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The Cover Natural Life. It’ s a perfect interaction between nature and landscape, between interior and exterior: the architecture in the Los Angeles hills designed by Belgian architect Vincent Van Duysen, fully meets to the expectations of Jenni Kayne, the Californian fashion designer and natural lifestyle guru. Photos by Stephen Kent Johnson/OTTO. Text by Laura Maggi.

36 Craft activism. 62 Marina Abramovic. 64 Mabeo is back. 84 Into the light. 103 The essence of time. 120 Natural life. 130 Object Trouvé.

Craft activism — p. 36

Craft activism — p. 36

by Valentina Raggi

International architects, artists and designers reveal the political nature of the handmade. Craftsmanship is ever-more committed, reimagining projects from an ethical and sustainable angle. Here ’ s how.

Going back to move forward. In the absence of a new generation of ‘hands ’ that would learn how to rework the methodologies in an innovative way, ancient know-how was at risk of being lost. But a change of course is underway. New brands, shows and practices tell of how many makers – many until recently unrelated to craftsmanship – are taking an interest in the handmade, even with the conscientious view that ‘less is more ’ . The MoMA in New York is currently staging ‘Reuse, Renew, Recycle: Recent Architecture from China ’ , which explores a new generation of designers who, following the years of the country ’ s urban expansion, have returned to studying and implementing ancient local building techniques for a more sustainable development. In Hong Kong, the K11 art centre hosts ‘Savoir-Faire: The Mastery of Craft in Fashion ’ , a tribute to the haute couture of brands, cocurated by Carine Roitfeld, former director of ‘Vogue Paris ’ . In design, many renowned names are approaching craftsmanship in an unprecedented way. At the Edit Napoli fair, held in the Neapolitan city ’ s historic centre and other spectacular locations, Patricia Urquiola presented the Hybrida collection, resulting from a collaboration with the Istituto Caselli Real Fabbrica, in Capodimonte. A project that lasted two years, in which the designer wanted to revive the 18th century theme of botanical centrepieces. “We discussed how to tackle the subject matter with the school’ s experts ” , says Urquiola: the china was auctioned to fund the restoration of the institution ’ s ancient educational garden. Ferruccio Laviani, on the other hand, cofounded Not.O, a new design brand Made in Sicily. “I wanted to get out of my comfort zone and make furniture trying to apply local tradition to an industrial scale ” , he explains. Emmanuel Babled also left the comfort zone to create a design start-up with craftspeople in Zanzibar. “As technology and AI develop exponentially, there is an underlying, yet universal desire for authenticity and materiality. Carefully understanding how something was produced, why it was made in that particular way, and what its intrinsic cultural layers are, makes us more responsible consumers. Designers today have the capabilities to create ethical methodologies ” , he says. That craftsmanship can embody the culture and lifestyle of a people and be an instrument for social good is made clear in the exhibition ‘Call & Response: Craft as a Tool for Activism

’ by San Francisco

’ s Museum of Craft and Design, which hosts international artists who chose the handmade as a form of awareness about the most current issues: from gender rights to immigration. All that’ s left to do now is wait for April and Venice ’ s new edition of Homo Faber, the event promoting superior craftsmanship and international artisans. The caption reads, ‘Crafting a more human future ’ , and that says it all.

Marina Abramovic — p. 62

by Valentina Raggi – photo by Weston Wells

The star of contemporary art has always preferred people to fame. The ‘warrior ’ of performance art speaks to us exclusively. Revealing her relationship to design, objects and architecture.

The video call begins and Marina Abramovic says, “Buongiorno!” , in Italian, then apologises in English for being a

couple of minutes late. She

’ s back in New York after four months on the road. The last stop was Spain, where she received the Princesa De Asturias prize; the first woman to be awarded in visual arts. There are many reasons to interview her, a special one to pay her tribute: at the end of November, she turned 75, of which her career spanned over 50 years. “I know Elle Decor ” , she confesses, anticipating our first question. In fact, her performances often include interactions with objects and furnishings. Some of which she designs herself. We ask her about her relationship with design. With irony, she pivots the computer screen to shows us a half-empty room. “I’ m a nomad. About every seven years, I move and sell the house with everything in it. I keep very few things, some 18th century chandeliers and a sofa. One day I walked into Moroso ’ s shop in New York and asked them to show me their most comfortable sofas. I tried one that was incredibly cosy albeit grey, a colour I don ’t like at all. They told me it was by Patricia Urquiola. Well, Patricia won, the sofa has been with me for years. However, I have chairs that are so uncomfortable that my guests prefer to sit on the floor, and I

don ’t have a bookcase, I should build one. I love a product’ s meaning more than the design: I appreciate a piece of furniture when it’ s invisible ” . From furniture to home, ‘The House with the Ocean View ’ and ‘The Kitchen ’ are the titles of some of her performances. ‘Cleaning the house ’ is the name of a practice in which she requires her students to fast, count, and separate lentils from rice grains... “The method assists in tidying up our corporeal house, but I also believe it’ s important to get on one ’ s knees and clean one ’ s floor, it’ s a spiritual action. Every month I do a big reorganisation of the house. Even moving is a healthy ritual. After all, my biggest inspiration is the list of necessary things for Buddhist monks: an outfit for winter, one for the summer, a bowl, a mattress, an umbrella and a pair of glasses, if you need them. ‘That’ s it’ , perfetto! I’ m for the essential. My body is my home ” . Architecture is another protagonist. In her biography, ‘Walk through walls ’ , she recounts real estate investments and, indeed, many moves. In 2013, in Hudson, in upstate New York she chose a building as the future headquarters of the Marina Abramovic Institute and asked Rem Koolhaas to remodel it. Then things changed. “The fundraising proved challenging. And then, since performance is an intangible art, I thought that if the MAI were a traveling institution, I could take its activities anywhere. So I sold the building and set myself

free ” . Another story about art and architecture is her recent launch of the ‘Crystal Wall of Crying ’ at Babyn Yar ’ s Holocaust Memorial in Ukraine. “It’ s a black wall set with quartz crystals, people approach it and reflect on the past to avoid repeating it in the future. These are stones with energetic powers, with which I also create my ‘Transitory objects ’ and the ‘Pillows ’ , mineral sculptures to hang on the wall. In the morning, before having an espresso, you approach it with your forehead, heart and stomach. You meditate a little then start the day. We never have time to reflect, we ’ re always distracted, especially by technology: I have nothing against it, but beware of how we relate to it” . It’ s no coincidence that, during the course of her career, this extraordinary commentator of the present has moved from performances to a project with WePresent, the WeTransfer ’ s digital platform. “I’ m curious about all the possibilities that

Marina Abramovic — p. 62

Mabeo is back — p. 64

Mabeo is back — p. 64

Into the light — p. 84 contemporary life offers. In the 1970s, if I had thirty spectators it was a success, with WeTransfer I have reached 80 million people united by a shared experience. So, instead of playing stupid videogames, people counted grains of rice ” , she says satisfied. “It’ s a matter of state of mind, every media is valid” . At age 75, any thoughts about the world? “Everything changes and nothing changes, same things but with a different name. We ’ re all responsible, there ’ s no point in criticism, what counts is elevating our good parts. I constantly ask myself what messages I can convey as an artist. Gandhi said: if you change you can change others. And he also said: first they laughed at me, then they ignored me, then they fought me, and in the end I won. It’ s the story of my career. Turning 70 was a shock, 75 has had no effect on me, but 80 will be a success ” . She has many projects in place. Amongst them the play, ‘The Seven Deaths of Maria Callas ’ , of which she is the creator, interpreter and set designer, starring Willem Dafoe, with costumes by friend, Riccardo Tisci. In Italy, it will be staged next May at the Teatro San Carlo in Naples. In 2023, the Royal Academy of Arts in London will devote a large solo exhibition to her. Any previews? “I’ m very superstitious, at the table I never place the salt into the hands of another and, if I see a black cat, I wait for someone else to go by. I’ m very Italian, so I won ’t say anything. Nonetheless, in the 250 years of the institution, I’ m the first woman to be exhibited in the main hall” . In that case, we ’ll say something: happy birthday, Marina! –

Mabeo is back — p. 64

by Paola Carimati

From a remote village in Botswana, the enlightened creative returns to break design system ’ s rules. And trigger his revolution: to make together and by hand.

It all began in Rome, on a day in June when African revolutionary creative, Peter Mabeo, and Kim Jones artistic director of prêt-àporter and couture at Maison Fendi, resolved to collaborate. The goal was to do a presentation together at Design Miami, the most famous international art design fair, and together, spontaneously, write a new chapter on superior craftsmanship in the most remote region of southern Africa. It’ s the protagonists and their attitudes that establish the rhythm and intensity of the story, as happens in the best synopses. A long take frames the burnt colours of the landscape: we ’ re in a village not far from Gaborone, the capital of Botswana. “We moved here from the city ” , says Peter Mabeo, including his entire community. He ’ s an ageless entrepreneur with a multifaceted intuition: a bit designer, a bit artist and a bit artisan, a handful of years ago he bewitched the made in Italy system with his made in Africa collections. At every design week, defying bureaucratic delays and bungles, he collected sculptural and authentically primitive objects in the galleries of Milan and Stockholm, and wherever in the world he exhibited. Tributes of famous architects such as Patricia Urquiola and Vincent Van Duysen to a culture so distant, paradoxically sounded to him like a misunderstanding. “Lately, I’ ve been thinking a lot about how we work, about our relationship with the marketplace and

marketing

” , he explains to us via Teams, sitting inside his car. Outside, the echoing thud of mechanical tools: Peter was in fact finalising Kompa, the collection that sanctions the participation agreement ‘ with and for ’ Fendi. “Our chance to stage a new idea for making handicrafts ” , he says, with a dusty green tee-shirt and a happy smile. “I’ m referring to craft-mind, that is, an attitude that’ s less commercial and very special, aligning creativity, production methods and actual need” , as a reference, using a less global scenario and a more zero-miles scenario. “Producing this way, with the aim of meeting the real needs of one ’ s ‘ people ’ , makes the whole process more honest” . That’ s understandable. Doing things slowly, then, permits one to place them as needed in the local market. ‘Peter is making his mark by slowing things

down ’ , was a recent headline that ran in ‘The Wall Street Journal’ . An assertion that sounds good in every sense. Mabeo speaks of meaning, the same that caught the attention of Kim Jones, with a past spent traveling through Africa with his geologist father. “I’ m very interested in collaborating with a studio based in Botswana ” , confides the artistic director, “that world has a familiar dimension that reminds me of my childhood” . Of those places he recognises heritage and talent: unique values filled with tradition. “From Maasai warriors to Afar tribes: every time I return to Africa, I’ m fascinated by the way young people take charge of tradition, always interpreting it differently ” . From manufacturing to processing techniques, from the great sages to the goods of the land: craftsmanship is an important value to be preserved. “And this is a very important message to convey and disseminate ” . For Fendi it’ s a circular project ‘from local to local’ : it’ s a movement created from and nourished by tradition. “But not in a romantic, aestheticizing way ” , Peter points out, “ quite the opposite, it’ s very concrete: I start with what’ s available ” . That’ s people, with their experiences and generosity: “For me, objects are a means to involve people and build relationships ” . Earth, baked and raw, wood and metal are the materials chosen for Kompa, precisely because they suggest a shared approach. “To make together means to make community ” . At any latitude.

Into the light — p. 84

by Piera Belloni

1960s America embraced it as a new creative medium. Still today, light remains the protagonist of immersive, poetic, surprising installations bythe most famous artists. On display at the CC in Copenhagen.

There

’ s a thread connecting the American West Coast to Europe. And from this month, until 4/9/2022, it prompts us to travel – as well as between continents – also in time. Opening at CC (Copenhagen Contemporary) is the show ‘Light & Space ’ , dedicated to the movement by the same name that emerged in California in the late 1960s, and which inspired many contemporary creatives. The works on display recount the story of the first experiments by artists who used the materials made available by technical innovation, and who approached light like an actual medium; thereby changing the way we perceive the work of art: no longer focussing on the object – painting or sculpture – but involving and building the surrounding space and creating new perceptual situations for the viewer. The newly founded CC, which is already renowned for the quality of its exhibits and the compelling calendar of events, since 2018 is housed on the island of Refshaleøen, a former industrial zone now the cultural precinct of the city, home to galleries, young businesses, award-winning restaurants and the Street Food Market. Located in a building previously used as a shipyard, it has already hosted exhibits dedicated to Bruce Nauman, Ragnar Kjartansson, Bill Viola and Carsten Höller, just to name a few. ‘Light & Space ’ is curated by director Marie Nipper, former curator of the Tate Liverpool and ARoS, Aarhus Art Museum. “We wanted to show this movement by highlighting how much it influenced some of Europe ’ s most significant contemporary artists ” , she explains. “While Minimalism, which emerged in New York in the 1960s, garnered great international attention, the Light and Space artists did not resonate the same way. Additionally, we also wanted to expand the selection of authors in the movement, such as some female artists who, unlike men, had to wait years to be recognised. So, we included new names, who were never before introduced to the general public ” . The exhibition comprises 27 artists with works set up across an area of 5000 sqm. Amongst the must-see installations are historical pieces such as ‘Aftershock’ by James Turrell; it’ s one of his immersive spaces, which envelops the viewer in a purposely built, transient environment, made of light and colour. As well as the equally famous installations by Robert Irwin, who has a monumental, 16-metre-long wall comprised of 115 fluorescent tubes; and Doug Wheeler, who recreates an illusory, luminous horizon along the crease of the museum floor. Amongst the work of contemporary names, Anish Kapoor ’ s hypnotic Black Void, a light-absorbing black hole inside a bottomless cavity, is exciting; as well as Ann Veronica Janssens ’ playful sensory explorations; in 2023, the Belgian artist will star in a significant retrospective at the Pirelli HangarBicocca, in Milan. And also, pieces by Jeppe Hein and Olafur Eliasson, “because from the 1980s until now, a generation of European artists has kept the legacy of the movement alive through unprecedented philosophical and aesthetic depictions of the theme ” , explains Marie Nipper. A journey where light returns to be an impalpable protagonist of the art of our times. Between poetry and the search for new sensory perceptions.

The essence of time — p. 103

words by Flavia Giorgi — photos by Max Zambelli

Kengo Kuma ’ s green inspirations define the interiors of the first European high-end boutique of Japanese watchmaking. From Japan to Place Vendôme.

Those who visit Place Vendôme, a 17th century jewel commissioned by Louis XIV to house the royal library, pay homage to history, the fabric of events of which humans are the architects. Reminding us of this with Napoleonic determination,

The essence of time — p. 103

is the column at the centre of the octagonal square, a monument to the French triumph at Austerlitz. Beneath the arcades of the monumental palaces, from the East the wind ushers in a new and different outlook, which recognises the primacy of nature over man and celebrates it by setting up a new retail space amid the enclave of Paris ’ most renowned jewellers. Its author is Kengo Kuma, who with his unmistakable touch has given shape to the interiors of Grand Seiko ’ s first European boutique – the largest in the world. Launched on the occasion of the brand’ s 60th anniversary, a lucky number in Japanese culture as it symbolises rebirth and innovative energy, it’ s the expression of an ambitious project, “to turn Grand Seiko into a leading international brand in the luxury watch industry, like it is already in Japan ” , confesses Shinji Hattori, Chairman & Group CEO of the Seiko Holdings Corporation. Nature is the common ground between designer and client: one has made it the essence of design, the other the muse of a philosophy based on the perception of time as part of the natural physical world and its cycles. It’ s no coincidence that it was Kuma who designed the brand’ s new atelier in Shizukuishi, a space where selected master watchmakers work on the punctilious handcrafted assembly of mechanical watches, and where new recruits are trained. At number 7 Place Vendôme, the architect worked with a soft touch and a sage use of light. It’ s a very personal language expressed in the system of panels comprised of thin vertical elements: bamboo canes cover the walls, shield the windows, divide the space like evanescent curtains, without preventing the eyes from seeing beyond. Minimalism and poetry are intertwined in a subtle game of balance, giving a contemporary twist to the tradition of the Rising Sun. “I wanted to create a boutique where one could sense Japan ’ s culture, the sensitivity of its people ” , explains Kengo Kuma. “I focused on the choice of materials, using them to showcase the craftsmanship ’ s extreme care for detail” , he goes on, revealing the essence of the project. Next to the bamboo partitions are walls made of washi paper and tatami mats, but also current and non-traditional elements such as oak and Vals quartzite floors. A floating staircase winds between the two store levels. On the ground floor, transparent display cases showcase the brand’ s entire collection: watches with pure lines and thoughtful details besides the special models created for the anniversary, two timepieces in a limited edition of 10 items realised exclusively for the Parisian store. Beneath the dials with the French cobblestone motifs is the pulse of nature.

Natural life — p. 120

words by Laura Maggi — photos by Stephen Kent Johnson/OTTO

In the Los Angeles hills, Vincent Van Duysen dreamed up a modernist-inspired villa for fashion guru Jenni Kayne. Designed to live in touch with nature.

It’ s a perfect interaction between nature and landscape, between interior and exterior: the architecture in the Los Angeles hills designed by Belgian architect Vincent Van Duysen, fully meets to the expectations of Jenni Kayne, the Californian fashion designer and natural lifestyle guru. Having left her Beverly Hills home in search of a more authentic location, the designer, her husband Richard Ehrlich and their three children Tanner, Ripley and Trooper, found the ideal lifestyle in Brentwood, west of the city, surrounded by nature, amongst oaks, holm oaks and sycamore trees, next to a canyon hidden from view. Van Duysen ’ s project has followed the wishes of Jenni, whom he met in New York in 2015: the new building, in a juxtaposition of volumes defining fluid interior spaces, has large floor-to-ceiling windows that can be completely opened to transform some of the

living areas into actual outdoor pavilions. Like the large living room, an ample space with sliding windows that embrace the exterior, populated by an oak grove. Here, the straight bench running along the glass wall, almost like an extension of the landscape, serves to lead the gaze outward. “The open space creates an informal atmosphere ” , Van Duysen explains. “The flow between the spaces transforms the interior into a consistent experience in which family and guests can be comfortable, exploring the different lounge areas, sitting in the best spots to enjoy the morning light or the sunset” . The common thread of the project is “the relationship with the surrounds, because my intention was to create a modernist refuge, where architecture and space merge with the outdoors. I adopted a light colour palette, from finishes to materials. I revisited the typical architectural style of the West Coast, giving it a new twist with the use of lime brick wash, oak wood, soft shades and touches of colour ” , continues the Belgian architect, who ’ s at his third residential project in the U.S. with more on the agenda. Since the start of his career, Vincent Van Duysen ’ s distinctive approach to design has been a strong relationship between the architectural envelope, the interior space and the furnishings, bespoke or in production. All this determines a uniform outcome, with no over styling and great poetic strength. Arranged around the central courtyard, the true hearth of the house, the structure has a brick façade referencing traditional Belgian building techniques, and spreads across a single level that accommodates spaces and functions in a fluid sequence. The only higher volume is that of the studio, a place in which to retreat and detach from daily commitments, overlooking a small hill covered in oak trees. It’ s accessed by a helical masonry staircase designed like a sinuous sculpture, a true coup de théâtre. On a lower level of the garden that surrounds the house, are the stables and the swimming pool with a pool house, set between two groups of lush plane trees. The interior decoration resulted from the collaboration of the architect, the owner and the Molly Isaksen Interiors studio. “Special attention was given to natural and tactile materials, to softer shades and textures compatible with the vintage designer pieces and the artwork in Jenni’ s collection ” , Van Duysen explains. “The result is a space with great warmth, unique in its kind, in which the owner ’ s style blends perfectly with my way of doing architecture and interior design ” . It was a meeting of kindred spirits: “Jenni Kayne knows the aesthetics of Flanders, which is complementary to her lifestyle. She is a great admirer of Flemish culture, responding to the use of muted colours and the selection of raw materials, just to mention a few characteristics. On the other hand, I have always admired mid- 19th century architects, the European modernists and the masters who also designed masterpieces in California ” . The connection between indoor and outdoor is due to Christine London, who was in charge of the landscape design, while the careful light design was achieved with the help of Sean O’Connor Lighting. The architects of Kovac Design Studio coordinated the sizeable

Natural life — p. 120

Object Trouvé — p. 130

work team and supervised the careful execution of this delicate and complex project. A special note: Jenni Kayne recently published her second book ‘Pacific Natural at Home ’ (Rizzoli International) with an introduction by Vincent Van Duysen. In over 250 pages the author tells stories of houses on the ocean, in the desert, in the mountains, in the city, but also of the women who designed or commissioned them. Because often the identity of a project results from the owner ’ s personality. Like here.

Object Trouvé — p. 130

words by Paola Maraone — photos by Max Zambelli

Refined, welcoming, with personality. Marco Costanzi’ s home, in Paris, is the result of constant search for a place to call ‘home ’ , even beyond the Alps.

From city to city, he joyfully pursues a profession that is also his passion and allows him to (re)live places in a different way every time. In Imola, where he was born, Marco Costanzi chose an ancient mill as his study; in Rome he lived in a converted workshop at Garbatella. “In that case Pietro Beccari, at the time CEO of Fendi, entrusted me with redesigning the Palazzo della Civiltà Italiana, known as Colosseo Quadrato (square colosseum), to transform it into the brand’ s headquarters ” , he explains. And still Beccari, to whom he is bound by a relationship of trust and high esteem, came back to request he takes care of the interiors of Dior ’ s new Parisian headquarters, of which in the meantime he has become president. A three-year project, “ a great work of creativity and logistics. Very complicated and very fascinating ” , comments Costanzi. “I accepted enthusiastically, aware that work often leads one to only know places superficially; one boards a flight at dawn, arrives early at the construction site, works hard and has no time to experience the place. So, one day, walking through the Marais with my wife Francesca, we jokingly said to ourselves: ‘What if we moved here?’ I started looking at the ads and after a year of research, as I was passing through Paris, I reluctantly made an appointment with a realtor to look at a home the photos of which hadn ’t convinced me. Old striped wallpaper, ungainly ceramic floors… but the location was great” . Several months (and a pandemic) later, here we are, in the 8th Arrondissement, close to the historic building that will house Dior ’ s new headquarters: it’ s the first hotel built on the Champs Elysées and once owned by the Orient Express. “I get there on foot in 15 minutes. I love this bourgeois, unfashionable neighbourhood. Our home occupies part of the second floor in a classic but not overly decorated building that, on one side, overlooks a lane leading to the Elysée and, on the other, an internal courtyard that’ s remarkably quiet” . Just 50sqm, it’ s what the French call a ‘traversant’ (with double orientation)

home. “There ’ s a small entrance that I left untouched, living and dining on the left, bathroom and bedroom on the right. The double orientation enhances it, as do the 12 windows that flood it with light, even too much of it, so much so we have to shut two of them ” . The stuccoes on the ceilings are another precious detail, such as the 19th century stone fireplace and the original parquet in one room. “I got rid of the rest, replacing it with an old French floor I salvaged years ago and kept in storage ” ; while in the kitchen and bathroom, the feet rest on dark marble with white streaks. As for the furnishings, they are a mix of well-designed furniture by Costanzi, and memorabilia “I found while traveling with Francesca at flea markets and brought here ” . Yet even the most authentic globetrotter likes to stay in a place called home. All the more so when the bedroom windows are lapped by the leaves of a large beech tree and, a rare event in the city, the twitter of birds wakes you in the morning.