broken slate for the living, dining and kitchen areas, and vinyl or carpeting for the rest of the house. During construction in 1960, however, a decision was made to use only one flooring material for the entire house: a small mosaic tile which was a sponsored product donation. Additionally, the radiant floor heating system with the necessary 2 inches (5.1 centimeter) of lightweight concrete for the coils was added during construction, with an increase in dead load to the original structure. While this turned out not to have had any negative effects, great care had to be given to avoid adding further weight to the structure.

Escher GuneWardena’s design solution for the new floor addressed the original intent

(as well as the weight concerns) by developing a floor with random pattern cut from ¼ inch (6.4 millimeter) slate tile, which now extends throughout the entire house and terrace.

Walls in the living room, which were originally plastered (due to budget concerns) but are shown on the drawings as being covered with wood, were paneled, using the same type of ash wood as the original cabinetry. A large, irregularly shaped sliding door in ash, indicated on archival drawings, was developed and installed, separating the living room from the adjacent master bedroom. Cabinetry throughout the bedrooms was restored, replacing missing segments removed in the 1970s. The large bedroom, which was originally a double bedroom for the children, was converted into an office for the new owners.

The most significant and dramatic change to the house was the replacement of the glass. The standard aluminum sliding doors at the dining area and the aluminum kitchen door, each with a massive aluminum frame, as well as the aluminum-framed fixed panels along the entire perimeter, were replaced with frameless glass, a technology not readily available at the time of the house’s original construction, but frequently used by Lautner in later projects.

Eliminating the numerous vertical frames, mullions and non-bearing posts, and carefully detailing the glass to fit into the existing structure created a seamless transition from inside to outside.

Escher GuneWardena, Floor plan, 1998 7 2

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HOUSE ON TWO TOWERS PASA D E N A , CA L I FO R N I A , 1997– 20 0 0

Also known as the Jamie Residence, this house for a young couple is situated on a steep hillside at the north end of a canyon in the city of Pasadena, adjacent to Los Angeles, overlooking the Rose Bowl Stadium and the city beyond. There are also dramatic views of the San Gabriel Mountains to the east and the San Rafael Hills to the west, which the clients wished to maintain as much as possible.

The design concept evolved from the most elegant structural solution at hand, which was to build two large concrete piers that carry two steel beams spanning an 84-foot (25.6 meter) length, which in turn carry the wood-framed house. The two piers are the only elements to meet the ground, causing minimal impact on the existing slope and allowing the natural landscape to continue beneath the house. Access to the house is by a bridge, which connects to the road on the uphill side of the property.

The house is organized around a series of volumes containing utility spaces (closets,

bathrooms, laundry), which define the spaces for living. To maintain views out from all rooms at the perimeter, the garage volume was placed in the middle. The house is divided into two zones: one zone for living and dining areas, the parents’ bedroom suite, and a study; and another zone for the kitchen/breakfast area, the family/play room, and the children’s rooms.

Enclosed spaces for bedrooms face the hillside, and open spaces for communal activities face the view out to the mountains.

These open spaces, which include the living and dining rooms, outdoor deck, kitchen, and family room are all interconnected to create one continuous 84-foot-long (25.6 meter) space with 180-degree views of the cityscape below and landscape beyond.

The exterior elevations of the house are composed of floor-to-ceiling window openings alternating with solid planes clad in a cement board panel system. The underside of the house is treated as a fifth facade also clad in cement boards.

Floor plan 1 2 2

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HOUSE OF SEVEN SCREENS GLENDALE , CALIFORNIA, 2012–2016

Inspired by mashrabiya, Middle-Eastern lattice work privacy screens, large-scale steel shear wall elements were developed to contend with vertical and horizontal loads at the perimeter of this single-story house which spreads across a promontory overlooking the city of Glendale, California.

The seven screens become the primary structural support, allowing most of the building perimeter to be glazed. The window line is set back in deep verandas

surrounding the house, reducing heat gain through the glass.

The irregularly shaped plan, determined by setbacks from the top of the slope, is organized around an entry courtyard leading to three zones: public areas (living, dining, kitchen) facing south; parents’ area (master bedroom, bath and library) facing west; and children’s area (bedrooms, study) facing east.

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B BED 01 W .C.

BATH 01

BATH 02

CL. 02 CL. 01 GARAGE

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SHOWER

MASTER BATH

HALL 01

LAUNDRY

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C HER MASTER CLOSET

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HIS MASTER CLOSET

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HALL 02

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STUDY

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BATH 04 LIBRARY BED 04 PANTRY

BAR

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I N T E RV I E W BY L I L I A N P FA F F

T H E

W I T H F R A N K E S C H E R A N D R AV I G U N E WA R D E N A

a master bedroom in the set of plans for

original. The addition has proportions

the original house. But we were not

that are clearly different from the

interested in simply interpreting Neutra’s

original house, and it is a space that

RG We have both always been interested

sketch and felt that the addition needed

speaks much more about our own work

in exploring history from archeological

to be contemporary, yet respectful

than Neutra’s. The space is organized

sites to old temples, palaces, and

toward the original house in its placement

around a volume that contains various

churches, as well as 20th-century works.

and massing.

functions like storage, laundry, and a

FE The addition teeters over a steep

space. Various different areas are

at things or do things. We both have

drop at the edge of the site. First we

created around this volume—sleeping,

strong interests in various parts of history

examined the overall composition. We

bathing, dressing areas and so on. It is

and art history.

made the addition substantially taller

clearly not something that Neutra would

than the existing house, but we set it

have designed, but yet it echoes some

LP The first architectural history project

back so that it was not competing with

of his ideas about materials.

you did was the addition to the Neutra

the front of the house. It was important

house?

that the element be recognizable as an from the same materials that Neutra

Lautner, we worked on an addition to

had used, for example, silver-painted

Richard Neutra’s Loring House from 1959.

wooden door frames, and ash wood for

P A R T

addition, but also that it would be built FE Yes, before the Chemosphere by John

:

W.C. and which floats in the much larger

invariably shape the way we think, look

I I I

Things that have happened before us

T H E

LP We should talk about your interest in history.

T H E N

A N D

PA RT I I I : T H E T H E N A N D T H E N OW

dialogue with the existing house. We

building? That is a very difficult task.

should also say that the house was restored in the early 1980s and at that

RG In this case Neutra had indicated the

point some new materials were introduced

location for a possible future addition of

into the house that were not part of the

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Escher GuneWardena, addition to Richard Neutra’s 1959 Loring House, Los Angeles, 1996–2006

I N T E R V I E W

the paneling so that there would be a LP How did you build onto a Neutra

LP One of your projects is the Harpel

FE Very early in the process, we got

Guest House, the reconstruction of a

Andrew Nasser involved, who is a brilliant

Lautner house.

structural engineer and who did a lot of work with John Lautner. We have worked

FE It is not a reconstruction, because it

with him on many other projects. We

was never built. It is an unbuilt house

discussed with him what parts of the

from the late 1950s that we are now

structural system had to be changed

building, so we are the executive architects for it. And I should say that the only reason the Lautner Foundation allowed this to go forward is because our client

and could be changed without affecting Escher GuneWardena, digital rendering of John Lautner’s 1958 Harpel Guest House, Los Angeles, 2013–

the overall architecture. To give you an example, the roof structure, which was originally a steel and wood construction,

has the original piece of land that the

became an all-steel construction so that

house was designed for. This is very

we could have stiffer connections and

important in Lautner’s work, where each

have an overall better structural system

house is designed very specifically to a

for the roof. We had to introduce some

site. You would never be able to move

shear walls that were not part of the

a design somewhere else and have the

original design. There were some minor

same relationship to the land. I was first

revisions that we had to do to the plan—

involved as a Foundation board member

align walls on the ground floor and the

in discussing and agreeing to have this

upper floor so that we could transfer

project go forward. The owner had also previously done a very careful and beautiful restoration of another Lautner

John Lautner, Harpel Guest House original rendering, 1958

loads. But these were minor things that we felt we could do without jeopardizing or undermining the architectural

house, so we felt that he would be very

envisioned, which were drawn by hand,

attentive to this project.

didn’t actually work once they were modeled in Revit.

Then about a year or two later he called

integrity of the original design.

Getting the house to comply with current energy use codes was much more

us and asked us to be the executive arch-

RG That was a big challenge—to see

complicated, because the house has a

itects on this project which was actually

where we had to manipulate certain

full perimeter of glass. On the south side,

relatively well developed by Lautner.

dimensions, or certain relations of parts

there is very little glass and it is protected

There are about 20 sheets of plans,

and pieces to develop this in a coherent

by an overhang, and the north side, where

structural engineering, foundations, and

manner. Another aspect was that this

there is a view, is a 14-foot-tall (4.3 meter)

so on, but there aren’t a lot of details.

project was designed in the late 1950s

wall of glass. And it was important to us

A lot of this would have probably been

and building codes have completely

that this was detailed in the same way

worked out during construction, which

changed. We had to update the structural

that Lautner had detailed it, which was

now of course has to be worked out

and mechanical engineering to satisfy

single glazing with very delicate frames.

ahead of time. It also became clear to us

current mechanical codes and energy

It is now going to be laminated glass, but

that some of the geometries that Lautner

use codes as well as seismic codes.

it is detailed in the same way you would detail single glazing. We had to avoid the

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humanity to which our disparities might aspire. Others have, until now, taken vital but oddly solitary places

A N D R E C O N C I L I AT I O N

in the discourse, though, as we shall see, there is a fundamental way in which they are united: Hassan

NICHOLAS OLSBERG

O L S B E R G

S PAC E B EC O M E S T I M E : LANDSCAPES OF REFLECTION

Fathy’s Dar al Islam campus in Abiquiú, New Mexico, Desert nearby, Walter Netsch’s Air Force Academy Cadet

“Zum Raum wird hier die Zeit″

Chapel, Frank Lloyd Wright’s Beth Sholom Synagogue,

— Richard Wagner, Parsifal

Erich Mendelsohn’s Park Synagogue in Cleveland, Louis Kahn’s First Unitarian Church of Rochester and his

It is curious that at the high point of the scientific,

astonishing but well-remembered proposal for the Hurva

functional, and space age, and in increasingly secularized

Synagogue in Jerusalem, Sigurd Lewerentz’ parish church

societies, so many of the most experimental, expressive,

at Klippan, Aldo Rossi’s San Cataldo Cemetery, Jørn

and powerful monuments of late Modernism and after

Utzon’s Bagsværd Church, Carlo Scarpa’s Meditation :

are buildings for religious congregations and commu-

N I C H O L A S

and George Nakashima’s Monastery of Christ in the

nities, or centered around a spiritual purpose. Some, like Le Corbusier’s chapel at Ronchamp and his convent R E F L E C T I O N

Sainte-Marie de La Tourette, stand as primary and even contentious markers along the road from machine age rationalism toward a revived recognition of the emotive, poetic, and transcendental possibilities of architecture and of its potential to act as an instrument of enlightenment: to awaken a heightened awareness both of the texture and rhythms of a ground and sky within which

Hassan Fathy, Dar al Islam campus, Abiquiú, New Mexico, 1979–1982

George Nakashima, Monastery of Christ in the Desert, near Abiquiú, New Mexico, 1970–1972

Ravi GuneWardena, untitled ikebana, May 1, 2014

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L A N D S C A P E S

O F

we live, and of the gathering together in common

EXHIBITION DESIGN FOR SHARON LOCKHART’S LUNCH BREAK SECESSION, VIENNA, AUSTRIA, 2008–2009

Since 2001 Escher GuneWardena has collaborated with artist Sharon Lockhart on all of her major exhibitions, including the installation of her work entitled Lunch Break, which was first shown at the Vienna Secession in 2008. Comprising two films and three suites of photographs, the series observes the daily lives of shipyard workers during their lunch hour in the historic Bath Iron Works in Maine.

Assigning spatial weight to the various elements of the exhibition, the artist and architects developed different viewing experiences for the work within the historic 1898 Secession Building by Joseph Maria Olbrich. An exaggeratedly long container, measuring 19 × 62 feet (6 × 19 meters), housing the most prominent piece of the exhibition, the film Lunch Break, was inserted on axis with the entrance doors in the rigorously symmetrical, formal space

of the main exhibition hall. “Portraits” of the workers’ lunch boxes and larger suites of photographs surrounded the looming container.

“The Secession, as a historically loaded space, does not offer easy conditions in favor of setting up contemporary exhibitions. Escher GuneWardena’s work for Sharon Lockhart’s exhibition in the Secession can be regarded as one of the best architectural installations in this building in the past years.” András Pálffy, President Vienna Secession The exhibition was installed at five other venues: Gladstone Gallery, New York; Blum and Poe, Los Angeles; Mildred Lane Kemper Art Museum, St. Louis; Colby College Museum of Art, Waterville; the San Francisco Museum of Modern Art, San Francisco; and Gio Marconi, Milan.

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Main floor installation plan

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Installation views

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C L O C K S

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C L O U D S

T H E

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Escher GuneWardena, founded in Los Angeles in 1996, came

A R C H I T E C T U R E

to international recognition for their creative and flexible approaches to a wide range of projects, bringing their diverse interests and talents into play, and cross-pollinating one architectural or artistic discipline with another to achieve innovative solutions. Commercial spaces are treated as responses to difficult sites. Historic preservation projects, including such icons as the Eames House and John Lautner‘s and expertise in, 20th century architectural history. Their presence in the world of contemporary art is confirmed by their numerous collaborations with artists such as Sharon Lockhart, Mike Kelley, and Stephen Prina. Inhabiting both the worlds of architectural history and of contemporary art, the work of Escher GuneWardena reflects the unique conditions of Los Angeles, which has been a stage for 20th-century architecture and is, today, a hub for contemporary art.

for living, for work, for art and for contemplation. Contributors

O F

This publication documents a selection of 25 projects: spaces

A R C H I T E C T U R E

Chemosphere, testify to Escher GuneWardena’s sensitivity to,

T H E

conceptual art works, hillside residences emerge as poetic

Lilian Pfaff, Jocelyn Gibbs, Sabine Eckmann, Barbara Lamprecht, and Mimi Zeiger offer various perspectives in this exploration of the work of Escher GuneWardena Architecture.

L I L I A N

E D I T O R

O F

E S C H E R

G U N E W A R D E N A

P F A F F ,

www.birkhauser.com

C L O U D S

— Don Albrecht, Curator of Architecture and Design, Museum of the City of New York

G U N E W A R D E N A

“They are, in part, scholars, artists, architectural historians, designers, and architects.”

E S C H E R

Nicholas Olsberg, Paulette Singley, Alex Slade, Martino Stierli,

L I L I A N

P F A F F ,

E D I T O R