Trend Fall 2011 - Winter 2012

TREND ART+DESIGN+ARCHITECTURE

KEN PRICE

The clay’s the thing

CASA DEL NIDO OSPRE Beachside retreat explores the art of the arch

TAOS OR THE MOON

Photographer David Zimmerman crafts an inspired live/work space FALL 2011/ WINTER 2012 VOLUME 12 ISSUE 2

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CoNtENts | Fall 2011 Winter 2012

The enigmatic “California” artist clearly has his roots in New Mexico.

By Garth Clark

44 Casa del Nido Ospre A Mexican beach house gives a modern architect ancient wings.

Photos by Robert Reck

62 Not Quite the Moon—Taos

Photographer David Zimmerman reinvents his New York City loft life on a windswept mesa.

By Rachel Preston Prinz | Photos by Peter Ogilvie

102 Natural by Design

Even social and environmental issues are being treated as problems for design.

By Nancy Zimmerman

50 Kyoto: Sustainable Simplicity 144 IAIA: Ancient Meets New An American designer finds classic solutions to sustainable puzzles in old Japan.

The contemporary design of the long-awaited campus expresses the Native world view.

Photos and text by Thomas Lehn

By Gussie Fauntleroy

ROBERT RECK

37 Taos Man: Ken Price

photo: Brad Bealmear/Santa Fe Dreambook

TONY MALMED JEWELRY ART

108 Don Gaspar, Santa Fe

Handmade in Santa Fe Since 1982

505-988-9558 â&#x20AC;˘ info@spiritoftheearth.com

Departments

Venice Taos Venice; ART Santa Fe Delivers Fresh Visual Delights; Santa Fe Gets Comfy with SOFA; Economic Solutions

32 TUNES

Jazz guitarist Larry Mitchell; roots rocker/producer Jono Manson; rock ‘n’ roll’s Stephanie Hatfield

BY APRIL RESSE

74 THE TAOS HUM

Taos proclaims 2012 Year of the Remarkable Women.

86 ARTIST STUDIO

Musician and multimedia artist Terry Allen

BY KATHRYN M DAVIS PHOTOS BY KATE RUSSELL Collage-assemblage artist Tasha Ostrander

BY RICK LUM PHOTOS BY KATE RUSSELL

114 DESIGNER PROFILE

Designer Lisa Samuel tells the tale of a globetrotting couple.

PHOTOS BY DANIEL NADELBACH STYLING BY GILDA MEYER-NIEHOF

125 RESORT STYLE

From Santa Fe's design workshops come creative, vacation-worthy looks.

BY LYN BLEILER

PHOTOS BY DANIEL NADELBACH STYLING AND MAKEUP BY GILDA MEYER-NIEHOF

76 ARTIST PROFILE

151 DESIGN PROJECT

Landscape painter Woody Gwyn lends contemporary sensibility to Realist tradition.

BY ELIZA WELLS SMITH PHOTOS BY KATE RUSSELL

Trend presents the best in contemporary architecture and design.

ON THE COVER: In front of the entrance to architect Eddie Jones’ beach house, Casa del Nido Ospre in Puerto Peñasco, Mexico, are the concrete spheres found throughout Mexico and on Spanish Colonial furniture.

The globes appealed to Jones as counterpoint to his boxy modern home that sports both right angles and arches.

PHOTO BY ROBERT RECK

76 18 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

20 FROM THE PUBLISHER 20 CONTRIBUTORS 26 FLASH

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FROM THE PUBLISHER

Embracing Abundance

H

ow can I be a pebble in the pond of change?

Ripples of courage, strength, love, and devotion flow out of me to publish this magazine—a reflection of creativity from the gracious, talented, and generous souls that live here in my quadrant of the planet. How can I reflect enough of the light I see and experience in the hearts of the people who live, create, and work here? My gift to you, this issue is just a glimpse into the depths of my community, a peek at their tremendous talent for art and design.

Some media devices have been used and accused of trying to deceive, brainwash, or control. Advertising is often suspected of trying to dupe its readers into buying stuff they may not need or want. But it is thanks to advertising that a tool such as Trend can be read, appreciated, and kept. Without ads teaming up with us to manifest each issue, Trend would not exist.

We strive to make sure there is a commitment to excellence and integrity in each business we approach to advertise, and I believe that is one reason why you read and respect this magazine.

The making of this particular issue through times of great change brought its own circumstances of personal awakening. I would like to share with you my commitment to be a part of the change from scarcity to abundance and sustainability. Evolving my business to operate debt-free has been a huge calling to rethink my goals. How can I achieve success in a world that seems less than fair? I believe the people of my community will provide examples of character, truth, love, and joy that will nurture expanded thinking, create solutions, and provide vision. I no longer focus on fear, greed, vanity, or lies, but toss myself into the pond of inspiration, creativity, and love, hoping to manifest ripples of change and hope in the hearts of those who read this magazine. This has given me new reasons to publish Trend in this place I call home, where I have the great honor to live, love, and work. Some inspired local examples of economic sustainability can be found on page 30.

Cynthia Canyon Publisher

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ontributing editor Ric Lum brings to Trend his perspective as an artist, writer, designer, chef, sustainable food advocate, former environmental executive and entrepreneur, biker, cyclist, and lifetime ski bum. As a high school junior he worked as a stringer covering motocross, and has been a graphic designer for a shipyard, designed and operated recycling plants, was a gallerist and art collector, architecture gadfly, restaurateur, and caterer—multifaceted life experiences he brings to the mission of finding the best for Trend magazine.

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TOP: BROOKE CHRISTOPHER; BOTTOM: LEE CLOCKMAN

CONTRIBUTORS

award-winning custom homes

meticulously detailed

Š Robert Reck Photography

one with the landscape

505.820.7200 archaeoarchitects.com

PUBLISHER Cynthia Marie Canyon EDITOR Keiko Ohnuma

ENTERTAINMENT SYSTEMS U AUDIO & VIDEO HOME THEATER U FLAT PANEL TELEVISIONS LIGHTING CONTROL U HOME AUTOMATION MOTORIZED SHADES & DRAPES PROGRAMMED REMOTE CONTROLS

ART DIRECTOR Janine Lehmann COPY CHIEF Rena Distasio CONTRIBUTING EDITOR Ric Lum ADVERTISING DESIGN AND PRODUCTION Janine Lehmann CONTRIBUTING WRITERS Lyn Bleiler, Garth Clark, Kathryn M Davis, Rena Distasio, Gussie Fauntleroy, Thomas Lehn, Ric Lum, Rachel Preston Prinz, April Reese, Eliza Wells Smith, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Thomas Lehn, Doug Merriam, Gilda Meyer-Niehof, Daniel Nadelbach, Peter Ogilvie, Robert Reck, Kate Russell NATIONAL SALES DIRECTOR Kathryn Novak, 303-332-9122

REGIONAL SALES DIRECTOR Judith Leyba, 505-820-6798 TAOS SALES RESPRESENTATIVE Sophie Stockwell, 505-988-5007 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Danna Cooper

SUBSCRIPTIONS Visit trendmagazineglobal.com and click “Subscribe” or call 505-988-5007 PREPRESS Fire Dragon Color, Santa Fe, New Mexico 505-699-0850 PRINTING Publication Printers, Denver, Colorado

Located in the heart of historic downtown Santa Fe, Constellation Home Electronics offers a wide selection of the finest brands of electronics with a commitment to uncompromising service.

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Manufactured and printed in the United States.

Copyright 2011 by Trend, LLC. All rights reserved.

No part of Trend may be reproduced in any form without prior written consent from the publisher.

For reprint information, please call 505-988-5007 or send an e-mail to perform@santafetrend.com.

Trend art + design + architecture ISSN 2161-4229 is published two times in 2011, with Spring/Summer and Fall/Winter issues (circulation 35,000).

To subscribe, send $15.99 for one year to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951.

Direct editorial inquiries to editor@trendmagazine global.com.

Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-988-5007 24 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

Garth Clark is the nation’s leading writer, critic, and historian of modern and contemporary ceramics, with more than 60 book titles. Among his many honors are the 2005 Mather Award for Distinguished Art Journalism from the College Art Association, Art Book of the Year from the Art Libraries Society of America, Fellow of the Royal College of Art, London, and honorary doctorates from the Kansas City Art Institute and Staffordshire University, England. He and his partner, Mark Del Vecchio, moved to Santa Fe in 2008 and together with Wes Cowan operate Wans+Clark+DelVecchio Auctions, which specializes in modern ceramics and crafts.

BRAD HOWELL

Daniel Nadelbach’s photography has been featured in numerous national and international magazines, books, catalogs, advertising campaigns, and resorts. Previously he was a fashion model working in Paris, Milan, New York, and Tokyo, launching the path to his 23-year photography career. Clients include Vogue Australia, Auberge Resorts, Western Interiors & Design, Phoenix Home & Garden, Head Sportswear, One & Only Resorts, Exxon Mobil, Sotheby’s, and CGH Earth India. His most recent assignment took him to Tahiti to shoot the St. Regis Bora Bora Resort for Starwood Hotels.

Robert Reck is an architectural and interior design photographer specializing in luxury hotels and resorts worldwide. He was a staff photographer for Architectural Digest for more than 25 years and has published extensively in the fields of architecture and design, including Travel and Leisure, Robb Report, Destinations, Conde Naste Traveler, Architecture, Architectural Record, and A+U. He was the lead photographer for Rizzoli’s bestselling book Santa Fe Style and was the co-author/photographer of Facing Southwest: The Residential Projects of John Gaw Meem.

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RACHEL COHEN

Rachel Preston Prinz, founder of Archinia design firm, has worked in the cathedrals and villas of Europe and alongside American architects specializing in religious, historic, and highend residential design. Her work has included forensic architecture, the preservation and adaptive reuse of historic structures including buildings, trails, and landscapes, and the design of bio-climatic residences and commercial structures for nonprofits. As a professional writer and award-winning photographer, Rachel contributes extensively to tourism organizations, magazines, newspapers, and online guides.

Thomas Lehn is an interior and furniture designer with roots in multidisciplinary solutions. His practice, Thomas Lehn Designs, of Santa Fe, is influenced by his undergraduate degree in painting, dual roles as builder and designer, and the integrated design philosophy promoted at Cranbrook Academy of Art, where he earned his MFA. He recently returned from a five-month stay in Japan researching historical and contemporary Japanese design.

JANE LACKEY

GILDA MEYER-NIEHOF

CONTRIBUTORS

Nancy Zimmerman, a former editor of Trend magazine, is a freelance writer, editor, and translator based in Tesuque, NM, who writes frequently on art, architecture, and design. Her national magazine work includes stints as editor-in-chief of Islands, Southwest editor for Sunset, and executive editor for Outside’s twice-yearly travel issues.

She is particularly interested in the topics of sustainability and health as they pertain to the built environment. R

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Venice Taos Venice California art time-travels in Italy

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brought together a group of artists who had, in the late ’60s, moved into an abandoned amusement park on the Pacific ocean Pier at Venice Beach to share the neighborhood with what taos artist Ron Cooper called “junkies and retired Jewish ladies sitting around on benches.” Cheap studio space made Venice Beach into a leading center for innovation in the visual arts, with the likes

John McCracken's Sound (2004) of resin, fiberglas, and plywood leans against the door; on the piano is Ken Price’s ceramic piece, Bags (2003). On the table is Tony Berlant, Georgia (1996), found metal collage.

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PHOTOS BY ANGELA COLONNA & STEFANO FERRANDO, COURTESY OF FOUNDATION 20 21, NY (2)

ourtney Love sang for them. they drank an exclusive, artist-produced, single-village tequila called Del Maguey.

And they rode across the Grand Canal from palazzo to palazzo in psychedelic, hot-rod gondolas fashioned after California’s surf and car cultures—all on one fine evening in early June in Venice, Italy, at the special exhibition billed as Venice in Venice.

In fact, visitors to VinV crossed the space-time continuum, flashing across a continent and back half a century to southern California’s richly fecund art scene of the 1960s. New York’s Nyehaus gallery owner tim Nye teamed up with fellow curator Jacqueline Miro to create, as Nye put it, an “homage” to California’s “art, politics, and technical progress of the last 50 years” at a corollary exhibition during the granddaddy of all international biannual art fairs, the 54th Venice Biennale.

Glow & Reflection: Venice California Art from 1960 to the Present

PHOTOS BY ANGELA COLONNA & STEFANO FERRANDO, COURTESY OF FOUNDATION 20 21

of Cooper, Larry Bell, Robert Irwin, tive works of art against ornate Kenneth Price, and architect Frank backdrops; his gallery, at the edge Gehry working and living there of Chelsea—that art district of since the freewheeling ’60s; some warehouses renovated to meet the remain there today, while Cooper, architectural demands of sleek Bell, and Price now reside in taos. industrial chic—is quite daringly Many of these artists went to Victorian. Nyehaus features chanschool or taught at the seminal deliers, marble floors, and classicalChouinard Art Institute in Los style sculpture busts. And then Angeles before it merged with Disthere’s the art.) ney in 1961 to become the CaliforVinV ’s litany of A-list artists nia Institute of the Arts (known as consisted of Peter Alexander, John Cal Arts), one of the country’s Altoon, Charles Arnoldi, John hippest art schools. Cooper says the Baldessari, Billy Al Bengston, Bell, school is no longer “the funky, tony Berlant, Wallace Berman, sweaty cardboard box it used to be; Vija Celmins, Bruce Conner, it’s a big, streamlined, modern facilCooper, Mary Corse, Laddie John ity with dormitories and a swimDill, Joe Goode, Robert Graham, ming pool.”

George Herms, Irwin, Craig that sweaty cardboard box manKauffman, McCracken, Ed Moses, aged, however, to produce some Price, Ed Ruscha, and James turof the greatest art to come out of rell. southern California in the 1960s It was Bengston who made over and ’70s. significant among art a pair of Venetian gondolas, movements was the school of changing their time-honored black Light and space, defined by Robert to Ducati red and a light charAtkins (ArtSpeak, Abbeville Press, treuse—in solid colors, as a 1990) as an art that “focuses . . . on memorial to the recently deceased Ron Cooper, entrance to The Large Corner Volume (2011), sensory perceptions . . . in which McCracken. Cooper provided the reconstruction from the 1970s. constantly changing natural Del Maguey; he’s been working light—often filtered . . . —is used to redefine a space.” in oaxaca, Mexico, since 1995, making an artful adult beverage In order to translate that notion into art, take Cooper’s The Large out of the agaves that grow in the region. He was gratified that Corner Volume, originally created in 1971 and reconstructed for “tim Nye understood that Del Maguey is my 16-year ongoing art VinV. Fundamentally, its content is the psychology of visual per- project. the opportunity to expose it to the public in Venice was ception, and it works like this: An illuminated, white glass trian- very heartwarming.” gle occupies space (or volume) in the corner of a room. tracks of Impetus for VinV was provided in the form of financial suplight in the ceiling emit a pure blue hue for some two minutes. port from the Getty Foundation, whose series of exhibitions and once the viewer’s vision is saturated, the track lights are switched events opens this fall at 60-plus venues in southern California off. the viewer’s eyes will project blue’s complementary color, under the rubric Pacific Standard Time: Art in L.A. 1945–1980. orange, as an afterimage on the corner piece. When the light track At the heart of L.A.’s art past is the Ferus Gallery (1957–1966), projects yellow, the viewer will see violet after about a minute or which premiered Andy Warhol’s soup-can paintings in 1961— two of color saturation. overall, the outcome is one of wonder and the first gallery to give Warhol a solo exhibition. Ferus artists from delight in this elegantly understated work of truly interactive art. the West Coast included Bell, Berman, Bengston, Moses, Irwin, the Light and space movement evolved out of what was known Price, and Ruscha. as “the Los Angeles Look,” and Nye and Miro included in VinV As Miro describes it, Nye has been profoundly inspired by L.A.’s some “fetish-finish” work by artists who were inspired by the art and cultural history since renting a bungalow in Venice in April sleekness of “automobiles and surfboards, two iconic staples of life 2010. the energetic, dot-com-financed entrepreneur found it natuin southern California” (Atkins). Hence, Bell’s glass boxes in a ral to make the connection between Venice, Italy, and its Califormirrored hall were presented with John McCracken’s glossy slabs nia beachside namesake with a checkered past. Nye plans to open of color leant against the walls of the opulent and baroque Palazzo a gallery in Culver City, and is working on a feature-length docuContarini degli scrigni on the Canal. (Nye likes to juxtapose reduc- mentary film to be titled Venice in Venice. —Kathryn M Davis trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 27

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ART Santa Fe Delivers Fresh Visual Delights

DAVID SOLOMON

F

rom its humble beginnings in hotel rooms, Art Santa Fe’s move to the Santa Fe Convention Center hasn’t changed the fact that its key coordinator, art dealer Charlotte Jackson, still considers it “a boutique fair.” Galleries from Europe, Asia, the Americas, and across the United States are juried into the fair, with a mix of new and returning participants every year. This year, the show’s 11th, saw local gallery David Richard Contemporary take a booth, as did the New Mexico Museum of Art and Radius Books.

Following the champagne vernissage on Thursday, July 7 (the term refers to the old practice of artists varnishing their paintings the night before the academies’ salons opened), were several activities that have been added over the past decade. The popular “How Things Are Made” featured hanji, Korea’s traditional papermaking craft, a layering technique practiced by only a few today.

Over the years, the aesthetics of installation art have crept into the fair, and Galerie Renate Bender of Munich organized two such projects this year. Dreamteam was an enchanting installation that featured colored, lit globes on the floor acting as wandering spirits for a series of portrait photographs on the back wall of a darkened room.

Peter Weber, known for his elegant, intricately folded felt constructions, placed a folded block of canvas on Art Santa Fe the floor in the foyer that was trod upon by fairgoers for three days. Then the Footprints Project was unfolded, revealing an attractive quilt-like pattern of geometric shapes in shades of gray and white.

The not-for-profit arm of the fair, ART Santa Fe Presents, performed its usual magic when it secured talented author and brilliant intellect Lawrence Weschler, whose lecture title, “Toward a Unified Field Theory of Cultural Transmission (Seriously!) By Way of a Typology of Convergences,” gave a strong hint of what he would deliver: a delightful little something about the all-consuming joys of visual imagery.

—Kathryn M Davis

Heaven & Hell Artist and independent curator David Solomon continues to spotlight cutting-edge contemporary artists from Santa Fe and beyond with the two-part show, Hell & Heaven, featuring 16 artists at the Santa Fe Community College Gallery. Hell opened August 25 and Heaven opened September 15. Each artist produced a piece for both two-week shows. See more information and images at bangartgallery.com.

Santa Fe Gets Comfy with SOFA

In its third year, SOFA West proved even more popular with art collectors.

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CHERI EISENBERG (2)

W

hen event planners inaugurated soFA West in santa Fe in 2009, it wasn’t clear yet that the sculptural objects and Functional Art Fair of New York and Chicago fame would adapt well to a smaller venue, particularly one with a reputation (deserved or not) for regional Western art.

As it turns out, soFA and santa Fe were made for each other, all the benefits and quirks of a smaller, regionally flavored site marrying well with the larger world of contemporary cutting-edge art. Local, national, and international exhibitors agree that the 2011 show, whose unofficial attendance figures were running well ahead of last year’s, was the best to date, matching high-quality work with responsive buyers in an atmosphere conducive to fun and profit.

New this year was the incorporation of the Intuit Show of Folk and Outsider Art, with eight galleries displaying sculptures and paintings that meshed surprisingly well with the overall tenor of the show.

“This year was much better than last year, even though last year was very good,” reports Richard Barger of David Richard Contemporary in Santa Fe. “The buzz and energy level of opening night were incredible, and it carried over to the following days. It was clear that collectors were traveling to Santa Fe specifically to attend SOFA.” Yvonna Demczynska of Flow gallery in London was trying out the show for the first time, and liked what she found. “For our first time in America, I wanted to start with a smaller show,” she says, “and my reaction is very favorable. I love Santa Fe—this is a lovely, relaxed way of doing business.”

“What I like about Santa Fe is that it’s really not typical of the United States,” says SOFA veteran María Elena Kravetz, whose eponymous gallery is based in Córdoba, Argentina. “It reminds me a bit of Córdoba, with its mountains, dry climate, and Spanish Colonial influence. The show is good not just for the sales, but also for the contacts. We’ve received a commission for one artist, and a Santa Fe gallery has expressed interest in representing another.”

Jewelry artist Élise Bergeron of Montreal finds that Santa Fe is very different from the East Coast cities where she normally participates in shows. “I was surprised by how nice and friendly people are here. They are lovers of fine arts and very knowledgeable, so I’m very happy.

Sales have been good.”

“These guys are the best art-fair producers,” says local artist Geoffrey Gorman, whose whimsical animal sculptures fashioned from found objects are represented by Jane Sauer Gallery in Santa Fe. Gorman was pleased to see so many major collectors in attendance, and credits SOFA producers with knowing how to trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 29

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attract serious buyers. “they know their market and how to make it accessible to people. In a tough economic climate, the dealers are bringing in their very best work and offering it at fair price points, so the knowledgeable collectors are responding.” soFA fair director Donna Davies says that the accompanying lecture series and special events were designed to further broaden the knowledge base for both experienced and novice collectors, introducing them to art forms, techniques, and concepts that help them make discerning choices. “there’s definitely a savvy collector community in santa Fe, but newcomers also find the atmosphere nonintimidating and helpful,” she says.

An invitation-only reception and panel discussion hosted by Trend magazine brought together noted local architects and designers to address the topic “southwestern Dreamin’: High Desert Aesthetic in Contemporary Architecture and Design.”

New to this year’s SOFA-West was the Intuit Show of Folk and Outsider Art, popular with fair-goers.

Among the subjects discussed were architect Antoine Predock’s concept of “portable regionalism” and the contemporary adaptation of ancient Anasazi designs.

Given the enthusiastic response from both dealers and collectors, it looks like soFA West is here to stay.

—Nancy Zimmerman

Local Solutions for the New Economy

SANTA FE TIME BANK santafetimebank.org

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hen people hear of “time banking,” they instantly think “barter.” But it’s better than barter, says Adrianne McCurrach, co-founder and coordinator of santa Fe time Bank. “You can bank the time you earn and use it to procure whatever service is offered in our community, from fixing a leaky faucet to finding a dog walker.” these days, when many people have more time than money, time banking—a 30-year-old movement that spans 35 countries— has obvious appeal. But many are drawn by its social implications too. Founder Dr. Edgar Kahn conceived it as a real tool for building community, a way to value everyone’s time equally and acknowledge the gifts we all have to offer. It is also a way to recognize that some work, such as raising healthy children and fostering vibrant communities, is beyond price.

“A physician recently joined,” says McCurrach. “At first he was puzzled that his hour was equal to that of a teenager who looks 30 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

after children. But then he got what that hour means to the mother who gets time for herself, and for the teenager who makes a valuable contribution. He’s now one of our most articulate and passionate members.” Launched in January 2010, the santa Fe time Bank grew out of a series of meetings among friends. It now has 280 members, and continues to grow. Everyone is invited to the monthly get-together, the third sunday of every month.

LA TIENDA EXHIBIT SPACE theexhibitspace.com

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n unusual exhibition space that does not take any commission from artists, the La tienda Exhibit space is a 2,000square-foot gallery in the La tienda retail complex in Eldorado, just north of santa Fe. Free art space is rare in most communities, but the owners of La tienda are committed to creating economic opportunities for New Mexico artists who are not currently represented by santa Fe galleries. the space has shown the work of more than 100 artists since it opened in late 2009 and has had more than 7,000 visitors since its inception. La tienda partner and metal artist Destiny Allison, who also has a gallery in the center, now runs the nonprofit space.

Few restrictions are placed on artists, who apply to put up

CHERI EISENBERG

Here and there we find creative people coming up with alternatives to our cash-driven, win-lose economy that are more about win-win. Following are three local organizations that offer fresh models of sustainable economics.

group shows that they promote and staff themselves. they can also propose art classes or demonstrationsâ&#x20AC;&#x201D;and keep all the proceeds from fees and sales. started by artist Dean Howell, who solicited vacant space in the new center for a group art show, the La tienda Exhibit space has continued in the spirit of encouraging artists to create with passion and still have an opportunity to sell their work.

NEW MEXICO EXPERIMENTAL GLASS WORKSHOP nmegw.org

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ounded with a three-pronged mission to help recycle waste glass into creative products, make hot-glass techniques accessible to non-glass artists, and make the high cost of producing glass art affordable for glass artists, the New Mexico Experimental Glass Workshop serves as a clearinghouse to connect creative people with material that would otherwise end up in the landfill.

Intensive workshops and individual instruction get artists up to speed quickly to incorporate hot glass into their works, which they can continue through equipment rental and a team of facilitators.

Going a step beyond the traditional hot-glass shop, the workshop explores the possibilities and limitations of recycled glass as a medium, forming alliances with industry for materials, endorsement, and sponsorship. Artists can rent the facility and receive help from experienced glass artists, as well as trade services and study under a fellowship program. For glass artists who cannot afford the high overhead costs of hot-glass production, the workshop offers affordable rental facilities and the opportunity to trade research and project work for their own personal studio time. Director and glass artist stacey Neff founded the nonprofit organization last year to â&#x20AC;&#x153;engage the vision of non-glass artists,â&#x20AC;? and â&#x20AC;&#x153;shift value from money to art.â&#x20AC;? R

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BY APRIL REESE

Larry Mitchell at the Jazz Festival in Albuquerque

I

t’s at least an hour and a half until nightfall, but the Albuquerque Museum Amphitheater already shimmers with the stardust riffs of guitarist Larry Mitchell, who quickly wins over the “Jazz and Blues Under the stars” crowd with his guitar mojo and genial, party-host stage presence. “so some of you are smiling,” he teases, undoubtedly knowing that much of the crowd is there to see headliner Kevin Eubanks, former bandleader of The Tonight Show with Jay Leno. “Do you like it?” Enthusiastic applause. “then please smile!”

A short while later Mitchell, who makes the complex arpeggio runs in his soaring instrumentals look as effortless as “Mary Had a Little Lamb,” hops off the stage and meanders through the crowd, continuing to fleck off riff after cascading riff—at one point, while sitting in a woman’s lap. By the 32 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

end of the show, even the most jaded jazz fan is grinning.

It’s only his 15th show in New Mexico, even though the New York City native has lived in santa Fe for about a decade. that’s largely because Mitchell is almost always on the road, playing workshops and music industry showcases for Ibanez guitars (with which he has an endorsement deal) or touring as a sideman or on his own. (He has played alongside Robert Mirabal, Joy Harjo, tracy Chapman, and Ric ocasek of the Cars, among others.) Mitchell has six solo albums to his credit, ranging from the acoustic dreamscape of 1995’s Escape to the electrified sparkle and groove of his last album, Sonic Temple, released in 2005.

He is also a Grammy-winning producer, twisting the knobs on records by everyone from Native American flutist Mirabal to pop chanteuse Randi Driscoll to blues-rock

guitarist Alex Maryol. Mitchell works a lot with new artists, too, some of whom have never before recorded. “What’s cool is helping them figure out who they are as an artist,” says Mitchell. one instrument you’ll never hear him use, however, is his voice.

“I would not have a career at all if I sang,” he laughs, sitting at the massive control board in his recording studio, tucked into a piñon- and juniper-studded hill just north of santa Fe. He is surrounded by multiple guitars, a drum kit, tapestrydraped sound baffles, and a kind of scrapbook wall that displays records he’s produced, a clothing ad from the March ’96 issue of Rolling Stone (“my short-lived modeling career”), a tracy Chapman tour book, and other memorabilia. over the years Mitchell, who has been playing guitar since he was 9 years old, has

KAREN KUEHN

Guitarist Larry Mitchell Plays For Smiles

drawn accolades from some of the industry’s most discerning critics. His collection of awards fills a long table near the back of his meticulously organized studio, and includes the san Diego Music Award for Best Pop Jazz Artist, two New York City Limelight Guitar Contest trophies, and, of course, the Grammy, which he won in 2007 for the Johnny Whitehorse album Totemic Flute Chants. Mitchell co-produced the album with Whitehorse (Robert Mirabal’s alter ego) and played guitar on it.

Despite all these professional kudos, Mitchell has never become a bona fide guitar hero. Yet the lack of fame doesn’t seem to bother him. He still has a childlike enthusiasm about playing musc. “When you’re a kid, you just let it all out,” he says.

“We lose that somewhere along the line.”

A punctilious producer, Mitchell says he finds producing and playing music equally gratifying. He is now finishing up a West Coast tour and will head to Anchorage, Alaska, before playing a few shows on the East Coast—if he doesn’t lose his guitars en route.

“I never drank, I’ve never done drugs,” he says while giving a tour of what he calls “Guitar World,” which occupies at least 200 square feet of his recording studio. Nevertheless, he has managed to lose more than 15 guitars over the course of his career.

“I have no idea where they are. I don’t know how those rock stars who do, do it.” to find out more about Larry Mitchell, visit larrymitchell.com.

Jono Manson: Father to Many Musical Projects, Slave to None

KERRY SHERCK

B

ack in the 1980s, before Blues traveler or the spin Doctors had even reached the embryo stage, the Worms were invading the Big Apple like something out of a scary musical.

Featuring Jono Manson on guitar and vocals, the band was drawing massive crowds to their ebullient shows at Nightingale’s, in New York City.

Among those in the audience were John Popper, the harmonica virtuoso who went on to sell out arenas as the front man for Blues traveler; Chris Barron, who led the spin Doctors up the charts in the early ‘90s; and Joan osborne, who had a smash hit with “one of Us” in 1995. to many upstart musicians in the NYC rock scene, Manson was the guy to watch. With monster guitar chops, rollicking tunes, and a Cheshire grin, he influenced countless local bands. “He was extremely popular as New York’s Jono Manson favorite nonstop party experience,” writes tom Gould on CDuniverse.com, who played with Manson in another band, the Flyboys, during that period.

Fast-forward a quarter century or so, and Manson is still wowing crowds and nurturing up-and-coming artists, but he’s traded big-city buzz for small-town contentment. since movtrendmagazineglobal.com Fall 2011/Winter 2012 » Trend 33

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ing to Santa Fe in 1993, he has shed his party-rock image to become one of New Mexico’s most respected producers and roots-music musicians. In May, he won several New Mexico Music Awards, including best producer for folkie Jaime Michaels’ latest release, The Man With the Time Machine, which was recorded at Manson’s Kitchen Sink studio.

As a musician, Manson never achieved the heights of commercial success the way some of the bands he influenced back in New York did. But his do-it-yourself ethos has allowed him to carve out a decent living in the notoriously fickle music business, even from New Mexico. Manson has an avid following in Italy, where he lived for a time and where he usually tours at least once a year. He also plays locally and draws a steady stream of musicians to his recording studio, including Tao Seeger, grandson of legendary folk singer Pete Seeger, composer/songwriter/poet/artist Donald Rubinstein, and Italian singersongwriter Stefano Barotti.

As a producer, Manson has a reputation for being focused and for nurturing a project without micromanaging it. “I had a lot of preconceived notions about what it would be like in the studio, but it was actually simple and painless,” says Anthony Leon, whose band Anthony Leon and the Chain recorded their debut album at the Kitchen Sink last

spring after several failed attempts to make a record themselves. “He kept us on task to get it done.”

Toggling between life as a musician and life as a producer can be a challenge, Manson says, sitting in the small control room of his cozy studio north of Santa Fe, a mint-green Danelectro baritone guitar resting on a chair nearby. “You always run the risk of sacrificing one for the other.” And with a family to support (he has a one-yearold daughter), making a living sometimes means compromising art for the sake of commerce. “Sometimes the projects you want to take on aren’t the ones that pay the bills,” he says.

Yet, Manson still manages to find plenty of gratifying projects. He still hasn’t forgotten those young upstarts from New York— nor have they forgotten him. Last winter he produced Popper’s solo album—released to critical acclaim in March—and toured with him as part of the Duskray Troubadours in the spring. During a solo tour this year, Manson shared the bill with Barron for eight shows in Italy, and is collaborating with him on some new songs.

His next big project, though, will be his own. Manson has an all-acoustic album in the works, slated for release by the end of the year.

To hear Jono Manson’s music, visit jono manson.net

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Opera Singer Finds Her True Voice in Rock ‘n’ Roll

T

he petite chanteuse who fronts one of the City Different’s few true rock bands, Stephanie Hatfield and Hot Mess, is probably the last person you’d expect to see performing an aria. But long before the blue-eyed belter first wailed into a microphone, she spent years learning the intricacies of opera as a student at Michigan State University.

After learning guitar from Santa Fe Americana god Boris McCutcheon (who was dating her roommate at the time), Hatfield began performing as a folk singer.

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But it didn’t take long for her inner rocker to leap into the spotlight. She joined a rock cover band, and by 2009 Hatfield put together a group of seasoned Santa Fe musicians that included guitarist/singersongwriter/producer Bill Palmer to flesh out her original songs.

“I liked the passion and release of it,” she says of rock ‘n’ roll, sitting under the portal of the St. Francis Hotel in cut-offs and a camouflage t-shirt, a cold pint of IPA nearby. “Opera has that too, but I wanted to write about my own experiences.”

RYAN HEFFERNAN

Stephanie Hatfield

In just two years, stephanie Hatfield and Hot Mess—with Palmer on rhythm guitar, Justin Lindsey on lead guitar, Matt McClintion on bass, and Andy Primm on drums— have amassed an enthusiastic following in santa Fe and beyond, particularly among music fans who see the band’s power-chord grit as a much-needed counterpoint to the region’s ubiquitous Americana.

Hatfield’s throaty, expansive voice soars and dive-bombs through songs of love, disappointment, and cautious optimism.

“Looking for something in this desert that’s alive,” she sings on “Blue Miles.” A common theme on the band’s self-titled 2010 CD that also surfaces on their new album, released this summer, is the coldshower truth that often comes with the maturation of romantic love. “I thought I was the chosen,” she sings on “suffer,”

“but now I only take the blame.” the new recording includes several tracks co-written with Palmer, whom Hatfield married in 2010. Hashing out songs with the person who sometimes inspires them is usually gratifying, she says, though it does mean checking your thin skin at the door. “that’s one thing we had to agree on, to be honest in our songs. I’ve written songs about arguments with Bill and vice-versa.

Writing a song is such an intimate experience—I have to trust someone completely.” this fall Hatfield is touring New Mexico and Colorado in support of the new record, and has a video in the works. The band’s upcoming New Mexico shows include the Mineshaft Tavern in Madrid October 29, and Evangelo’s in Santa Fe on November 18.

Visit reverbnation.com to hear the band, or sample their music on amazon.com. R trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 35

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Taos Man: Ken Price The enigmatic “California” artist clearly has his roots in New Mexico

PAUL O’CONNOR

BY GARTH CLARK en Price is now at the top of the art tree— a long, difficult climb beginning in 1949 when he first embraced functional pottery and then moved this fascination into sculpture a decade later. He had to deal with the “material” apartheid in the arts on his way up, but he has never wavered, nor did he abandon his material of choice. today Price is represented by two of the most powerful contemporary galleries, Matthew Marks in New York City and Xavier Hufkens in Brussels. He is one of three artists featured in Pacific Standard Time: Art in L.A. 1945–1980 at scripps College in Claremont, California, this fall (the other two being John Mason and Peter Voulkos, respectively his fellow student and teacher at otis Art Institute in Los Angeles in the late 1950s.) this fall a major retrospective of Price’s art opens at the Los Angeles County Museum

of Art and travels to the Metropolitan Museum of Art in New York.

And that is just the short list.

Yet Ken Price’s long connection to New Mexico is still not widely known. Recently I came across a post on Facebook by a writer who was a fan of Price’s art, explaining that some of his friends did not “get” his work until he said, “He is a California artist and that is all you need to know.” Aside from the fact that no artist can be defined solely by his home address, the statement was also incomplete.

I wrote back asking if he knew that Price had been a resident of taos, on and off, since 1971, and he admitted that he did not. this is understandable. Price is indelibly linked to southern California’s entry into the fine art mainstream. A California native, he began his art career in 1960, showing at the Ferus Gallery in Los Angeles, run by the art-promotion genius Irving Blum. He was one trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 37

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CRIS PULOS

Death Shrine 1, installation at the Harwood Art Museum in Taos. Previous page: Ken Price with one of his amorphous creations, circa 1995.

TOP: COURTESY OF COWAN’S INC. (5) INSET: COURTESY OF L.A. LOUVER, VENICE, CA.

of the Ferus “studs,” as they were us from doing our work, leaves us known, including Billy Al Bengston, in control of activities to succeed Larry Bell, Craig Kauffman, and Ed or fail on our own.”

Ruscha. But Ferus was not just a shortly after arriving here in local gallery. Its stable included 1971, Price began a project, Andy Warhol (whose first gallery Happy’s Curios, named after his show was at Ferus), Roy Lichtendynamic wife. It was the largest stein, Ellsworth Kelly, and Georgio installation of his career, and conMorandi. this was a heady start for sumed most of the ’70s and all of a young artist. his money. the catalyst for Curios there can be no denying the semwas the sleeping Boy, a bar and inal, continuing impact of Califorcurio store on the highway to nia—the close community of L.A. taos: “It had a room filled with artists and the aesthetic input from Mexican pottery ware, some of surfing and the car cultures. But the which was really good. I had an influence of New Mexico’s terrain, urge to make an installation piece its Hispanic and Indian cultures, in the form of a curio store, as an was just as profound. shortly after homage to Mexican pottery.”

Slate Cup (1972), fired and painted clay. arriving, Price described his new Price had long been enamored Top: Architectural Cup (1972–3), glazed ceramic. home as “physically incredible— of Mexican folk potters, particubeautiful but harsh at the same time larly those from tonala and with clear light and a spectacular sky: John Chamberlain says the oaxaca, and he would admire their pots on his surfing trips to [state] sport of New Mexico is sky watching.” tijuana, “their offhand looseness, the authentic folk patterning.

In a 2007 interview with artist Vija Celmins, almost four decades they considered themselves to be factories, although work was made later, Price was still enchanted: “spectacular sky shows . . . some by hand. they were not self-conscious; the character of their stuff unusual combination of factors makes it happen, maybe the 7,500 didn’t change for centuries. they fused Mexican and Indian with [foot] elevation and the ring of mountains around the mesa. For spanish and other European imagery. And I liked the way they whatever reasons the sky here is connected to the land; it is not like always had their wares decorated up.” anything I have seen anywhere else. the sunsets are not pretty and His original idea was to buy a storefront property, erect billboards sweet, they are amazing.” and display windows, and fill it with his own version of Mexican potthe move to taos was made for two reasons. Ken and his wife, tery, both touristic and historic. this proved impractical, so Price Happy, wanted to raise their family in more bucolic surroundings. began to make the installation in a modular format, with self-standAlso, he found living in Los Angeles overwhelming, an overload of ing cabinets and death shrines. influences, imagery, and social activity, and he needed to work more He had been noticing the roadside altars and memorials in New introspectively. taos gave him what Igor stravinsky described as Mexico and planned to do his own versions—“flasher shrines,” “protective neglect,” being left free to work unnoticed. which would expose passers-by to sexually provocative objects. He “New Mexico claims to be a center of the arts,” Price says, “but planned to make the ceramic pieces in quantity, so they could be it’s a poor state, and can’t really support the arts. so the arts supreplaced when they were inevitably vandalized. But he eventually ports it instead, [making] it a great place for an artist to work—and gave up this idea (perhaps wisely) and explored the shrine within lots of them live here. [the region] leaves us alone, does not prevent his curio store. trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 39

In 1978, broke and exhausted by the project, he was approached

by Maurice tuchman of the Los Angeles County Museum of Art, who offered to show the massive work minus the “back room,” made up of pornographic pottery. the ostensible reason was that including it would be “confusing” to viewers; the truth was that L.A. County was not prepared to take the heat for showing such work. the decision did not remove sex, however, from the show or from Price’s art. A few pieces on exhibit included erect male organs in the style of some prehistoric ceramics—but Price did not have to be graphic to be sexual. there is hardly a piece of his that is not slyly, deliciously, or even lewdly erotic. the abstract pieces can be the most provocative of all. the L.A. County exhibition was hugely successful with critics and the public, and its run was extended. (I saw it three times, and one of my pleasures was discussing the show with the museum guards, whose insights, criticism, and sharing of comments overheard from viewers was fascinating.) since that time, series after series has emerged. In the 1980s Price made larger versions of his architectural cups from the 1970s (whose construction was an arduous process that reminded him of why he had stopped making them in the first place). then came small rocks reflecting an interest in geology developed in New Mexico: jewel-colored fragments about four cubic inches—geometric specimens on 40

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C. Violet (1963), fired and painted clay.

acid—contrasting smooth planes of color against ragged surfaces resembling fractured stone, coated in iridescent paint.

In the mid-’90s, a new series emerged. strange forms, difficult to comprehend at first, appeared to be an amalgam of bottom-feeding sea creatures and psychedelic coral formations. the painted surfaces were rich with a multicolor dappling that seemed to be in perpetual movement. From a distance, these works appear to be one color, but as one gets closer they reveal themselves to be covered in hundreds of tiny paint spores that resemble live cells under a microscope, often ringed with a membrane of one color (say, silver) with another color such as turquoise or livid pink at its core. the effect is luminous—yet it is never pretty. they remain tough. What Henry Hopkins wrote in 1963 remains true today: “Like the geometric redness of the Black Widow’s belly or the burning rings of the coral snake, these objects declare their intent to survive.”

In this century, the shapes have evolved into larger and more aggressive presences, the works being made in the photographs of his studio. Perhaps the best way to view these sculptures is as love children of sea slugs and volcanoes. the obvious contradictions of such a union supply complexity—these works are at once hot and cool in their color, soft and hard in their form, fragile and fearsome, sexy and grotesque. they follow a consistent line of

© KEN PRICE, COURTESY MATTHEW MARKS GALLERY, NEW YORK (2)

Eeezo (1995–2009), fired and painted clay.

TOP: COURTESY OF L.A. LOUVER, VENICE, CA. BOTTOM: © KEN PRICE, COURTESY MATTHEW MARKS GALLERY, NEW YORK

Squatly (2003), fired and painted clay. Top: McLean (2004), acrylic on fired ceramic.

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organic inquiry in Price’s work that began with his first 1960 exhibition at Ferus Gallery of brooding mounds with finger- (or worm-) filled orifices. occasional sorties into hard-edged geometry or literal painted subjects break this journey. But then it begins again, and has never ended.

In 2004 Rupert Deese described the character of these works with playful accuracy as being “biomorphic, vegomorphic, geomorphic, aquamorphic, nan-o-morphic, lingamorphic, nasal-o-morphic, octimorphic, tit-o-morphic, testemorphic, analmorphic, penil-omorphic, mouth-o-morphic, pile-o-morphic, mountain-and valleymorphic, lava-morphic, cave-on-morphic, sangre-de-Cristo-morphic and probably most of all, Happy-o-morphic.” And some pieces seem to include all of the above.

Parallel to ceramics has been Price’s career-long commitment to drawings and printmaking. “Yeah, drawing is the primary thing,” he says. “It is where the essential thinking goes on, and it’s a soul connection. And, yes, I have always loved to draw. In the fifth grade I was sent home from school when I was caught drawing bubble dancers on some paper I had concealed in a book I was supposed to be reading. Now I look back on that with a warm feeling. For me it proves that the urge to make erotic art is primal. For me drawing 42

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is very flexible, and I use it in many different ways. It’s a way of developing my ideas. It helps me figure out aspects of sculpture.

And I can use drawing to play around with color. Among other things, a good drawing can cut to the essence of something.”

In 2D, one finds some of the most intimate and local comments about his 40-year love of New Mexico’s high desert. the titles on drawings, watercolors, and prints set the tone: High Country Meth Lab (an orderly grouping of mobile homes on a mesa), High Country Discovery (a massive orange Price sculpture nestled in some foothills), Talisman to Prevent Crashing (a Day of the Dead skeleton examining a wrecked car that has gone off the side of a mountain pass and lies crushed on a pile of rocks).

What makes these visually captivating is the mixture of hard edge with soft. Houses are rendered with the knife-sharp precision of an architect’s draftsman. But the rendering of rocks, mountains, and clouds is soft, almost amorphous, comprised of sliding masses and oozing color. Lines on mountains and arroyos slouch downward lazily as though reluctant to surrender to gravity and time.

New Mexico’s art community has benefitted from Price’s presence for more than four decades, and it has given back as well. Many feel that the 2001 sItE santa Fe Biennial, curated by Dave Hickey and

© KEN PRICE, COURTESY MATTHEW MARKS GALLERY, NEW YORK

Percival (2009), painted bronze composite.

COURTESY OF L.A. LOUVER, VENICE, CA (2)

High Country Housing (2005), watercolor on paper. Right: Jackson Price at SITE Santa Fe’s 2011 gala honoring his father and collectors Alicia and Bill Miller.

that included Price, was a major turning point in his career. the exhibition got rave reviews, and many focused on Price’s genius. two years later, at the insistence of the gallery’s stable, Price had his first show with Matthew Marks Gallery, and his career has soared.

Lastly, there was a gala this July hosted by sItE honoring Price and local collectors Alicia and Bill Miller. Ed Ruscha spoke about the artist in a hilarious presentation made up of a headline from one of Price’s reviews followed by a one-line pun (“Ceramics: Cup, Bowl, Vase. I asked Price why he did not make vases, but he was evasive”) that had the audience laughing and groaning at once. Hickey spoke brilliantly and personally. For me, the highlight of the evening was an eloquent but wordless film made by Price’s son Jackson, who has worked as his father’s right-hand man for many years.

We watched what could have been a cliché—a pile of clay being wedged and then growing step by step into a completed artwork.

But it proved riveting. this was partly from witnessing Price’s fingers moving, a fluid choreography with a poetic edge, as he built the form. But the real excitement was being privy to Price’s decisions as he formed and reformed the sculpture, painted and repainted until he had what he wanted.

It was while viewing this film that I realized I had never thought of Price’s art as being “made.” In part this is because he has always kept his studio practice private, unlike many in ceramics who travel the workshop circuits, making theater of technique as they demonstrate their skills to students and the public.

By contrast, Price’s artwork always seems to have appeared out of the blue, like an alien beamed down from the mother ship, futile to speculate on how. Its demanding presence took over. there is always a new twist that one is not prepared for, does not always like at first, which has to be addressed and resolved. so one never gets around to considering the making—the seam marks, firing quality, or any other technical virtues of the medium.

I made this observation in an art criticism discussion group, and several members replied to the effect that, “strange you wrote that— until this minute I had never given his craft a moment’s thought, and sometimes not even its medium either.” It is not that Price seeks to deny process or material. Rather, craft is an issue in art only when there is too little or too much. Get it just right, and craft disappears. Achieving that delicate balance between making and meaning is Ken Price’s magic. R trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 43

Casa del Nido Ospre Mexican beach house gives modern architect ancient wings

PHOTOS BY ROBERT RECK

P

hoenix architect Eddie Jones is best known for his fantastic geometric homes in the Arizona desert that channel Frank Lloyd Wright. But in the resort town of Puerto Peñasco, Mexico, he got a different sort of assignment from a different sort of client: his wife.

“Lisa has always wanted a beach house for the whole family, where the grandkids come and stay, and that gets passed down,” he says. The couple had been vacationing in the Sea of Cortez town for years before they finally secured this site. Jones, who has traveled more widely in recent years, took a page from ancient tradition to riff on the arch, a theme quite new to him.

“I usually stay away from arches, but Mexico was an intellectual permission slip to use these forms and emphasize them in a modern way,” he says, adding that colleagues joked that if he could build arches, anyone could. Structurally obsolete as a means to span a wide opening, arches are still engaging, Jones says, for the felt contrasts in weight and space. “And then you see how much an arch loves sunlight, how it casts a curvilinear shadow. It’s engaging. People relate to that.”

The Casa del Nido Ospre—House of the Osprey’s Nest—reflects Jones’ fascination with indigenous forms, how they are rooted in culture and landscape yet communicate universally. Jones invited his No. 1 photographer, Robert Reck, to spend some time in the beach house shooting. “There is a certain magic about the property,” says Reck. “Chiaroscuro-esque light happenings, strong shadows, repetitive columns, the arches.” The sculpting of light by the home’s pure white forms brought out Reck’s ability to cast a spell with the lens.

Shot from the Sea of Cortez, the six-bedroom home perches on the sand at Puerto Peñasco, Mexico. “It’s actually an excellent surface to build on,” architect Eddie Jones says of beach sand. “The hard part is the salt air. It eats buildings.”

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The deep patio on the second floor has one of several cast-in-place concrete roofs with cut-outs to filter the strong sunlight. Lisa Johnson, Jones’ wife, acquired the outdoor furniture through her furniture dealership in Phoenix. Floors throughout the building are travertine. “We do get some major storms where water is blown against the house, but we don’t worry about that because the windows are half-inch-thick glass,” says Jones.

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From the opposite side of the patio, the living room is visible through glass windows and doors, with kitchen cabinets spied through a cut-out in the far wall.

A special feature of the house is the brick vaulted dome (boveda) with oversized skylight over the living room. An ancient structure laid one brick at a time, “it’s amazingly economical and efficient,” says Jones.

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The beach access from the house features a number of the carved stone balls found throughout the home, purchased in Guadalajara. “You find these all over Mexico,” says Jones. “Why, I don’t know. For me a sphere connects to any shape it’s adjacent to. It doesn’t compete.” Opposite: A stairway to the right of the front entrance leads to the second-floor living room/patio at left. Visible on the roof is Jones’ take on an osprey nest, made of rebar—an homage to the ubiquitous homes in Mexico with rebar supports still sticking out of the concrete walls. Jones says that may be because “unfinished” buildings are subject to a different tax structure. Regardless, “I love it because it creates these spindly fingers sticking into the sky.” R

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Contemporary Japanese design finds organic sensibility in the classic past

Interior view of the 21st Century Museum of Art, designed by Kazuyo Sejima and Ryue Nishizawa, SANAA, Kanazawa, Japan.

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TEXT AND PHOTOS BY THOMAS LEHN

W

e arrived in Japan soon after the earthquake in March, as the cherry blossom season was spreading hope of a new beginning. My wife, Jane Lackey, had received an artist fellowship to research pilgrimage circuits—spatial relationships in temples/ shrines—and washi (Japanese paper-making traditions) as resources for her artwork.

Meandering among Kyoto’s multilayered gardens and architectural spaces, we studied their purposeful use of simple, natural materials, textures, and patterns that offer lessons to the West on the dimensions of sustainability. the ubiquitous focus on these fundamental principles led me in search of new, provocative design directions in and around the city to see how they incorporate the classical past into the contemporary Japanese present.

Kyoto’s atmosphere entices the senses. Its changeable weather, temples and shrines tucked into lush green hillsides, delicate flowering trees filling the air with fragrance, impeccably crafted large timbered structures, manicured villas and gardens, softly patterned kimonos, and rugged and refined pottery all combine to create Interior of the renovated Koto Inn, Kyoto, Japan. a sense of peace and tranquility. this 1,200-year-old capital is home to 1.5 million inhabitants, many of whom still practice such slow, resonant rituals as ikebana (flower arrangement), bonsai, Noh, tea ceremony, hiragana (Japanese syllabary), and four classical garden styles (dry rock, tea house, etc.) against the backdrop of early development of Japanese Buddhism in this imperial city. While other Japanese cities grew uncontrollably large, embracing industrialization, post-war reconstruction, and the affluence afforded by westernized modernization, Kyoto remained focused in large part on its cultural heritage. It still offers insight into a world of calm that soothes the hectic pace of contemporary life. this history is also its challenge. Like santa Fe, Kyoto struggles to nurture new design solutions that go beyond its self-referential, romantic past. the attention placed on Kyoto’s treasure chest of aesthetic lore serves to restrain new responses to contemporary design challenges.

Where I found it, new design operated on the periphery of the obtrusive high-rise apartment buildings, neon signs, and overhead electrical wires of modern Kyoto. tucked into narrow, winding streets and behind hidden entrances were brave and playful examples of new thought about rightsized live/work spaces, multifunctional flexibility, energy conservation, and sustainable building materials that borrow the best from the past.

A kyo-machiya and a coffee shop

Zen-like interior view of Nao Coffee Shop, Kyoto, Japan.

there seems to be a small but growing trend for entrepreneurial Kyoto residents to show their allegiance to traditional cultural values by preserving old kyo-machiyas (merchant townhouses). I visited one that has been recently renovated into enchanting guest quarters called Koto Inn. Upon entering I was trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 51

Food presentation at Bamboo restaurant on Shigaraki stoneware, Kyoto, Japan. Right: Contemporary tea cup made in Suzu, Japan.

immediately struck by the timeless simplicity and decorative restraint. Every inch of space echoes its heredity, but at the same time offers an updated contemporary interface. Materials are all natural: wood, paper, straw, and earth, surrounded by trees, water, stones, and moss in the garden. they are ordered into a coherent and expansive spatial matrix that supports multiple functions. the varying widths in overlapping grids create an illusion of deeper, layered space beyond. these relatively small, connected spaces become more expansive through decorative restraint. the design vernacular is clearly led by the placement of imposing grids in shifting scales by which all surfaces—floor, walls, doors, and ceilings—abide.

Due to the use of simple organic construction materials, they are toxin-free environments. Natural cooling is provided by cross-ventilation through large openings at each end of the building. Constructed with wooden pegs instead of metal nails and brackets, their large timbers can be easily disassembled and rebuilt in different locations. Like older adobe structures in santa Fe, Kyoto merchant townhouses incorporate sustainable materials and practices that have endured. originally these quarters were used as active places for business, socializing, and living. Kyo-machiyas provide inherently nimble solutions for multifunctional living within a vernacular of sequenced spaces. As in most traditional Japanese living quarters, sliding screens create flexible living spaces, each section offering additional space or serving alternative functions that can be neatly combined or separated. Kyoto’s kyo-machiyas currently house interesting guest lodging, art galleries, restaurants, art studios, hair salons, and cafes. one such shop, Nao Coffee, I stumbled across only because a friend had directed me there, and even with 52 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

that, finding it was sheer luck. tucked into the heart of downtown Kyoto, one would have to notice the unmarked, brown coffee bag on a small stool inside the front window to recognize that this is a coffee shop.

Upon crossing the understated entrance in search of a quick pick-me-up, I was immediately bewildered. the space is drastically, intentionally spare: a wooden counter, back counter, six wooden stools, and one floating flower in a long hanging vase on the back wall of the bar—that’s it.

No chrome espresso machines, self-service milk station, or décor, just restful Zen-like tranquility accompanied by the mellow notes of Chet Baker filling the air. I was immediately transported to a temple tea ceremony, without the tea. Everything here is an attempt to bring focus to your awareness. Like a Noh drama, the space asks for a mind rid of unnecessary clutter and refreshed with a cup of coffee. What a concept! speaking of cups, another longstanding trend in Japanese design that caught my eye is tableware. Economy of gesture, simplicity of form, and tactility of materials have always fascinated me. Japanese craft reduces form to the bare essentials: not fussy, not decorative, just enough detail and form to help the user be mindful of immediate experience. this historic yet contemporary aesthetic was framed long ago by Kyoto Buddhist monks and Zen tea masters, who established an order against ornamentation in favor of the plain, irregular, and imperfect—the famous principle of wabi-sabi. Now resurgent interest has some of the most trendy design shops in Kyoto such as sferra or Prinz featuring simple, minimal crafts that reinvent the duality of precision and tactility. these timeless principles, maintained through the renewed popularity of local craft, are also sold by independent street venders at temples and used in Kyoto’s most creative restaurants.

Exterior view, Kadoya (Sea of Time) by artist Tasuo Miyajima, Benesse Art House Project, Naoshima, Japan.

TOP: NORIHIRO UENO

Serving with purpose

Master ceramicist Kenzo Ogawa in his studio, Shigaraki, Japan.

At Bamboo, my favorite casual Kyoto restaurant, a carefully choreographed event takes place around a tiny bar.

A young master chef juggles food and plates, matching the flavors of his food with the quality of stoneware he selects. His artful creations are layered in an expressive presentation that balances flourish with restraint. such commanding coherence sent me on an investigation into the source of his tableware.

I headed to shigaraki, a pottery village that has supplied much of Kyoto’s ceramic ware for centuries. Greeted by nobori-gama (climbing kilns) that slope down the hillsides of the village, I roamed from one potter’s studio to the next across winding, hilly roads in a quest for pure, simple forms of contemporary functional ware. I met up with two superb artisans: Kenzo ogawa, a senior potter, and teruyuki Nishio, who is younger. Watching Kenzo turn a rough mound of brown clay into a vessel of refined simplicity sealed my affinity to the products of such dedicated focus and intention.

It is clear to me how these and other leading contemporary craft masters address current issues of sustainability.

Distribution is localized. simplicity of form and natural materials puts less strain on environmental resources, as in the work of sachio Yoshioka, a master dyer who produces brilliant colors on sheer silk and paper using only organic materials. His formulas are based on research of ancient dying processes, yet the colors he creates are very fashion-forward. > trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 53

A vessel of translucent clay called Lucent-ware, made by ceramist Teruyuki Nishio, Kouka- city, Shiga, Japan. Top: Ryukoku Museum, glass entry designed by Nikken.Jp, Kyoto, Japan.

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A number of contemporary artists are using sustainable methods to bring new life to old buildings. the Benesse Art House Project is a contemporary art venue on the small island of Naoshima, a slow-paced environment that allows one to absorb the full experience of art. Meandering through very narrow streets in search of the next art installation in this small fishing village is like taking part in a human chess game. Begun in 1998, the Art House Project is made up of seven houses, previously empty and completely renovated into works of art scattered through the island’s residential area. Each artist has intervened with memories of the house and its neighborhood.

Artist tasuo Miyajima created Kadoya (sea of time) by restoring a 200-year-old house. Japanese plaster and smoked cedar board line the outside; inside is a sea of miniature flickering digital displays submerged in a dark shallow pool, as though the numbers are alive and engaged in dialog. this installation was created with participation from local residents.

Another Benesse Art House Project completed in 1999, Minamidera (Backside of the Moon), is a collaboration between architect tadao Ando and artist James turrell. It pays homage to a temple that previously existed on this site as a spiritual gathering place for the community. Now it is another type of gathering place, designed for silent contemplation. After being led into a completely blackened interior and seated on benches, one senses a glimmer of light that slowly begins to increase in luminosity. the cave encourages introspection as one’s eyes adjust to darkness and is abruptly overcome by returning to natural light as one exits.

Public art venues like these extend our understanding of sustainability by interfacing it with social and cultural needs. Another successful example is the new Ryukoku Museum in downtown Kyoto. the world’s first comprehensive museum on Buddhism, it incorporates environmentally conscious design techniques while acting as a nexus for the local community.

Ryukoku Museum welcomes visitors by incorporating into its façade an abstracted sudare (reeded screen) made of ceramic sections. the architectural firm Nikken.Jp says it wanted to create a Kyoto-esque appearance that would integrate the facade with its neighborhood. this sudare provides shading during much of the day. the integral wave built into its floating surface symbolizes the continuing flow of Buddha’s teachings.

Early Zen principles of honesty, simplicity, and unadorned formal solutions are carried out here with startling contemporariness. the interior sets up a transparent flow between three floors of exhibition areas that support the collection with elegant frugality. the inner courtyard

BOTTOM: ART HOUSE PROJECT “KADOYA”, PHOTO BY NORIHIRO UENO

Art in the house

Ryukoku Museum, inner courtyard garden designed by Nikken.Jp, Kyoto, Japan.

Below: Interior and exterior views of the 21st Century Museum of Art. Designed

by Kazuyo Sejima and Ryue Nishizawa, of SANAA, Kanazawa, Japan.

garden reframes earlier Zen aesthetics through its boldness of scale, a forced low view from the interior, and dominant use of concrete as its dry landscape ground. surrounding low glass panels create reflective illusionary expansiveness within tightly confined boundaries.

Walking the circle one of the best examples of innovation, the 21st Century Museum of Contemporary Art delivers truly refreshing solutions for social sustainability. this circular glass building in Kanazawa, designed by Kazuyo sejima and Ryue Nishizawa of sANAA, offers transparent layers of activity and multiple points of entry that challenge our conceptions of what art museums can offer. the building blurs the definition of outside and inside. situated in a park full of foot traffic and outdoor art installations, the museum has glass circulation paths inside that dissect the building from one end to the other, and cast liquid reflections onto adjacent glass walls.

As transparent as the building seems, its exquisite exhibition spaces remain private for those who want to savor the sublime experience of viewing art. the overall result is a playful and refreshing space of community interaction. these innovative projects in and around Kyoto offer insight into Japan’s contemporary design currency and expand our understanding of how these sustainable solutions address both material use and social, cultural, and spiritual dimensions. Adhering to Zen principles of gestural economy, natural materials, and formal restraint, contemporary design solutions provoke responses that match the tenor of the city’s storied past. With chiseled restraint, they offer a humanistic vision that is at once self-reflective, joyful, and alive. R trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 55

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Not Quite the Moon–taos Photographer David Zimmerman finds uncompromised freedom on the far side of New York City

BY RACHEL PRESTON PRINZ | PHOTOS BY PETER OGILVIE

D

avid Zimmerman’s renowned career as a photographer started not behind the camera, but in what he describes as a “terrible” effort at sculpture and painting in his teens, where he would take courses both at his high school as well as at Milwaukee Art Museum during the summer months. His shift to the camera came later, inspired by a European adventure in which he first attempted to document how he saw the world from behind the lens. this new vision, though of continental pedigree, was profoundly colored by his work on an Israeli kibbutz in the Golan Heights during the Yom Kippur (october) War of 1973, where he worked to save enough to travel the sinai desert before heading to Europe.

After his travels, Zimmerman returned to Wisconsin and took up work in a camera store, taking darkroom classes in Milwaukee while he waited for a spot to open in the photography program at 62 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

the Brooks Institute in santa Barbara. Milwaukee was not his end game; he had a bigger story to tell, and he wanted to bask in the influence of people who were pushing the bounds of their medium. His world changed again one day when a woman named Marilyn, a film and photography teacher in an inner-city magnet program, came by to drop off some film to be developed for her class. A deep friendship and eventual romance developed, and they married in 1979. Marilyn applied to Brooks, where she was immediately accepted into the newly formed film department. the Zimmermans left Wisconsin for California.

In 1982, after completing their studies at Brooks, the couple moved to the borough of Queens in New York City, and David started working for some of the city’s best photographers, including a stint as an architectural photographer with the famous skidmore

Encircling an old cottonwood tree that seemed to dictate the design of the house are, from left, the meditation room, bridge, master bedroom, living room, guest room, and garage. The rooflines communicate movement with the branches of the tree, while the colors of the house complement both earth and tree.

Left: A rammed-earth wall bends along one side of the living room to draw attention to the rusted steel roof over the breezeway leading to the guest house. The combination of rustic and contemporary elements in the home is meant to elicit both calm and excitement.

David Zimmerman with Wanda (2010), a pigment print of an oil spill worker from his 2010 Gulf Coast series in Louisiana.

Zimmerman drove to the Gulf of Mexico following the BP oil spill to document the effects of the disaster on residents and workers.

Opposite: The Zimmermansâ&#x20AC;&#x2122; east-facing living room embraces the view across the Taos mesa to the Sangre de Cristo mountains.

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A view from the gallery shows the New York-loft influenced studio.

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Solar panels on the roof provide enough energy for three to four days of power, and help shade the roof structure.

owings and Merrill architecture firm. Within two years he had opened a studio and built a successful career photographing landscape, environmental, and fine art projects. It wasn’t long before some of the world’s biggest brands were seeking his unique skills, and David and Marilyn began renovating lofts in Chelsea to create inspired studio spaces where they could manifest their visions. New York’s east-west alignment meant creativity was required to make something of the north or south light, but together they made each space into one that would work for both of their evolving careers.

David got a pilot’s license, so he could evolve his work in a new direction. He also traveled to India as a guest teacher, the first of many visits there. He was immersed and he was inspired. Marilyn would join him from time to time between his solo trips, when he would burn through rolls of film as he cataloged the culture and sights. Returning home to an entirely different world would give him fresh perspective and purpose. Evolution suited him. then, five years ago, something shifted. the Zimmermans made the decision to leave New York. City life was great in many ways, but something was missing—they realized that their relationship with the spaces where they lived and worked was punctuated with compromises of light, of proportion and of comfort, and they realized that the “big” creative spirit they had found in New York was moving to new neighborhoods and reflecting a new attitude. It was time for them to move on, too—to something that felt complete, uncompromised, and totally different. Now that their daughter was grown, they could try to find that place where the rules were a little fuzzy, and where innovation was allowed free reign.

David says of their escape that they “set out in search of a totally new energy that we could tap into,” adding, “It had to be way off the path we knew. Really, it was going to be the moon, or taos.” they began to travel. Finding themselves called to the desert

southwest, they would find their peace between Amarillo and Holbrook. A solar-powered camper allowed them to be wherever, whenever. David could camp at an airport before taking off for work in his home-built plane. An important lesson was revealed: sustainability also offers freedom. Unencumbered by attachment to any place, they were free to search, though for what they weren’t sure exactly. they did know that they loved the wide-open spaces and independent spirit of the West. When they got to taos, they knew something was right. Developed enough, it allowed remoteness and isolation when needed. It wasn’t long before they bought land and hired an architect. the transition began officially some two years ago when they moved into the solar camper where they would live for four months while their house was being finished. David spent most of his time trying to finesse the details of the house while fulfilling client orders, and he would routinely crash Marilyn’s completed workspace with his equipment to close outstanding business from their old life in New York. Eventually the home was completed, and both could begin the process of redefinition that taos inspires.

From the approach to the live-in studio on the vast sagebrush mesa that David and Marilyn Zimmerman call home, it becomes clear that the driving forces that built this home were artistic vision and a love of architecture, combined with a passion for the work and a desire to fuse that with life. Designed and built by the Zimmermans with Ken Anderson of Edge Architects, the rastra, adobe, and frame constructed LEED-certified home uses a combination of passive solar design, thermal mass, rain catchment, and solar power, which provides all the off-grid needs of anyone who comes here to find solitude and inspiration. the home’s cisterns collect 5,000 gallons of water per inch of rain, and its solar array can provide four days’ worth of uninterrupted power. > trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 65

COURTESY OF DAVID ZIMMERMAN (4)

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Pigment prints, clockwise from top left: Untitled-chair (2008) Salton Sea, California; Untitled-van (2011), and Untitled-peace (2011), northwestern New Mexico; Untitled-desert (2011).

Van and peace are from a series related to the concept of journey—why we take them, what we find, what we leave behind. The abandoned van contained a remarkably preserved history: a woman’s scrapbooks, yearbooks, letters, and photographs, fused together by the heat.

It even had an answering machine with recordings and the keys still in the ignition.

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the home’s siting within the landscape had to consider its place within the desert and the watershed of the famous Rio Grande Gorge. the house had to be set back from the gorge to protect the watershed and its status as a National Wild and scenic River; land and home had to work together to support sustainable ideals set out early in design; and at David’s insistence the structure had to avoid the juvenile yucca growing nearby. It wasn’t until stakes were laid for the foundations that anyone realized the entire home would have to be shifted to protect the young plant. the design is simple, elegant, and uncluttered. the exterior shape and arrangement are dictated by the interior arrangement of spaces and the way they are used. the house was designed for light, as varying architectural elements douse one in light and shadow, heat and cool, inside and out. simplicity amid exquisitely crafted modern detail pays tribute to the New Mexican aesthetic and equally respects form and function.

A layered mosaic of squares, portals, and a staircase form the

David Zimmerman in his upstairs photography studio.

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western façade. to the south, a great porch stands with its back against the western winds, just far enough from the house to create a luxurious space made up of equal parts relaxation and inspiration.

A doorway leading to the porch beckons visitors in from the bright, stark western façade and its buttressed moorings in the vast landscape. stone grounding connection to earth, a raw stucco wall behind, and rich stained ceilings resting on square supports form a sensuous Indian-temple colonnade of aged turquoise and teak. the texture-rich frame softens the edges of the view north toward the modernist residence that is the star of this show. the eastward façade is as airy as the west is earthy. With a twostory window wall of exclamation-pointed windows shaded by stucco overhangs, this is the only place where solar design is set aside to allow for pure delight. seen from the living room and kitchen beyond, these windows embrace the vast mountain view afforded by the remoteness from civilization and are positioned to embrace the sunrise over the mystical and revered mountain.

The porch has its back to the west, screening the hot desert winds and framing a mountain view through its temple-front facade.

on the edge of positive and negative space, intersecting light and dark, with swaths of view wide enough to create a sense of absolute stillness, the interior of the home reflects both its custom purpose and unique pedigree. the eastern living space, with its window wall and open kitchen, partake of the “out there” of taos.

Even the sumptuous leather chairs in the living room testify that the space is flexible and adaptable, that it provides an intimacy that works as well for moments of sociability. the square windows along the west wall of David’s large loft studio cast long shafts of white light on the dark-stained thermal mass floor. A wall of south-facing windows echoes the sitting porch to the west, while another row of high windows uses a light tray to bounce light into the deepest reaches and keep the room from overheating. this open, two-story space allows for an entirely different state of mind, one that recalls the lofts that David and Marilyn converted in New York. Past a computing office that can be shuttered into near-darkness for editing, the bright studio space opens wide to provide for drafting and cutting tables, rolling carts full of photographic implements, a sitting area, walls and light walls lined with draft shots and plotters and rolls of paper. this space is for work, and this work is a new story, discovered in taos and told through David’s poetic lens. He has found inspi-

ration in a nearby community that lives nearly without knowledge by its neighbors, a secret place of homes made almost entirely of found objects. the dance of light and shadow in his work seems to echo everything one hears about what taos does to people.

Upstairs, the still-life room—with its cacophony of tools to create perfect lighting—seems dusty. David has found a new muse, it seems, and she flows in and out of the light, as the house does. time has been kind, it seems, in allowing the Zimmermans to create a modern live/work space that embraces a new interpretation of taoseño detail, is technically advanced, and creates a livable, affordable space for a truly working life—space that beautifully and simply fulfills its purpose and allows the Zimmermans to fulfill theirs. As David points out, “Living out here, you learn to become partners with the land.” And the land seems to agree with their decision to make taos home: this spring, five years later, their fragile yucca plant has bloomed for the first time. R David Zimmerman’s Desert series, currently being shown at the HulseWarman Gallery in Taos, earned him the 2009 Sony World Photography Awards L’Iris D’Or Grand Prize. His work is also being shown at the Susan Spiritus Gallery in Newport Beach, the A. gallery in Paris, and Capital Culture in London. Marilyn Zimmerman is working on a documentary. trendmagazineglobal.com Fall 2011/Winter 2012 » Trend

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THE TAOS HUM

BY LYN BLEILER

2012 Year of the Remarkable Women

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Clockwise from top left: Beatrice Mandelman circa 1950; her painting The Circus with an unfinished Agnes Martin painting on the reverse. Agnes Martin in her studio circa 1950s; Martin’s Landscape-Taos (1947), watercolor on paper.

hattan’s Coenties slip in 1957, where fellow artists included artists Ellsworth Kelly, Robert Indiana, and Jack Youngerman.

Eventually she returned to New Mexico, first to the village of Cuba (where she took a seven-year hiatus from painting), and ultimately settling in taos, where she remained for the rest of her days. seven of Martin’s paintings are on permanent display in the octagon-shaped Agnes Martin Gallery, added to the Harwood Museum of Art in 1993.

Prolific painter Bea Mandelman was a colorful, eccentric personality who was easily identifiable in outlandish clothing and, in later years, a blond hairpiece she lightheartedly referred to as her “hooker” wig. she was born in Newark, New Jersey, and studied art at Rutgers University, the

Newark school of Fine and Industrial Arts, and the Art students League of New York.

From 1935 through 1942, she worked as a muralist and later printmaker for the Works Progress Administration (WPA), and became acquainted with a number of New York school artists, including Willem de Kooning and Jackson Pollock. At a dance sponsored by the Artists Union, she met Lithuanian-born artist Louis Ribak, and the two married in 1942.

Like many artists of their day, Mandelman and Ribak became disillusioned with the dissension between social Realists and Abstract Expressionists in the New York art scene. After visiting Ribak’s former teacher and mentor John sloan in santa Fe in 1944, they moved to taos and became part of what would be known as the taos Mod-

COURTESY MANDELMAN RIBAK FOUNDATION

aybe it’s the sacred mountain, or the dramatic landscape, or the stripped-down remoteness of the place. Whatever the draw, taos has long attracted strong-willed, creative women. the shared centennials of two trailblazing individuals, Agnes Martin and Beatrice Mandelman, have ignited town-wide enthusiasm to celebrate taos’ many remarkable women, past and present, in 2012. “to compete with male artists of their generation, women had to be tough and determined,” notes abstract expressionist Charles strong. “And Agnes and Bea were.”

Agnes Martin was a formidable force, both in taos and in the wider art world, until her death in 2004. In her later years she could be seen barreling through town in a Mercedes sedan (one of her few material indulgences), or lunching at the Ranchos trading Post, where she was a daily fixture.

Born in saskatchewan, she later moved to the United states and attended the University of New Mexico, where she taught art classes before returning to Columbia University to earn her master’s degree in 1952. sculptor Mary Fuller McChesney recalls meeting a very ambitious, handsome, and athletic “Aggie” during a summer in taos that McChesney spent with husband Robert in 1951. Following a night of heavy partying, Martin woke full of energy and insisted the hung-over artists join her on a rigorous trek to Wheeler Peak.

At the encouragement of gallery owner Betty Parsons, Martin moved to lower Man-

erns, along with Edward Corbett, Clay spohn, Agnes Martin, oli sihvonen, and Andrew Dasburg.

“Bea never considered herself a regional painter,” observes Robert M. Ellis, a former museum director and friend. “Even though she lived in taos for over fifty years, she always painted as a Modernist, stretching creatively to explore her intuitive lyrical distractions.”

In her final months, Mandelman produced the 31 paintings that comprise her Winter Series. she died at her home in taos in 1989.

Beatrice Mandelman and Agnes Martin established a friendship in the early 1950s that would continue on and off until the former’s death. Before Martin left for New York, Mandelman visited her studio and found her in the process of disposing of some early work. Art supplies being hard to come by in taos, Martin gave her an unfinished panel to paint over. Instead, she painted The Circus on the reverse side. the piece is in the Albright-Knox Art Gallery collection in Buffalo, New York—with Martin’s unfinished piece on the back. taos’ Harwood Museum of Art will present two important exhibitions in 2012.

Agnes Martin: Before the Grid (February 25 to June 17) will trace the entire span of the painter’s rarely seen early work, such as landscapes, portraits, and a still life. Beatrice Mandelman: Centennial (July 7 to october 14) will show paintings from the museum’s permanent collection, which now houses a significant gift of artwork from the Mandelman-Ribak Foundation.

Many other extraordinary taos women, past and present, will be honored in taos next year. the Mabel Luhan House will be hosting a 90th anniversary celebration of the historic home completed in 1922 (February 25); there will be a reading by author Kate Braid from Inward to the Bones: Georgia O’Keeffe’s Journey with Emily Carr (May 31); an innovative workshop, Meetings with Remarkable Women (June 1–3); and a presentation by Dodge biographer Lois Rudnik, Who’s Been Sleeping at Mabel’s?: A Look at Three Generations of Utopian Visions

at the Mabel Dodge House (February 25). taos Historic Museums have three special exhibitions in the works. Out of the Background: The Women Artists of Early Taos and Barbara Sayre Harmon: Magic and Mystery will be shown at the E. L. Blumenschein Home, while Cultural Threads: Nellie Dunton Colcha Revival in New Mexico will show at the Martinez Hacienda. Across town, the Millicent Rogers Museum will feature a number of exhibitions about its namesake and other women. the Parks Gallery will show Melissa Zink Remembered: Paintings and Sculpture, 1975 to 2009. the New Mexico Committee of National Women in the Arts is sponsoring an Art of the Dress exhibit featuring contemporary taos artists Deborah Rael-Buckley, Zoe Zimmerman, and Michele Cooke. According to NMC-NWA chairwoman susan Berk, the santa Fe-based organization also plans to incorporate the Remarkable Women theme into their popular annual 18 Days programming, a six-week cultural consortium of visual arts, film, and performing arts showcasing women artists of New Mexico.

Remarkable young women of taos will enjoy the spotlight in 2012 as well. taos Pueblo is planning a Red Willow Market event to benefit a mentorship program, taos Center for the Arts will sponsor a juried show of seventh-grade photo essays, and Matt thomas and Richard spera are busy organizing a PechaKucha Night (a movement that originated in tokyo for artists to share their work) for “edgy, dynamic young taos female artists.”

Finally, there is talk of a Great Female Chefs of taos event, a jazz concert featuring female musicians, a Remarkable Women exhibit at the taos Institute of Glass Arts, literary events, and more. As Karen Young of the Mabel Dodge Luhan House remarked, “What other city, town, village, municipality in the United states has dedicated an entire year to celebrating its women, past and present?”

For more information: taossacredplaces.com, 2012 Remarkable Women of Taos. trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 75

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Artist PROFILE

BY ELIZA WELLS SMITH | PHOTOS BY KATE RUSSELL

Precisely,Woody Gwyn The master of plein-air realism finds truth in what is

ARTIST PROFILE

I

f only more of us could express ourselves as clearly and profoundly in word or image as Woody Gwyn does with his paintbrush. the intense detail in Gwyn’s natural realism delivers us true terrains of New Mexico, texas, Virginia, Pennsylvania, California—wherever he is inspired.

Light is the common thread, and Gwyn treats it with delicate precision. His light moves like a life force through the canvas to shroud a tree, grace a field, climb rocks, splash into the Galisteo Basin, or tip the waves of the sea. It’s ironic how such intense precision and energy conjure a feeling of calm. often there is historic relevance to a site. In Midday (2010), Gwyn painted near Manassas, Virginia, where George Washington used this tree as a marker when he surveyed the land. Gwyn studied at the Pennsylvania Academy of Fine Arts in Philadelphia “before the Civil War,” he jests, adding that “actually, I was there the day Kennedy was shot.” He studied under Carolyn Wyeth, the sister of Andrew Wyeth. this family of painters profoundly affected the 19-year-old Gwyn, and he found himself getting to know them quite well. At the time, the

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Wyeths lived in Chadds Ford, Pennsylvania, a township about 25 miles west of Philadelphia. “I had a car,” Gwyn recalls. “one time, Mrs. Wyeth was stranded when Andrew took their car up to Maine, so I drove her around.”

Gwyn recalls as well some words of wisdom from Andrew Wyeth, who told him: “Whatever you do, do it like a man.” the Wyeth family has long had a presence in New Mexico as well. Michael Hurd, son to painters Peter Hurd and Henriette Wyeth Hurd, lives near Ruidoso, New Mexico, on the sentinel Ranch that his parents established in the 1940s. there, Michael operates the Hurd La Rinconada Gallery, which not only showcases his own powerful paintings, but also those of his parents and his uncle, Henriette’s brother, Andrew Wyeth.

Gwyn hopes to go there to paint soon, continuing a fivedecade long relationship with this iconic family of American artists. true to his Welsh heritage, Gwyn is a storyteller. As a young man, he made a point to meet great artists. He sought them out or visited studios. “I’ve gone out of my

RIGHT: COURTESY LEWALLEN CONTEMPORARY

“Sometimes I'm like a dog who knows where his bone is buried,” says Woody Gwyn. “I go seek what I imagine.”

Woody Gwyn, Midday (2010), oil on linen

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Woody Gwyn, Rocky Point (2010), oil on linen

“There has to be passion. There’s simply no other way to approach this life.” way to meet these people, so I could know what it is to be an artist,” he says. “I’ve always been curious about artists.”

He speaks of visiting Georgia o’Keeffe. she showed him a note by 19th-century Romanian sculptor Constantin Brancusi, a modern master. “I asked Mrs. o’Keeffe what she thought of Brancusi. All she said was, ‘He had the bluest eyes you’ve ever seen.’ that’s the only info I got about Brancusi. she was like a teenage girl.” open and affable, easy and coasting on life, art, and meanings, Gwyn describes how he finds landscapes to paint. He says they are either places he passes, or places he’s imagined. “sometimes I’m like a dog who knows where his bone is buried. I go seek what I imagine.” then the process starts. Perhaps in his “art truck”—a veritable plein-air painting studio on wheels. From there Gwyn studies 80

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his spot, making drawings, watercolors, and taking photographs.

“I draw to get the feeling of the place,” he explains. “I take a photo for detail, but it doesn’t ever have the feeling.”

A subject might receive his attention for many months as he paints it in different sizes and shapes, working through the idea until he feels it is complete.

Many Realist painters, Gwyn notes, are considered stylized even though the places they painted really look like their paintings. He cites Peter Hurd, a master of the Western landscape, thomas Moran of the Hudson River school, and the Venetian Giovanni Antonio Canal, known as Canaletto. “they weren’t making these things up.”

Gwyn adds of French photographer Henri Cartier-Bresson (1908-2004), known for the Decisive Moment, that he “showed

us that, with vision, every moment has its profundity, even the most slight moments.” the artist lives a quiet life, both laid-back and intense. His home is a vast, historic adobe once occupied by Bishop Lamy. As we walk through the many rooms, we come to one that was the Bishop’s original chapel. Gwyn says this will soon be his watercolor studio. Next to it, a room that serves as his oil painting studio was the Bishop’s living quarters. We walk through the house under a portal, where a swallow feeds her nest of hatchlings.

Born in 1944, Gwyn grew up in Midland, texas—a contrast to this historic village of adobe—a member of the only native texas family in a neighborhood quickly filling with wealthy oil families. In fact, Gwyn’s sister babysat a young George W. Bush.

In 1976 Gywn landed in the village of Galisteo after the Art Academy in Philadel-

COURTESY LEWALLEN CONTEMPORARY

—Woody Gwyn

phia. In 1997 he and his wife, Diana, moved into the historic adobe museum that once housed Linda Durham’s gallery. the quiet village has gotten even quieter since Durham moved her gallery to santa Fe and the Galisteo Inn closed. to bolster the community, two years ago Gwyn and his wife generously opened their front hall, a great room, and the room adjacent to it, as a gathering spot and gallery for local artists. “the only rule,” quips Gwyn, “is that they get along.”

In 2010 Gwyn was awarded the prestigious New Mexico Governor’s Art Award for an Individual Artist. “It felt good to have that recognition,” he says. this year opened with a dire scare. Gwyn suffered an aortic dissection, a condition in which the aorta disintegrates, pouring blood into the chest cavity. Few survive it, but Gwyn did. After an eight-hour open-heart surgery, he began his long recovery and is painting again.

Gwyn’s paintings are an homage to the earth’s natural beauty—but they are not simple. In many works, he introduces man-made elements, like a blacktop road rolling through a vast landscape, or a railroad track. He delivers a bit of edge by discussing visually the mingling of man and the wild environment. Light serves as the happy music in this show. Gwyn is precise in his representation of geological forms and colors. As he works, from first study to final piece, be it small or large in scale, the process is a constant dialogue back to the initial inspiration.

Many of the landscapes Gwyn has painted over the last 50 years are changed or gone. “Nature’s going to win in the end,” he remarks. the sense that the earth is tired and unhappy hovers over him like a dark cloud. As a body of work, his paintings present an enlightened sense of humility of the human place on earth.

As passionate about the work as he is about the process, Gwyn’s credo might be summed up by Brancusi: “Create like a god, order like a king, and work like a slave. that’s what it’s like to be an artist.” R trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 81

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THE 17TH ANNUAL LA ART SHOW: PAINTING, SCULPTURE, WORKS ON PAPER, PHOTOGRAPHY, VIDEO – OVER 100 PROMINENT GALLERIES FROM AROUND THE GLOBE.

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ARTsmart presents the 15th Annual ™

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Join us for a weekend of fine ART, FOOD, WINE, FASHION & HOMES benefiting ART programs for Santa Fe’s youth Friday February 24

Purchase Tickets at artfeast.com

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505.603.4643, info@artfeast.com and at the ARTsmart office, 102 E. Water Street, Santa Fe, NM 87501

11:30 am – 2 pm, Inn & Spa at Loretto $100, before 12/31/11, $90

Edible Art Tour 5 – 8 pm, Downtown & Canyon Road, $35

Feast or Famine 8 pm – 2 am, Ore House at Milagro $15 or free admission with EAT ticket

Edible Art Tour tickets are also available at participating galleries and through Tickets Santa Fe, Lensic Box Office: 505.988.1234 and ticketssantafe.com

Saturday February 25 Underwriters

Art of Home Tour 12 – 4 pm, free admission

Gourmet Dinner & Auction 6 pm, Encantado Resort $175, before 12/31/11, $150

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ARTsmart is a volunteer organization that believes the visual arts are critical to a child’s development.

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ARTsmart is a 501c3 nonprofit organization that works with the Santa Fe Gallery Association.

Artist

STUDIO

BY KATHRYN DAVIS | PHOTOS BY KATE RUSSELL

Terry Allen: Theater of Art Master of multimedia, he invites all our senses to the party

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n his website, terry Allen calls himself an artist/songwriter, but the truth is much more complex than that.

As he puts it in his soft West texas drawl, we are beings of at least five senses: “You don’t wake up one morning and say, ‘I’m just gonna hear today.’”

Allen’s art engages not only all of our senses, but our intelligence too. He is a writer, musician, draftsman, sculptor, and videographer, and at his foundation he is a profoundly conceptual artist.

He doesn’t make visual art that is set to his music, for example, so much as he serves as a multi-talented (and many-tentacled) stage director.

A performance of his most recent work, SongStories (From the

Terry Allen’s studio with, from left, Bad Birds in the Blood Tree, and Snap, Voidville, both mixed-media goache paintings, both from 2004. Terry in his studio, summer 2011.

Bottom to the Top to the Bottom of the World, etc.), was conducted this summer in an eight-story tower at the oliver Ranch, 100 acres of sculpture in the heart of sonoma County in Northern California. the piece serves as a model that typifies work by Allen—if indeed there is anything typical about him. the location for SongStories, Ann Hamilton’s The Tower, is a site-specific acoustic environment based on the discovery in Europe of an ancient cattle well with one set of stairs for the bovines to go down and drink, and another for them to ascend into their pastureland. Hamilton’s concrete structure is open at the top, while a pool of water reflects the sky at the bottom. Audience and performers occupy some 125 seats up and down the double-helix staircases.

Allen composed the music, while the dramatic piece was written with his wife, actress Jo Harvey Allen (probably best known for playing the sex therapist in the 1991 hit Fried Green Tomatoes). she recounted stories from the protagonist’s life while Allen and his ensemble of musicians played at various levels of the tower. (the sound was managed—expertly—by one of Lady Gaga’s technicians.) the performance was followed by a concert on a regular stage outside the tower. Allen recalls that it was odd to make the transformation from hearing the music vertically to the more horizontal range diffused from onstage.

Usually, “it’s a living hell when we collaborate,” Allen says of working with his wife. “But this was so smooth; really it was an trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 87

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editing process,” where each wrote separately and then came together to join the parts. the smoothness may be the result of the couple having known one another since they were 11; they grew up together in Lubbock, texas, and celebrated their 49th wedding anniversary this year—though neither looks old enough.

Probably the tie that binds them most, aside from their two sons Bukka and Bale, is that they “know the same stories.” Each was born with that spellbinding storyteller gene; their love for the craft and unique take on how to narrate a vision is what keeps them vibrant as collaborators, spouses, and artists with their own careers in what Allen calls “a funny balancing act.” (He claims that having a wife who is an actress is a bonus—she works for him cheap.)

Music and performance are natural mediums for Allen. His mother was a musician; his father, a retired baseball player for the st. Louis Browns, took over an empty Foursquare Baptist church where he held dances with live bands as well as popular wrestling and boxing matches. this was in the late 1940s and ’50s, the era of segregation. on Friday nights black musicians played, so Allen grew up with the likes of t-Bone Walker, countered by saturday nights’ all-white stars, including Hank Williams.

He hated high school, where he got into trouble for drawing and writing songs— “the two things I wound up doing” as an adult. A teacher told him about Chouinard Art Institute (now the California Institute of the Arts, or Cal Arts) in Los Angeles, and within a half an hour of marrying Jo Harvey, the two had crossed the texas state line, headed west. In L.A. they hosted Rawhide and Roses on one of the country’s first independent FM radio stations, KPPC out of Pasadena.

“Jo Harvey told lies about everything she

could think of,” Allen says of the show, which ran on sunday mornings, followed by a blues show. Everyone stuck around during an hour break for the news before Firesign Theater, with a motley crew from the morning shows, offered its unique brand of live radio hijinks for the rest of the afternoon. It was a wild and wooly time of “anything goes” in the ’60s, and the Allens became known as part of a rich consortium of creativity. Nothing could hold them back after that kind of notoriety, and Allen’s art in all its forms reflects his original, independent thinking.

Ever since he landed upon an anthology of writing and drawings by the French playwright, poet, actor, and theater director Antonin Artaud at City Lights Books in san Francisco decades ago, and basically begged it from Lawrence Ferlinghetti— “Just take the damned thing,” Ferlinghetti growled at the young Allen—Artaud has been Allen’s great obsession. In his essay “theater of Memory” (Dugout, 2005), David Byrne notes that “Allen spews out one of these epic works every decade or so . . . .”

For the last several years, his epic piece has taken shape as the installation work The Ghost Ship Rodez, about Artaud’s 1937 sea journey from Dublin to a mental instititution in Rodez, France. An opium addict, Artaud was in withdrawal and hallucinating, and was straitjacketed and chained to his cot below decks for the 17-day journey.

Ghost Ship is a phenomenal work of art, consisting of videoed performances by Jo Harvey, plus installation, drawing, painting, music, and theater—particularly theater as Allen realizes it through Artaud’s writing. Most important, Ghost Ship has everything that makes for a great story: appallingly sinister humor, tragic lost beauty, an unrelenting search for redemption, the viciousness of corporeality, and more than a trace of tenderness. R

Terry at the piano; reviewing one of his workbooks for an art project; and editing a Jo Harvey video.

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BY RIC LUM | PHOTOS BY KATE RUSSELL

Material Metamorphosis Tasha Ostrander’s meditative process turns artist into magician

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al •che •my —any magical power or process of transmuting a common substance, usually of little value, into a substance of great value.

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hythmic, melodic, and harmonious structures from the simplest of materials and methods belie tasha ostrander’s process-oriented constructions of paper, pigment, and varnish. they reflect transformation of the inner self and the shimmering fractals of nature—spatial magnitude, if you will, an extension of the spirit and body in several dimensions of space. Like a paper wasp chewing organic materials into pulp and constructing a complex geometric nest, ostrander’s art is a daily practice that embraces and encompasses repetitive acts, discipline, the tedium of creating large tondos, mandala forms from small slivers of paper. A bigger reality emerges—that of balance between the spiritual and material worlds.

Describing the work of Joseph Beuys and the Arte Povera group, architect Peter Zumthor said, “What impresses me is the precise and sensuous way they use materials. It seems anchored in an ancient, elemental knowledge about man’s use of materials, and at the same time to expose the very essence of these materials, which is beyond all culturally conveyed meaning.” that describes ostrander’s work to a t.

Her love of alchemy began at age 16, during a six-month darkroom apprenticeship with photographer Walter Chappell. Her fascination with photography took to the dark side, the red-lit room where the alchemy of printing, versus taking photos, developed.

“It was much more about the subtle nuance of chemical proportions, temperature variation, friction upon the emulsion, or the time the print sat in the developer tray to intensify contrast in the tonal range,” she explains. “I went on to study photography for many years, but felt more in love with camera equipment itself than the pictures taken with it. Looking back on this detachment, I realize it was the process and not the result that captured my attention. Alchemy and transformation of material would enter my subconscious, and I would use those basic concepts to learn to extract both wonder and healing from the idea that life force and material can be transformed into a higher statements of expression and environment.” ostrander went on to study at the Maine Photographic Workshops residency program in Rockport, eventually receiving her BFA from the University of New Mexico, where she also studied multimedia installation under steve Barry. He encouraged ostrander to use whatever material she wanted, to explore “thing making.” In 1984-85 she printed images for the noted filmmaker and photographer Willard Van Dyke for his retrospective at the New Mexico Museum of Art in santa Fe. > trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 91

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In 1994 ostrander had her first solo show, Chorus, at Linda Durham Contemporary Art in santa Fe, and her first group show, The Inner Mounting Flame, at Charlotte Jackson Fine Art. through the 1990s until now, she has had solo and group shows at galleries including James Kelly Contemporary, sItE santa Fe, turner Carroll, the New Mexico Museum of Art in santa Fe, as well as at Galerie Nine in Amsterdam and I-20 Gallery in New York.

“I would . . . extract both wonder and healing from the idea that life force and material can be transformed into a higher statement of expression and environment,” says Ostrander.

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Commitment, process, and practice have been important aspects of her work, and during the last decade and a half ostrander has produced very large installations in which alchemy and transformation of material are front and center. “I would use those basic concepts to learn to extract both wonder and healing from the idea that life force and material can be transformed into a higher statement of expression and environment,” she says. “Also, as in alchemy, there is a constant shift in the perception of micro- and macrocosms. In the spiritual sense, this gives great credence and power to the ability to observe that which is base and simple, and to be able to reinterpret these things into large lessons or large environmental transformations. An example of this thinking would be the idea that through a commitment of time and the willingness to repeat the same action over and over, a beautiful pattern could be revealed, and in turn becomes a symbolic manifestation of wholeness.”

At one time ostrander also studied Japanese porcelain, throwing what she says were hundreds of bowls. “the glazing and firing were of little interest, as I had no interest in the bowls themselves,” she recalls. “But the pure challenge of dealing with a material that has little forgiveness in terms of cracking and breaking, and the delicacy of the traditional forms, required a lot of concentration and physical balance.

Again, the process informs more of a personal composure, and it is not the endobjects that make the experience valuable.”

From left: Black Mandala and Blue Speckled Mandala (2010), paper and ink, and detail of Seventy-Three in a Moment (1996), consisting of 26,645 handmade paper butterflies.

A magnificent and telling work that exemplifies the spatial magnitude of her practice is a 10-foot-diameter tondo covered with 26,645 handmade paper butterflies, constructed of photocopied butterfly images from old field manuals, representing the 26,645 days of an average human life. Her current work takes the mandala form to a reflective, calm state, empty of content and entered through the process of working with the material. “these pieces are meant to have integral beauty, and to be what they are without added explanation,” she says. “All of the ideas mentioned above live through this new work, but this time I do feel attached to the end result as objects. they are made to bestow a sense of calmness and centeredness to the environments in which they are placed. In these pieces are many of the concepts of the Japanese philosophy wabi-sabi—simplicity, economy, austerity, intimacy, and appreciation of the ingenious integrity of natural objects and processes.” Art that truly reflects the artist who lives her art.

Ostrander will exhibit new work in early 2012 at Gebert Contemporary in the Railyard in Santa Fe. R

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LEFT: DOUGLAS MERRIAM

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eople hold an idea of what Santa Fe is about,” says Priscilla Hoback, owner of The Pink Adobe. “It may not yet be a fully crystallized idea, but when they come inside the restaurant, they say, ‘Ah, this is it.’”

The 300 -year-old adobe restaurant has captured the essence of Santa Fe, real and imagined, since Hoback’s mother, Rosalea Murphy, started serving up her favorite dishes in the former army barracks in 1944. The Pink remains a family-run operation, with Hoback and her son Joe Hoback and Jennifer Wilson Hoback now set to become home to a new generation of diners.

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7 Caliente Road, Santa Fe, New Mexico 87508 (505) 428-0024 (I-25 N to exit 290. Right onto HWY 285 S. Right on Avenida Vista Grande. Left onto Caliente. 15 minutes from downtown.)

WHO IS DESTINY ALLISON? Destiny Allison is one of Santa Fe’s more accomplished metal artists. Her elegant award-winning steel works have been placed in public and private environs throughout the country. Her newest works, paintings on steel, are evidence of this artist’s continuing evolution. Lyric, complex and quiet, these paintings have a mesmeric quality and tend to draw you, the viewer, into your own interior landscape, a territory that stretches endlessly.

Destiny Allison Fine Art, a reposed, airy place, allows these paintings to breathe and expand, apt words for their very nature and purpose. Its high ceilings, white walls and spacious environment provide the ideal setting for the work. The gallery also houses a selection of Destiny’s sculpture. In addition to showcasing Allison’s work, the gallery hosts monthly art talks, salon style discussions and quarterly guest artists.

Winterowd Fine Art represents Allison’s sculptural work. With its historic location and softly lit interior, Winterowd Fine Art provides an ideal grounding for Allison’s signature sculptures, which are visually poetic responses to the

creation. Winterowd Fine Art is located at 701 Canyon Road in Santa Fe. Tel. (505) 992-8878 www.fineartsantafe.com The two directions in Allison’s work are desirous and beneficial for the artist as well as the art lover. With that in mind, the two Santa Fe galleries are operating in sync to offer collectors a widened, more enhanced view of this artist’s capabilities and use of visual language.

PHOTOGRAPHY: BILL STENGEL

universally human questions she poses to herself at the outset of a sculpture’s

Sated, steel, 90" x 15" x 15"

How Design Can Change The World

BY NANCY ZIMMERMAN

e all know that change is a constant in our turbulent world.

But those signature moments of sweeping social change, those shifts of the collective consciousness toward embracing new ways of living and viewing our lives, remain exciting but rare.

Traditionally, those who talk about “changing the world” have been seen as idealistic dreamers, radical activists, or political bomb

W

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throwers. These days, though, visions of transformation are less likely to come from aging hippies and diehard revolutionaries than from the field of architecture and design, where the changes being advocated are nothing short of revolutionary.

Among the leaders of that revolution is William McDonough, a Charlottesville, Virginia–based architect, designer, and cocreator (with German chemist Dr. Michael Braungart) of the Cradle to Cradle® (C2C) design philosophy. The C2C approach to

the built environment operates on the premise that many of the environmental problems we face are essentially design challenges. Its main goals are to eliminate the concept of waste, use renewable energy, and celebrate diversity.

“Rather than seeking to minimize the harm we inflict,” explains McDonough, “C2C reframes design as a beneficial, regenerative force. We can expand our definition of design quality to include positive effects on economic, ecological, and social

COURTESY OF WILLIAM MCDONOUGH + PARTNERS

Architects and designers are leading the way to meaningful social change by transforming the way we perceive and experience the built environment

COURTESY OF WILLIAM MCDONOUGH + PARTNERS (2)

Opposite: William McDonough & Partners’ Park 20/20 in Hoofddorp, The Netherlands, features upper offices that “float” above a base of common areas that provide habitat for local bird species. The building was designed to reduce waste and was constructed with sustainably sourced materials.

health in addition to the traditional architectural standards of beauty and functionality. Growth doesn’t have to be detrimental to environmental health. In nature, growth is a good thing.”

The concept of waste, conversely, is a uniquely human idea; in nature there is no such thing. McDonough points out that it’s entirely possible to revamp our way of living to be as efficient and creative as the rest of nature in our production and use of materials.

McDonough notes that while there appears to be a gap between economic activities like manufacturing and the concept of environmentalism, in fact that kind of compartmentalization merely represents a flaw in our approach.

“Like so many gaps in the world that we live in today, there is a false separation in these realms. What C2C can offer us is a fundamental shift in thinking,” he says.

“In this new framework, it would be clear that environmentalism, like so many ‘isms,’ is rather useless in and of itself, because it seeks to put some elements of life on earth ahead of others. The dichotomy is one that posits manufacturing as something inherently against the desires of environmentalists. But C2C thinking would remake the making of things so that it would be unassailable from an environmental perspective.”

Some manufacturers are already on board with this way of thinking, and have achieved notable successes with the C2C approach. Susan Lyons of New York City, one of the three panelists addressing these issues at Design Santa Fe’s Design Dialogue and Luncheon in September, is an award-winning textile designer who is working to align the principles of C2C with the production of furniture. Lyons works with Herman Miller Inc., an environmentally conscious furniture manufacturer

The two-wing form of the energy-efficient Ferrer Research & Development Center in Barcelona’s Biopol Health Science Park was inspired by a butterfly. It features a 15-story atrium that serves as a ventilation system and houses a chrysalis hatchery where children come to release the butterflies. “It’s a celebration of our abundance, not our limits,” says architect William McDonough.

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At Herman Miller, it’s not just the furniture they produce that’s sustainable, but their building as well. Designed by William McDonough + Partners, the 295,000-squarefoot facility, nicknamed the GreenHouse, was built in 1995 as a pilot project for the development of the LEED (Leadership in Energy and Environmental Design) certification process. The award-winning building, considered a case study in how a sustainable building approach can enhance the physical and mental health of its occupants and boost productivity and profits, features an abundance of natural light, fresh air, and views of nature, along with a stunningly beautiful profile.

In the area of fabrics, Lyons has noted a return to natural fibers after many years of embracing synthetics, and in April 2011 the National Science Foundation approved a textile sustainability standard that will rate in Holland, Michigan, to supply the company with textiles and designs sourced from sustainable products made via ecologically sound production methods using innovative materials that can be repurposed at the end of the product’s life.

“In furniture and production generally, it’s important to recognize the power of the supply chain,” she points out. “It used to be that the supply chain and environmentalism were disconnected, but now there’s a better understanding of how supplychain decisions—issues like resource extraction, and what the product becomes after its useful life is finished—can contribute to creating a more sustainable world. The tricky piece is that the infrastructure to reuse products doesn’t yet exist, but I’m confident we’ll get to the place where recycling streams will happen.

There doesn’t need to be a disconnect between business and our environment.”

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LEFT: COURTESY OF WILLIAM MCDONOUGH + PARTNERS. RIGHT: TIM HULSEY/COURESY OF WILLIAM MCDONOUGH + PARTNERS

The butterflies that inspired the design for Barcelona’s Ferrer Research & Development Center.

Below: The Herman Miller “GreenHouse” manufacturing facility connects all of its spaces to The Street, an open corridor that runs the length of the building and facilitates communication across departmental lines. The award-winning building was the prototype for the LEED certification process.

CRAIG CAMPBELL/COURTESY OF MAZRIA, INC.

The Rio Grande Botanic Garden in the Albuquerque Biological Park was designed by Edward Mazria to use the solar and thermal properties of glazing to provide the proper balance of heat and light for the plants inside, with little or no outside energy input.

fabrics in much the same way as LEED certification does buildings. “There are no game-changing fiber stories yet, as fabrics are not commercialized on an industrial scale,” Lyons says. “But it will come, as a lot of work is being done on dyestuffs and textile finishes. The industry is in a constant state of optimization.”

Susan Szenasy, editor-in-chief of Metropolis magazine and moderator of Design Santa Fe’s Dialogue, agrees that the design industry has matured to the point that it now occupies a leadership role in promoting positive change.

“One of the most dramatic changes we’ve seen is the acceptance of the LEED metrics,” she notes. “As a result of measuring building performance, for the first time

The concept of waste is a uniquely human idea; in nature there is no such thing. in a long time those who design and build our environment are asking questions about land use, water use, where materials come from, and their various toxicities, among other complex questions.

“Design for disassembly is often thought of now when manufacturing a product,” she adds. “This means that the parts are fewer, and that the product can be taken apart quickly and easily and recycled, with its components and materials put back into the

post-industrial materials stream. Carpet manufacturers, for example, are using more recycled fibers, more PVC-free backings, and there’s a growing tendency to reclaim used carpet before it goes into the landfill.”

The importance of looking to architecture and design for solutions to the problems of climate change is underscored by the research of Santa Fe–based architect and visionary Edward Mazria. A longtime proponent of alternative energy who literally wrote the book on passive solar building (The Passive Solar Energy Book: A Complete Guide to Passive Solar Home, Greenhouse and Building Design, 1979), Mazria began studying the problem of CO2 emissions in 2002, and what he discovered was a surprise even to him. > trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 105

“Everyone was worrying about the carbon footprint of SUVs at that time,” he says, “but I discovered that the real culprit was our buildings. Buildings use more energy than any other sector—almost half of all energy consumed, with 77 percent of all the electricity produced in the U.S. going just to operate them. In 2009 the building sector was responsible for nearly half of CO2 emissions, while transportation accounted for just a third.”

It was this discovery that led Mazria to abandon his successful architecture practice to form a nonprofit group, Architecture 2030, with the goal of reducing and eventually eliminating greenhouse gas emissions in the building sector. “Buildings are the problem, and buildings are the solution,” he says. In 2006 he issued the 2030 Challenge, which calls for all new buildings and major renovation projects to reduce their fossil-fuel energy consumption by 60 percent in 2010, moving toward carbon neutrality by the year 2030.

The response to the Challenge has been dramatic: In January 2006 it was adopted immediately by the 80,000-member American Institute of Architects (AIA); that May a resolution was passed at the U.S. Confer106 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

“Buildings are the problem, and buildings are the solution.”

—Edward Mazria ence of Mayors calling for adoption of the 2030 Challenge by all cities. Among the many professional organizations that have signed on are the U.S. Green Building Council, American Society of Interior Designers, and the Royal Architectural Institute of Canada. More than 160 architecture firms are now designing to the 2030 benchmarks, and the 2007 Energy Independence and Security Act includes a section requiring all federal buildings to meet the energy performance standards of the Challenge from 2010.

A companion initiative unveiled earlier this year, the 2030 Challenge for Products, challenges the architecture, planning, design, and building communities to design and manufacture products to meet a maximum carbon-equivalent footprint of 30 percent below the product category average through 2014, increasing to a 50 percent reduction by 2030. Yet another project, to be unveiled next

year, is the 2030 Palette, a multilingual online resource that will allow architects and designers to create an individual “palette” of information on green building specs and procedures tailored to their region, neighborhood, and site, taking into consideration such factors as climate and culture.

“We can do this,” insists Mazria. “The U.S. is the biggest creator of greenhouse gas emissions, so we need to be the leaders in reducing them.”

Another influential proponent of social change through green building is renowned architect and author Jason McLennan of Bainbridge Island, Washington. McLennan is the CEO of the Cascadia Green Building Council and founder of the International Living Future Institute, as well as the Pharos Project, a network of building professionals and manufacturers committed to transparency as a core value on the path to sustainability. He devised a program he calls the Living Building Challenge, an advocacy platform and certification program that goes beyond LEED standards as the next step in sustainable building, based on seven performance criteria: site, water, energy, health, materials, equity, and beauty.

The inclusion of beauty in those criteria is

COURTESY OF MATTHEW MILLMAN PHOTOGRAPHY AND FLANSBURGH ARCHITECTS

The New Science Building, a renewable-energy research laboratory at Hawaii Preparatory Academy in Kamuela, Hawaii, was designed by Flansburgh Architects in Boston to meet the Living Building Challenge standards. It produces all of its own energy, harvests rainwater to meet its potable water needs, and provides natural ventilation.

no afterthought, says McLennan. “I believe that the science of sustainability and beauty are related. We’ve unfortunately created an illiterate society around our built environment: Things like square footage, size, and features are played up, but the public doesn’t expect beauty. We tend to get caught up in the idea that only what we can measure is important, but that gets us into trouble.

Beauty, social justice, and well-being are tough to measure, but we leave them out of the building equation at our peril.”

McLennan does find some cause for optimism, however. “It’s the customer demand

together designers from around the world to put forth ideas and execute solutions.

Established in 1999, Architecture for Humanity’s network now comprises more than 50,000 professionals in 104 countries, and provides advocacy, training, and outreach programs to some 60,000 people annually in addition to the 25,000 structures its members build each year. The group’s stated purpose is to produce thoughtful, inclusive design that creates lasting change in communities by: • Alleviating poverty and providing access to water, sanitation, power,

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JASON F. MCLENNAN/COURTESY OF MILLER|HULL PARTNERSHIP

Another Living Building Challenge project, the Bullitt Foundation’s Cascadia Center for Sustainable Design and Construction in Seattle, is billed as the most energy-efficient commercial building in the world and uses solar-powered electricity and harvested rainwater. It also has an on-site wastewater treatment facility.

for sustainability that creates change, both commercially and through regulation,” he says. “We have a long way to go, but we’re making progress. This is a journey: We’ve gone from being on the fringe, to talking about it a lot, to real adoption of the principles and methods.”

Equally optimistic about our capacity to build a sustainable future is Cameron Sinclair, founder of Architecture for Humanity (AfH) and the keynote speaker at Design Santa Fe’s Dialogue and Luncheon. Sinclair believes that design can play a leading role in addressing social problems ranging from homelessness to pandemic diseases to lack of education, and his nonprofit brings

and essential services • Bringing safe shelter to communities prone to disaster and displaced populations • Rebuilding community and creating neutral spaces for dialogue in post-conflict areas • Mitigating the effects of rapid urbanization in unplanned settlements • Creating spaces to meet the needs of those with disabilities and other atrisk populations • Reducing the footprint of the built environment and addressing climate change > trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 107

LEED Certified Homes Net Zero Energy Passive Solar

Custom Homes & Remodels

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COURTESY OF ARCHITECTURE FOR HUMANITY

that would dispense information and then also eventually become a place for a mobile clinic.”

This kind of creative brainstorming has resulted in the construction of a series of mobile medical clinics, community centers, schools, and football fields throughout Africa that address issues like public health, economic selfsufficiency, and community cohesion.

Another innovation introduced by AfH is the Open Architecture Network, an online network offering opensource access to design solutions to enable architects, designers, builders, and their clients to share and download architectural plans, drawings, and CAD files at no charge.

“We used Meetup and other The Kutamba Primary School for children orphaned by the HIV/AIDS epidemic in southern Uganda provides classrooms, networking tools, and got 40 offices, a kitchen and dining facility, a library, an infirmary, and a play space. It uses renewable energy systems and was networks started up with built with sustainable materials according to local building methods. thousands of architects,” reports Sinclair. “What this where the link between architecture and taught me was that there’s a grassroots In the course of carrying out its mission, solutions to social problems is perhaps less movement going on of socially responsible AfH has ventured around the world, from clear. designers who really believe that the world post-tsunami Indonesia to the Katrina-rav“We believe that where resources and has gotten a lot smaller, and that we have aged Gulf Coast, and it is currently engaged expertise are scarce,” says Sinclair, “innovthe opportunity to really get involved in in helping rebuilding efforts in Japan in the ative, sustainable, and collaborative design making change.” wake of the earthquake/tsunami/nuclear can make a difference in people’s lives. For disaster. The group came into being when Szenasy also believes that designers can example, 75 percent of HIV/AIDS is in Sinclair was looking to create a plan to ease lead the way in promoting more awaresub-Saharan Africa. Even if we found a the housing crisis among refugees returnness of these complex issues. In addition vaccine in seven to ten years, there’s still ing to Kosovo after the war. to hands-on advocacy like that practiced no way to distribute it throughout the “We started a website and put out a call

by Architecture for Humanity, she says, African continent. That, to me, is an archifor help, and in a couple of months we had “the best way for designers to lead the way tectural problem. You’re talking about an hundreds of entries from around the is to do what they do best: create funcarea where young women are at a 52 perworld,” he reports. “We built transitional tional beauty.” To take the next steps, she cent HIV/AIDS rate. Now, how do you shelters designed to last about 10 years adds, “we must turn to research and innoconnect with them in a way that’s dignified alongside the land the people used to live vation as a country—in fact as the whole and that doesn’t stigmatize them? What on, and they would live there while rebuildworld. How we finance these essential we started looking at is that there had ing their own homes. So this wasn’t imposactivities is the biggest issue now, but if never been a soccer league for young girls ing an architecture on a community, this we don’t find the way, we cannot move on in this community, ever—only for boys. So was giving them the tools and the space to to a healthy, sustainable world. And we all if we built a soccer field, we could actually let them rebuild and re-grow in the way agree, I think, that we need to make our host a girls’ league, and part of that field they wanted to.” world healthier, more equitable, and more would have an HIV/AIDS outreach center A different approach was taken in Africa, beautiful.” R

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The Home & Garden Tour showcases leading Santa Fe interior and exterior design, plus innovative products, rare artifacts, and new design solutions.

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DESIGNER profile

ECLECTIC HARMONY Lisa Samuel’s Design Tells the Tales of a Globetrotting Couple PHOTOS BY DA NIEL NA DELBACH STYLING BY GILDA M EY ER-NIEHOF An evolving four-year collaboration with interior designer Lisa Samuel, this lovely compound of guest suites reflects the homeowners’ eclectic taste and collections from travels around the world.

Samuel, who owns Samuel Design Group, is a licensed interior designer with nearly 25 years of experience and a lifelong passion for architecture and design. She has helped the Whitehursts edit their art and furnishings and introduced custom-designed pieces to fit their 30-year-old home near the governor’s mansion in Santa Fe, which they bought about six years ago.

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The den, left, showcases pieces from the Whitehursts’ two African safaris. “They have a zest for life and art,” says Samuel, “and color holds a special place in their hearts.” Among the textiles in this room are the Moroccan leather pillow on the sofa, and a rug that Samuel found that harmonized perfectly with the theme, which was set by the pre-existing painting around the arches. The Southwest-style painting on the wall is a recent acquisition; Samuel has paired it with a large stone table with chunky wood top. The mirror seen in the distance through the three arches is in the living room, well lit by windows and doors that lead to a balcony over the portico.

The master bedroom features a bed made of logs, with a European spread hand-sewn in crewel embroidery. The walls are diamond-finish plaster; the coved ceiling is unusual for its square ceiling beams rather than the typical rounded vigas. Not visible is a reclaimed barn wood bench that was also designed by Samuel and custom-made to fit a splayed nook.

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DESIGNER profile

The second-floor breakfast room is dominated by a mesmerizing European-style painting by an Arizona artist. On the shelf at left are candleholders made of antlers by Mr. Whitehurst, and a vase containing a manzanita branch. The walls are American Clay plaster, which lends the room a soft, organic sensibility.

The two walls opposite feature large windows that open onto the tops of aspen trees, giving the room a diffuse light. The floors are handscraped pine with a special finish, covered by a cowhide layered with a kilim, visible just between the table legs. The chair, which belonged to Mrs. Whitehurstâ&#x20AC;&#x2122;s grandmother, has been refurbished with a modern textile from Donghia, and covered with a suede pillow with rivets and trim.

The suzani on the table was purchased at Ann Lawrence textiles.

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Four of these whimsical chairs sit atop an antelope-print wool rug, about 30 by 14 feet, in what Samuel calls the gallery, though it is actually a large entryway. The Venetian mirror belonged to Mrs. Whitehurstâ&#x20AC;&#x2122;s grandmother, and to the side is a standing candelabra embellished with folk chains. The bright orange in the next room is part of a painting

by Santa Fe artist Poteet Victory of McClary Modern gallery; below it is a chest on a metal stand designed by Samuel and built by local craftsmen that was featured on the cover of New Mexico Magazine in April 2010.

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DESIGNER profile

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This courtyard in the back of the house had four concrete chairs, one visible in the foreground, that were too heavy to move. Samuel covered them with comfortable cushions made of outdoor velvet; against the wall is a stucco bench with hand-painted designs, throw pillows, and cushions. Under the recessed window opposite are two “really fun” ice chests featuring antler handles, says Samuel. The other side of this courtyard includes a magnificent fireplace. The Whitehursts’ large dogs “lead a great life” in the home, says Samuel—though they are not allowed on the furniture.

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DESIGNER profile

The home includes multiple outdoor seating areas to accommodate the seasons and time of day. This one is in the front of the house, beneath the living room balcony. The Whitehursts added a portico with flagstone floor.

The wicker-look furniture is designed for outdoor use, as are the cushions and drapery (to shield the sun). The large pillar sculptures, purchased in Dallas, double as torches. The portico, like all the other spaces around the home, partake of what Samuel calls “the alchemy of space,” the art of blending existing and new design elements. R

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Evening robe, skirt, and earrings by Tracy Collins of Earth Elegance. Shoes from Goler. Ring by Rippel and Company. trendmagazineglobal.com Fall 2011/Winter 2012 Âť Trend 125

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resort style

Jacket by Ralph Lauren. Shirt by Hugo Boss. Pants by Dolce & Gabbana. “Canyon Bowler” hat from The Hatsmith of Santa Fe, with silver skull hatband by Pepe Rochon. Choker by Jadu Design. Walking stick by James Reid Ltd. Body & Soul sterling-silver belt buckle by John Rippel, NM Crosses sterling earrings and Mi Vida Loca ring (right hand) by Gregory Segura, and Beginnings ring in sterling, meteorite, diamonds, and sapphires by Linda Loudermilk, all at John Rippel and Company. Opposite: Torn

by Ronny Kobo dress from Daniella. Boots by Tiffany Gremillion. Ostrich and sterling double-hinged cuff, crocodile and sterling cat-claw choker, and earrings from Rippel and Company.

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Sheri Bodell dress from Daniella. Shoes from Goler. Belt by James Reid Ltd. Black rough-cut garnet sterling ring by Andi Callahan, and stingray and sterling bracelet, both from Rippel and Company. Opposite: “The Rocker Zip” deerskin jacket by Jon Kristian Moore of Letherwerks. Pants by Gucci. T-shirt from Gap. Belt from Santa Fe artisan Whitney Galpert. Boots from Santa Fe Boots and Boogie.

Necklace of wrapped cord, oxidized copper tubing, old silver beads, and bracelet by Karen Melfi at the Karen Melfi Collection.

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resort style

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Leather jacket by Tiffany Gremillion. Genetic Denim jeans from Daniella. “Putty” snap-brim hand-woven Panama fedora from The Hatsmith of Santa Fe. Classic butterfly Concho belt from Rippel and Company. Ring from Golden Eye. Boots from Santa Fe Boots and Boogie.

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resort style

Hand-made and hand-embroidered wool gabardine and Swarovski rhinestone jacket by Manuel American Designs. T-shirt from Gap. (Modelâ&#x20AC;&#x2122;s own hat.) Young, Fabulous & Broke dress from Daniella. Necklace by Jadu Design. Plume agate on water buffalo horn bracelet and black rough-cut garnet sterling ring by Andi Callahan at Rippel and Company.

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resort style

Hat, jacket, skirt, and sweater from Peruvian Connection. Boots from Nine West. Belt and necklace by Jadu Design. Opposite: Embellished vintage silk skirt and jacket by Spirit of the Earth. Boots from Goler. Choker by Jadu Design. Earrings and belt by Tracy Collins of Earth Elegance. Amber and sterling ring from Rippel and Company.

132 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

Leather top by Tiffany Gremillion. A.L.C. skirt from Daniella. “Franchesca” hat by The Hatsmith of Santa Fe, with beaded band by Gayle Green. Boots from Goler. Choker by Jadu Design. Sterling and leather ketoh by Tom Dewitt, and NM Crosses sterling earrings

by Gregory Segura, both at Rippel and Company. Opposite: Velvet gown by Elven Velvet. “Lucy and Jo” sterling silver, moonstone, and iolite earrings from the Karen Melfi Collection.

134 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

resort style

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resort style

Jacket by Dolce & Gabbana. Shirt by Hugo Boss. Belt by Tracy Collins of Earth Elegance. Vintage U.S. Army “Rodeo” saddlebag from Rippel and Company. Bone necklace by Melanie at the Karen Melfi Collection. Opposite: Leather dress

by Tiffany Gremillion. Shoes from Goler. Bleached “Cubano” hand-woven Panama fedora from The Hatsmith of Santa Fe. Choker by Jadu Design. Large sterling cuff with 67-karat watermelon tourmaline and sterling peach moonstone with sunstone beads ring by Andi Callahan at Rippel and Company.

136 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

resort style

138 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

Alice + Olivia dress from Daniella. All jewelry from Golden Eye. Opposite: Leather top, pants, and hat

by Tiffany Gremillion. Python boots by Stallion at Santa Fe Boots and Boogie. Sterling and fossilized walrus tusk hoop earrings, turquoise and fossilized walrus and mammoth ivory breast plate, crocodile and sterling cuff, and amber and sterling ring, all at Rippel and Company.

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by Donna Karan. Boots from Goler. Belt

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The Institute of American Indian Arts Campus: A Nexus of Ancient and New

P

aul Fragua remembers watching a construction engineer out in the June heat one summer in the late 1990s, physically charting the sun’s precise path for days before, during, and after the solstice.

The engineer could have relied on computer modeling to site a planned walkway at the Institute of American Indian Arts (IAIA) campus being built on rolling, open land south of Santa Fe. But the design and construction of the campus was emerging from a vision as deeply and directly connected with the land and Native past as with the contemporary expressions in Native art for which it was being built.

Fragua, an architect and Pueblo of Jemez tribal member, was among those involved in creating IAIA’s campus master plan, completed in 1993. Serving as the school’s new campus project 144 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

coordinator until 2006, he was part of a team that included Native-owned architectural and construction firms, elders from numerous tribes, the IAIA board, and the school’s administrators, faculty, students, and staff. Just as IAIA students and graduates since the school’s founding have drawn on centuries of tradition to explore and continuously expand the boundaries of contemporary Native art, the campus itself was designed to reflect the age-old multidimensional spiral of time, space, and cultures—intersected with cutting-edge precision by the art and technology being created and used today.

As he watched the construction engineer at work, Fragua recalled the powerful experience of seeing the Sun Dagger at Chaco Canyon, where a knifelike edge of solstice sunlight precisely intersects a spiral etched in rock. On the IAIA campus,

KITTY LEAKIN/COURTESY OF IAIA

BY GUSSIE FAUNTLEROY

“As we stood there, an eagle came from the southeast. It circled the hogan four times, and then flew away. I gave a big sigh of relief, knowing this was blessed.

It was a wonderful feeling—a remarkable time.”—Della Warrior

the walkway aligned with the solstice sun intersects concentric circles of buildings and sidewalks leading out from a large dance circle in the middle of campus. Also radiating from the circle are walkways and structures aligned with the four cardinal directions.

And to acknowledge the sacred directions of earth and sky, the grassy central circle is slightly recessed, kiva-like. Surrounding the campus are vistas of mountains sacred to the area’s Native people, domed by the wide circle of sky.

KITTY LEAKIN/COURTESY OF IAIA (2)

Looking back The IAIA was established in 1962 under the federal Bureau of Indian Affairs as a high school, initially situated on the campus of the Santa Fe Indian School. Under the vision of Lloyd Kiva New and other early leaders, it offered what at the time was a radical approach to Native art education, throwing off the strictures of stereotype and expectation and opening the way for generations of artists to find their own creative voices. In 1975 IAIA became a twoyear college, and in 1980 it moved to temporary facilities (World War II barracks) on the College of Santa Fe campus, adding courses focused on the preservation of traditional as well as contemporary

Clean lines and bold color reflect the IAIA’s mission of preserving indigenous cultures while promoting contemporary Native art. Opposite: A buffalo sculpture by Allen Houser marks the western edge of the dance circle.

expressions of Native cultures, languages, and art. A small, crowded museum space on the Indian School campus was replaced in 1992 by the IAIA Museum—now the Museum of Contemporary Native Arts—in downtown Santa Fe. As the country’s only four-year fine arts degree college devoted to contemporary Native art, the IAIA was without a campus of its own for almost 40 years. Yet even in crowded conditions in borrowed space with inadequate facilities and equipment, it produced a stellar roster of nationally and internationally renowned artists. Among them: Earl Biss, T.C. Cannon, Dan Namingha, Doug Hyde, Roxanne Swentzell, Joy Harjo, and Kevin Red Star. Acclaimed artists who have served as faculty include Allan Houser, Charles Loloma, Otellie Loloma, and Fritz Scholder. Ten current IAIA students were invited to take part in the 2011 Venice Biennale, and six of those attended.

The IAIA’s longtime dream of a home of its own began to take shape in 1990, when the developers of Rancho Viejo south of Santa Fe donated 140 acres for a new campus. Starting with an expanse of beautiful but raw land, the school undertook an intense visioning Family housing (at left), the Science and Technology building, and the Center for Lifelong Education are process that resulted in a master plan. The sited to the west, east, and south, respectively, of the campus’s central circle, linking the activities of the buildings with the symbolism of each direction in the Native worldview.

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KITTY LEAKEN/COURTESY OF IAIA

Clockwise from top left: A student’s large stone sculpture awaits completion in the outdoor workspace at the IAIA’s Sculpture and Foundry building, which also houses an outdoor foundry. Students, faculty, and guests mingle at the perimeter of the large grass circle that serves as the physical and symbolic heart of the campus. The design of the academic/administration building incorporates steel beams and exposed concrete, representing a connection with the honesty of the materials. A student at work in the sculpture area.

For Native artists, the digital dome can create a “virtual kiva,” an encircling storytelling space where the realities of contemporary Native experience find expression in innovative technologies.

The digital dome.

COURTESY OF DYRON V. MURPHY

Douglas Cardinal drew up the initial plan. Known for his signature curvilinear style, Cardinal has been involved in the design of such acclaimed structures as the National Museum of the American Indian in Washington, D.C. “Part of that early activity was to look at the history of Native American architecture and the built environment,” recalls Fragua. “Since the school draws students from all over the world, we looked at common Native themes, and included some of those in the design.” As it turned out, Cardinal’s concept of building the entire campus in one phase was not financially possible, and a series of New Mexico-based Native-owned architectural firms soon took over the project. Yet much of the spirit of the master plan eventually was realized.

Emerging from the center The heart of that vision is the campus’s central circle, reflecting the primacy of the circle in the Native world view—the circle of life, family, elders, and tribe, the circle of the drum, of the medicine wheel, of landforms and sky, and circular, or cyclical, time. The creation stories of many tribal cultures tell of the people’s emergence or birth from a “center place,” notes Fragua. In this sense the campus circle—used for dances, graduation, and other ceremonies—serves as a powerful symbol for an institution focused on the emergence of new forms of expression in Native art that radiate out to the world.

In siting buildings around the circle, campus designers located facilities according to the times of day and types of activities traditionally associated with each of the cardinal directions. “It’s very similar to when a newborn is welcomed into a community: The baby’s place in the community is determined by family relationships,” explains Dyron Murphy, an architect and Navajo whose Albuquerque-based firm designed the latest phase of construction, completed in 2010. “We look

at buildings almost as extensions of human bodies and ourselves.”

East is the direction of dawn, with prayers offered in that direction at the birth of day, Murphy points out. The first structure on IAIA land, a two-story log hogan, was built in 1999 east of where the main campus would lie, using donated materials and volunteer labor. The hogan serves primarily as a cultural space for ceremonial activities befitting its location in the sacred east, Murphy says.

Della Warrior, of the Otoe-Missouria tribe in Oklahoma, was president of IAIA when the hogan and other initial structures were built. She was standing with Blackfeet IAIA board member Tom Thompson of Montana the day the hogan was completed and blessed, signifying a homecoming for the school at last. “I will never forget that day,” she says. “As we stood there, an eagle came from the southeast. It circled the hogan four times, and then flew away. I gave a big sigh of relief, knowing this was blessed. It was a wonderful feeling—a remarkable time.”

Into the 21st century The east, direction of new birth, is appropriately also the direction of the IAIA’s latest claim to distinction, a state-of-the-art multimedia digital dome. In the school’s Science and Technology building, opened in the fall of 2010, the dome more than any other physical feature represents the dynamic intersection of an ancient worldview and groundbreaking developments in the realms of technology and art.

The planetarium-like half-dome screen, suspended on a support structure with seating beneath it in a night-dark space, allows viewers to watch images or films from multiple, computer-synchronized digital projectors. It is one of the only digital domes in the world that can be rotated a full 90 degrees, from straight overhead to sideways in front of the audience. It can also be raised or lowered 18 feet, its trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 147

lowest point four feet from the floor. The result is a powerfully encompassing audiovisual experience that allows for virtually limitless exploration in the realms of new media and immersive arts.

For Native artists, the digital dome can create a “virtual kiva,” an encircling storytelling space where the realities of contemporary Native experience find expression in innovative technologies, notes Carlos Peinado (Hidatsa/Mandan), chair of the school’s New Media Arts Department. David Beining, director of Immersive Media at the University of New Mexico, who served as consultant on the dome, describes it as a medium “built for a worldview that many Native Americans and First Nations peoples have—people who think less linearly and more holistically, in a more circular way.”

For Jessie Bennett, a Navajo majoring in graphic design and new media arts, the digital dome and computer-aided courses have opened doors not only in visual arts but also in new ways to preserve the old. Using the dome, Bennett is experimenting with converting

her paintings to digitally projected form. And with newly acquired computer skills she has created a Navajo-language tutorial application, similar to English-to-Navajo flash cards in computerized form.

Navajo student McKeon Dempsey, a senior majoring in studio art and photography, uses the more established technology of the camera to convey her view of issues facing the contemporary Native world. A series of images Dempsey produced on domestic violence are immensely moving, giving voice to experiences both personal and universal, remarks fellow student Bennett.

Across campus from the Science and Technology building, the direction of the setting sun references home, family, and coming back together, says Murphy. The original student housing, now serving as family housing, is on the west side of campus. It incorporates Native living patterns borrowed from Chaco Canyon and other cultures. Three clusters of two-bedroom residences feature common living areas, as well as a fire pit, walking circle, and other outdoor activity areas. Each cluster of houses faces inward, creating a protective, sheltered feeling.

In 2008 a 77-room, dormitory-style residence hall was built southwest of the circle near the Center for Lifelong Education, which houses the campus café, bookstore, conference rooms, and offices for student life. The siting of the center suggests a transition between the south—associated with work, production, and play—and the homecoming significance of the west. To the north of the circle, the original academic and administrative building has been joined by maintenance and facilities shops. The north represents nighttime, rejuvenation, and restoration, and is where the eld148 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

COURTESY OF DYRON V. MURPHY (2)

Design for the state-of-the-art digital dome. Left: The dome can be raised or lowered 18 feet and tilted 90 degrees.

KITTY LEAKEN/COURTESY OF IAIA

ers are placed in the circle of life; it is the direction from which guidance comes, Murphy explains.

Earth connection The design and architecture of the IAIA campus also fuses ancient and modern in its emphasis on sustainability, energy efficiency, and the use of locally obtained, earth-friendly materials—all aspects of traditional Native building. Among the green building elements are sensor-controlled lighting and daylighting, rooftop water harvesting for landscaping, air exchange systems, and the use of local and recycled materials. Architects on the school’s early phases worked with world-renowned renewable energy expert Ed Mazria, while later architects and IAIA administrators looked to the ever-growing field of eco-friendly design. The IAIA’s Center for Lifelong Learning and Science and Technology buildings both earned gold LEED (Leadership in Energy and Environmental Design) certification, while the Sculpture and Foundry building received silver LEED certification.

Visually, the academic/administration building also reflects the time-honored philosophy of honesty in the use of materials, Fragua relates. The structure’s raw concrete walls and floors and exposed steel beams and mechanical systems are a contemporary expression of materials in their natural state—like cedar planks in a Northwest longhouse, or the adobes of a Pueblo home. “We got cues from around the country,” Fragua notes, adding that the campus must cradle and reflect the diverse cultures of a student body drawn from hundreds of North American tribes, as well as non-Native and international students.

It also must be able to grow. With some 350 students, the school hopes to expand its instruction space by adding an administrative wing to the Science and Technology building, according to IAIA President Robert Martin, Cherokee from Oklahoma. Other priorities include a future fitness and wellness facility and a performing arts center. With the latter, the school could reintroduce theater, dance, and other performing arts degrees that were cut during a budget crises in the mid-1990s when the school survived a neardeath experience.

While many specifics from the IAIA’s original master plan did not become part of the eventual campus, the inspiration behind that vision endures. “A lot of the spirit carried forward. I’m very pleased with both Della Warrior and Bob Martin; they’ve done a great job of getting the campus actualized. It’s beautiful,” remarks Kathryn Harris Tijerina (Comanche), IAIA’s president when the master plan was created.

The casual visitor may not be aware of radiating arms on an axis of cardinal directions, but the result of the intense process that produced the campus design—mirroring the school’s curriculum and philosophy at the nexus of ancient and cutting edge—lives on.

“There were a lot of prayers and dialogue and conversations that took place,” Fragua reflects, “and the power of that is still there. The exchange of our breath is still there.” R

A student sculpture echoes the shape of the central circle and the bringing together of Native students and artists from many cultures and tribes. Top: A 77-room, dormitorystyle residence hall sits to the southwest of the campus circle, symbolizing a transition between the cardinal direction of south—associated with work, production, and play— and the homecoming significance of the west.

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ARCHAEO ARCHITECTS van Drimmelen/Gore Residence

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1519 Upper Canyon Road, Santa Fe, NM | 505-820-7200 | archaeoarchitects.com 152 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

ROBERT RECK

rchaeo Architects specializes in creating award-winning, meticulously detailed homes that are at one with the landscape. This home, which earned the Grand Hacienda Award in the 2011 Parade of Homes, provides a serene, secluded retreat in the Sangre de Cristo mountains. The architecture recedes to frame panoramic views, and light is used as a form-defining element. Paying close attention to the topography of the steep lot allowed for minimal intervention onto the site. While the home feels strongly anchored, this sense of connection with the earth is wonderfully contrasted with open, elevated views of the Jemez mountains. As a result, the home appears to emerge and ascend from the landscape, rather than being imposed on it.

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Santa Fe by Design

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Sliding Door Company

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Hanks House

Mechanical/Plumbing

Hank Frank Plumbing & Heating

Windows & Doors

Marvin

Electrical

Johnson Brothers Electric

Picture Windows & Doors

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Gen-Tech

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Santa Fe Door

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San Isidro Permaculture

Concrete Floor

Golden Siebert

Raised Planting Beds

Grow Y’own

Interior Plaster

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Lender

Del Norte Credit Union trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 153

Design Project

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VISIONS DESIGN GROUP Private Residence | Santa Fe, New Mexico

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111 N. Saint Francis Drive, Santa Fe, NM | 505-988-3170 | visionsdesigngroup.com 154 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

sophisticated fusion of assertive colors, textures, and materials, the décor of this custom-built Santa Fe home perfectly reflects Visions Design Group’s unique ability to capture the warmth and elegance of traditional Old World ambiance while introducing contemporary sensibilities in an exciting new way. As a full-service residential and commercial interior design company for new construction and remodels both locally and nationwide, Visions Design Group offers a premier selection of furniture, fabrics, and one-of-a-kind items from trusted sources from around the world. Clients may also choose from distinctive carved-wood furniture, built-in cabinetry, and architectural details custom designed and created by highly skilled artisans in the company’s Northern New Mexico workshop.

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KATE RUSSELL

Design Project

trendmagazineglobal.com Fall 2011/Winter 2012 Âť Trend 155

Design Project

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WOODS DESIGN BUILDERS

302 Catron Street, Santa Fe, NM | 505-988-2413 | woodsbuilders.com 156 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

Kalenian | Santa Fe, NM

Design Project

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KATE RUSSELL

Among this homeâ&#x20AC;&#x2122;s special qualities is an integral relationship with the land and views. With its front entrance sited on terraces cradled into the mountainside and its gently curving overall form, the house provides stunning views from every room, even from right inside the front door and the curving portal.

The contemporary design, with expanses of glass and a strong sense of mass, is more than balanced by the warmth created by the use of indigenous materials such as timber, slate, and stone.

More than two years after completion, the owner still frequently emails designer/builder Sharon Woods to tell her how much he loves his beautiful Santa Fe home.

trendmagazineglobal.com Fall 2011/Winter 2012 Âť Trend 157

Design Project

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ALLBRIGHT & LOCKWOOD Custom-built Private Residence | Santa Fe, NM

W

orking with Allbright & Lockwood to choose the perfect home finishing accessories is not unlike working with a master jeweler to choose the perfect setting. Specializing in tile, lighting, cabinet hardware, door hardware, bathroom accessories, and ceiling fans, the company’s showroom features over 100 different vendors from around the globe in a broad spectrum of styles, materials, price points, and designs—some handcrafted by master artisans with generations of experience. Allbright & Lockwood’s professionals work one-on-one with contractors, designers, and homeowners to fully understand what the client seeks from their living space to transform the built environment into a home that is personal, beautiful, and, most importantly, livable.

Project Team Contractor Michael Hurlocker of Hurlocker Homes Architect Robert Zachry

621 Old Santa Fe Trail, Santa Fe, NM | 505-986-1715 158 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

Tile, Lighting, Hardware, Bath Accessories & Fans Judith & Arthur Reeder, Allbright & Lockwood

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GIANARDI CONSTRUCTION Private Residence | Santa Fe, NM

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ith an operatic sense of drama, the ceiling of this home’s great room and adjacent outdoor living space echoes a playful aesthetic of geometric angles and shapes found throughout the home, complementing spectacular 360-degree views from both indoors and out. Elegant facades and an expansive glass great room wall add to the home’s contemporary vision, while impeccable craftsmanship and attention to detail create a living sanctuary of relaxation and health. The home is healthy for the environment as well, meeting Build Green New Mexico standards that put it 60 percent above average in home energy efficiency.

Project Team Builder Gianardi Construction

KATE RUSSELL

Architect Craig Hoopes

16 Alteza, Santa Fe, NM | 505-982-2200 trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 159

Design Project

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CONSTELLATION HOME ELECTRONICS Distributed Audio and Media System | Santa Fe, NM

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ver the last decade, Constellation Home Electronics has grown and evolved from a small consulting and design firm to become the premier electronics retail and service business in New Mexico.

Distinguished by the best brands, the best people, and the best service, Constellation ensures the same attention to detail regardless of project size. This particular client commissioned a state-of-the-art system both indoors and out. The indoor audio system has six independent keypadcontrolled zones while the outdoor pool area features a distributed audio system with wireless control, eight garden speakers, dedicated in-ground hidden sub-woofer, and fully wired pool house with Internet and system feeds. Inside, Constellation installed a 65â&#x20AC;? flat-panel 1080p wall-mounted television controlled by programmed remote, hidden electronics rack system to hold all components, and 5.1 surround sound with in-wall mounted speakers. Simply put, this house rocks!

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LEFT: KATE RUSSELL (2); RIGHT: ERIC SWANSON

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160 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

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LA MESA OF SANTA FE Custom Wood Furniture | San Francisco, CA

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JOE PICARD

ittle did Christoph Neander know when he met a particular client more than 20 years ago that he would end up creating virtually all the furniture in her home, one exquisite piece at a time. The Santa Fe-based woodworker, whose training began with a rigorous four-year apprenticeship in his native Germany, combines meticulous craftsmanship with a contemporary aesthetic emphasizing simplicity, elegance, and clean lines. Among the most recent pieces for his longtime client’s San Francisco loft are a site-specific china hutch of salvaged mahogany, a black walnut and sycamore desk, and a dining table incorporating bent lamination in curly cherry wood. Neander’s beautifully designed, impeccably crafted work is on view at La Mesa of Santa Fe, a source for exceptional handcrafted items since 1982.

Christoph Neander | 152 Calle Don Jose, Santa Fe, NM | 505-471-0534 | christophdesign.com 225 Canyon Road, Santa Fe, NM | 505-984-1688 | lamesaofsantafe.com trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 161

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SANTA FE BY DESIGN | ACCESSORY ANNEX Teolis Residence

Project Team Architect A. Christopher Purvis Architects Builder Tony Ivey & Associates Tile Statements In Tile/Lighting/Kitchens/Flooring Architectural Lighting Statements In Tile/Lighting/Kitchens/Flooring Plumbing Fixtures Santa Fe By Design Cabinet Hardware The Accessory Annex Electrician Ben’s Electric Plumber Chad Powell, MIE Mechanical Tile Setter Juan Lopez, New World Tile

1512 Pacheco Street (in Pacheco Park), Santa Fe, NM | 505-988-4111 | santafebydesign.com 162 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

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Interior Furnishings Violante & Rochford Interiors

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STATEMENTS IN TILE / LIGHTING / KITCHENS / FLOORING

KATE RUSSELL

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ell-chosen lighting, tile, and bathroom fixtures and accessories—key elements in beautiful interior design—often are the result of a more intensive collaborative effort than we might imagine. In this exquisitely designed home, owners Simon and Mindy Teolis worked closely with a powerhouse team of professionals.

Bob Schwarz of Santa Fe by Design picked up on Mindy’s vision and provided such stunning bathroom elements as a hand-glazed crystalline above-counter sink in the powder room. And Kim White, owner of Statements in Tile/Lighting/Kitchens/Flooring, helped make spot-on choices including textured stone tile for interior and exterior flooring, and metallic porcelain tile with the look of rolled steel to wrap the fireplace. Notes Santa Fe by Design co-owner Kathy Anne Fennema, “The Teolis home was one of those collaborations we all loved.”

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CLEMENS & ASSOCIATES Steve & Deena Koundouriotis Landscape | Santa Fe, NM

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lemens & Associates Inc. believes a property’s greatest potential is best realized through expert design by experienced local landscape architects. Its team of professionals trained in creative problem solving and design sensitive to Santa Fe’s environment and design vernacular brings a refreshing practicality and keen sense of value engineering to the drafting board. Responsible for some of Santa Fe’s most elegant gardens for more than 20 years, Clemens installs plans developed by its design division, other designers, and by simple elements designed on site. Backed by the latest plant research and gardening techniques, the company’s comprehensive maintenance services protect the integrity of the landscape, ensuring that young gardens transition gracefully into maturity and respond positively to natural changes.

Project Team Design, Installation, and Maintenance Clemens & Associates Inc. Designers Elizabeth Robecheck and Catherine Clemens Fire Element EcoSmart

1012 Marquez Place #201, Santa Fe, NM | 505-982-4005 | clemensandassociates.com 164 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

Ironwork Blue Steel Studio

Design Project

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VICTORIA PRICE ART & DESIGN Old Santa Fe Trail Estate | Santa Fe, NM

KATE RUSSELL

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ictoria Price’s sophisticated, eclectic interior design aesthetic combines beautifully with the classic elements of Old Santa Fe style. Such was the case with a remodel that transformed a distinctive, quintessentially wonderful Santa Fe house into an even more lovely and livable family home. By raising a low ceiling and combining the kitchen and dining room, a spacious, all-white country contemporary kitchen/dining area was created, with added windows and French doors providing generous light and access to the outdoors. A library was transformed into a teenager’s room, and a basement became a colorful, contemporary, indestructible space for kids. The client was a design enthusiast herself, which added to the project’s successful use of creative collaboration.

Project Team Designer Victoria Price Art & Design Contractor Adam Coppens Cabinetry Samora Woodworks Lighting and Tile Statements in Tile/ Kitchens/Flooring Plumbing Fixtures Santa Fe By Design

1512 Pacheco Street (in Pacheco Park), Santa Fe, NM | 505-982-8632 | victoriaprice.com trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 165

Design Project

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MOSS OUTDOOR Luxury Outdoor Living

530 South Guadalupe Street, Santa Fe, NM | 505-989-7300 | mossoutdoor.com 166 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

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reating a beautiful, luxury outdoor living space relies on the same design principles as indoors: Combine well-designed, high-quality, one-of-a-kind furniture and accessories, and they will look fabulous together without having to match. Moss Outdoor owners Gloria and Tom Moss followed these principles in creating their own magical outdoor living space on a home portal, mixing styles and brands from top outdoor living lines carried by Moss Outdoor. Among these: Dedon, Janus et Cie, Gandia Blasco, and Kenneth Cobonpue. The company—a natural next step for Gloria, who spent 20 years in the furniture trade in New York City, South Africa, and Saudi Arabia—is also the exclusive U.S. retail representative for Sutherland Teak. Outdoor furniture, lighting, planters, and entertainment accessories, from traditional to avant-garde—it’s all here.

Design Project

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CHRISTOPHER THOMSON IRONWORKS Hot Tub Railing for Cason del Triunfo Estate | New Mexico

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rom his studio in San Jose, New Mexico, master craftsman Christopher Thomson and his team of artisans harness the forces of heat and compression to transform white-hot iron and bronze into objects both beautiful and functional. Christopher Thomson Ironworks Studio collaborates with architects and designers on commissions for new homes, renovations, and public spaces, custom-designing and forging furniture and accessories such as fireplace tool sets and candlesticks. Gates and railings like this one, designed and hand-forged to match the existing railings on an Italian-style estate from the 1930s, are finished with a contemporary powder coat to prevent corrosion. A complete line of UL-listed architectural lighting is also designed and forged at the studio, where Thomson exhibits his recent series of hammered steel sculptures.

Project Team Original Architect Giorgio Belloli Remodel Architect Eric Enfield, Architectural Alliance, Inc. Interior Designer Heidi Steele, IDS-Santa Fe

KATE RUSSELL

Ironwork Railing Christopher Thomson Ironworks

San Jose, NM | 575-421-2645 | christopherthomsonironworks.com trendmagazineglobal.com Fall 2011/Winter 2012 Âť Trend 167

Design Project

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PALO SANTO DESIGNS Contemporary Passive Solar | Lamy, NM

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e can talk about excellence in green building all day, but this northern New Mexico home “walks its talk.” In the 2011 Parade of Homes, this contemporary passive-solar dwelling earned awards for best craftsmanship, water efficiency, site and resource efficiency, indoor air quality, and a Grand Green Award. It also received a Green Leaf Award from the U.S. Green Building Council–New Mexico. Among its eco-friendly features: grid-tied solar electricity, solar water and space heating, rainwater harvesting for irrigation, and extensive use of local, natural materials. It is Energy Star certified and pursuing LEED Platinum certification. With its clean-lined design, this level of deep green construction is beautiful, affordable, and easy to obtain.

Project Team Design and General Contracting Palo Santo Designs LLC Plumbing and Solar Thermal Marcus Scott Plumbing and Heating Electrical AIM Electric Nanogel Skylights Aerolenz Interior Plasters Sam’s Construction and American Clay

P.O. Box 2657, Santa Fe NM | 505-670-4236 | palosantodesigns.com 168 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

Solar Photovoltaic AMENERGY

Design Project

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KREGER DESIGN BUILD Custom House | Abiquiu, NM

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ow that you’ve done well, it’s time to do good! Kreger Design Build collaborates with you to design and build your dream home, interpreting Northern New Mexico’s unique architectural vernacular and extraordinary sense of place. Each home is consciously designed/built with verified true sustainability by architect/builder W. Robert Kreger, AIA, and artist Nancy Dean Kreger. Both the National Green Building Standard and the 2030 Challenge inform their decisions from start to finish. This team is committed to producing homes that progressively reduce fossil-fuel energy input approaching “Net Zero” by 2030.

Santa Fe, NM | 505-660-9391 | kregerdesignbuild.com

FERGUSON BATH, KITCHEN & LIGHTING GALLERY Casa Madrona Moderne Santa Fe, New Mexico

AUSTIN CANON; KATE RUSSELL

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or more than 50 years Ferguson Bath, Kitchen & Lighting Gallery has helped New Mexicans orchestrate their home improvement dreams. Offering a myriad of appliances and accessories in finishes and styles to fit any décor, their highly trained showroom consultants also ensure the efficient, seamless progression of each new-build or remodeling project, from planning and design to plumbing, installation, and finishing. The owners of Casa Madrona Moderne recently enlisted Ferguson’s expertise in the conception and installation of a new outdoor entertainment area featuring a top-of-the-line Wolf barbecue and Subzero wine unit. Featured on HGTV’s House Hunters on Vacation series, this 4,800-square-foot contemporary adobe home is available for rental by logging onto casamadronasantafe.com.

1708 Llano #B, Santa Fe, NM | 505-474-8300 | 4820 Hardware Dr. NE, ABQ | 505-345-9001

trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 169

Design Project

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D. MAAHS CONSTRUCTION | COUNTER INTELLIGENCE Eastside Santa Fe Home Remodel | Santa Fe, New Mexico

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ll the original beauty of this lovely eastside Santa Fe home shines through in a wholehouse remodel that improved livability and flow, added light, and updated surfaces and appliances for a warm, yet contemporary, look. Among the main elements is a new kitchen featuring custom-designed painted maple cabinetry and black veined soapstone countertops. New skylights in the living room and master suite create lovely light-filled spaces, and the master bath takes on a timeless feel with knotty alder cabinetry and travertine tile with multicolor stone mosaic. Original floors in the kitchen and bath were restored and preserved.

The master bath and closet remodel earned Best Bath and Grand Award in the Santa Fe Area Homebuilders’ Association’s 2011 Excellence in Remodeling Showcase.

Project Team Design and Construction D Maahs Construction LLC Counters Counter Intelligence LLC, with Villanueva Granite Appliances Builders Source Tile and Lighting Statements In Tile/Lighting/Kitchens /Flooring

D Maahs Construction LLC | 1512 Pacheco Street (in Pacheco Park), Santa Fe, NM | 505-992-8382 dmaahsconstruction.com Counter Intelligence LLC | 1925 Rosina Street, Ste. E, Santa Fe | 505-988-4007 or 505-917-4876 counter-intelligence-nm.com 170 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

Tile-setting Rivera Tile Works

Design Project

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THE FIREBIRD Efficiency. Beauty. Warmth.

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he only thing missing in the authenticity of this fireplace—with its warmth, beauty, and naturalistic logs and flame pattern—is old-fashioned inefficiency. Instead, this high-performance gas fireplace provides energy-efficient heat output in a handsome traditional design. Firebird has been northern New Mexico’s trusted source in fireplace and wood stove choices for almost 25 years. The model chosen by these Santa Fe homeowners features a French Country–style faceplate with antiqued, burnished gold finish, enhanced by elegant limestone-like cast stone for the mantel and generous hearth. The fireplace complements the room’s spacious scale and understated Southwest design. “It’s functional, beautiful, and—of great importance for us—also environmentally friendly,” the homeowner says. “We’re extremely pleased, and the Firebird’s service is unequaled!”

1808 Espinacitas Street, Santa Fe, NM | 505-983-5264 | thefirebird.com

HAGEN BUILDERS Canfield | Santa Fe, New Mexico

KATE RUSSELL

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t was a lovely Santa Fe home nestled into the mountainside and completed just a couple of years ago. But because the original builder neglected to stabilize the hillside for runoff, each heavy rain brought a flow of water and mud onto the home’s back portal.

Hagen Builders was called in to remedy the situation. A series of granite-lined terraces were built into the hillside, filled with highquality topsoil and irrigation, and planted with trees and shrubs. Then Hagen installed brick between the home and terrace wall, skillfully matching lines and color with the existing patio and stone. The result: a beautiful, livable backyard that visually merges with the land beyond, while also addressing the practical matter of shoring up the hillside.

#3 Mariano Road, Santa Fe, NM | 505-670-6069 | hagenbuilders.com

trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 171

Design Project

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SANTA KILIM Moroccan-inspired Style

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717 Canyon Road, Santa Fe, NM | 505-986-0340 | santakilim.com 172 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

KATE RUSSELL

ncient North African cultures meet contemporary Santa Fe in this elegantly designed great room, thanks to Santa Kilim. The centerpiece is an antique handpainted Berber dowry chest from Morocco. It sits on an exquisite Turkish Oushak carpet, woven with antique wool in an 1860s design.

Handcrafted Moroccan ceramic and pewter lamps grace the hearth, while pillows were made by Santa Kilim from silk velvet ikat-dyed fabric from Uzbekistan. The fabric—along with an array of other imported items— is available at Santa Kilim’s Canyon Road location, where the mystique of a Moroccan market is evoked in its narrow hallways and sumptuously adorned rooms. Santa Kilim’s skilled craftsmen can also transform antique imported items into functional custom furniture and architectural elements to enhance any style of décor.

With an impeccable reputation for service and excellence, we specialize in the repair, remodel and restoration of existing structures, including kitchen, bath and full scale remodels.

As you plan for an investment in your home, we’ll consult with you on the choices available and help you realize the full potential of your remodel. Together we can truly transform your home.

Showroom by appointment: Pacheco Park, 1512 Pacheco St. #A206

505.992.8382 www.dmaahsconstruction.com Custom Designs and Finishes in Wood, Granite and Tile

by Counter Intelligence and V illanueva Granite & Tile

You’ll get three generations of Santa Fe craftsmanship in ever y stunning detail.

Experience custom design, quality construction, on time delivery and perfect installation of hand crafted cabinetry and unique pieces to create your own ideal living space.

1925 Rosina Street, Suite E, Santa Fe New Mexico

505-988-4007 Eluid Herrera 505-917-4876 www.counter-intelligence-nm.com

trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 173

Hardscape Specialist “Hagen Builders did an outstanding job on the interior and exterior of our home.

Hugh is creative, enthusiastic and very easy to work with. His crew is exemplary and provides artistry in the field that is beyond compare. We can’t recommend Hagen Builders highly enough.”

—Drs. Russ & Kate Canfield

September 23, 24, 25, 2011

WALLS Adobe, Stucco Block, Rock FENCES Coyote, Cedar, Post & Rail, Dowel & Pin ROCK Flagstone, Brick, Porphyry PLUS Pergolas, Portals, Redwood & Synthetic Decking

Visit our website for information about next year’s exciting event

www.santafeconcorso.com The Concorso thanks our sponsors for another successful year.

A+ Rating Better Business Bureau Major credit cards accepted.

Hugh Hagen General Contractor License #93906 THE S OUTHWEST’S PREMIER AUTOMOTIVE EVENT

174 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

BUILDERS 505-670-6069 w w w. h a g e n b u i l d e r s . c o m

photo: Kate Russell

A Cultural Experience You Won’t Want to Miss

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717 canyon road santa fe, nm 87501 ~ 505.986.0340 ~ santakilim.com

AD INDEX ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS The Accessory Annex santafebydesign.com 505-983-3007...................................141, 162 Constellation Home Electronics constellationsantafe.com 505-983-9988 ................................24, 160 Dwellings Revisited 575-758-3377 ............................................70 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 ....................................59, 161 Moss Outdoor mossoutdoor.com 505-989-7300 ......................................2, 166 Onorato onoratosantafe.com 505-984-2008 ............................................23 Santa Kilim santakilim.com 505-986-0340 ..................................172, 175 Taos Blue taosblue.com 575-758-3561 ............................................70 Victoria Price Art & Design victoriaprice.com 505-982-8632 ..................................142, 165 Visions Design Group visionsdesigngroup.com 505-988-3170 ............................11, 154, 155

APPLIANCES Ferguson ferguson.com 505-474-8300 ..................................109, 169

ARCHITECTS, DESIGNERS & LANDSCAPE & HARDSCAPE COMPANIES Archaeo Architects archaeoarchitects.com 505-820-7200.........................21, 151–153 Clemens & Associates clemensandassociates.com 505-982-4005 ..................................141, 164 Kreger Design Build LLC kregerdesignbuild.com 505-660-9391 ..................................109, 169 Hagen Builders hagenbuilders.com 505-670-6069 ..................................171, 174 Palo Santo Designs LLC palosantodesigns.com 505-670-4236 ..................................107, 168 Victoria Price Art & Design victoriaprice.com 505-982-8632 ..................................142, 165 Woods Design Builders woodsbuilders.com 505-988-2413 ..........................111, 156, 157

ARTISTS & GALLERIES Beals & Abbate Fine Art bealsandabbate.com 505-438-8881 ........................................61 Cardona-Hine Gallery cardonahinegallery.com 505-689-2253 ..................................82, 83 Canyon Road Santa Fe visitcanyonroad.com .................................56 Canyon Road Select canyonroadselect.com.................................6 Christopher Thomson Ironworks christopherthomsonironworks.com 800-726-0145 ............................................98

Galleries at Lincoln Avenue sfgala.org .............................................12, 13 GF Contemporary gfcontemporary.com 505-983-3707 ..............................................9 Hand Artes Gallery handartesgallery.com 505-689-2443 ......................................82, 83 Hunter Kirkland Contem porary hunterkirklandcontem porary.com 505-984-2111 ..............................................8 Karen Melfi Collection karenmelfi.com 505-982-3032 ....................................58, 135 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 ............................................59 New Concept Gallery newconceptgallery.com 505-795-7570 ...........................................60 Niman Fine Art namingha.com 505-988-5091 ............................................15 Pippin Contemporary pippincontemporary.com 505-795-7476 ............................................14 Taos Blue taosblue.com 575-758-3561 ............................................70 Turner Carroll Gallery turnercarrollgallery.com 505-986-9800 ..............................................7 Waxlander Gallery & Sculpture Garden waxlander.com 505-984-2202 ...........................................57 William Siegal Gallery williamsiegal.com 505-820-3300 ..........................................4, 5

BUILDERS, CRAFTSMEN, DEVELOPERS & MATERIALS Areolenz aerolenz.com 505-603-7703 ..............................122, 168 D. Maahs Construction dmaahsconstruction.com 505-992-8382 ..............................170, 173 The Firebird thefirebird.com 505-983-5264...............................142, 171 Gianardi Construction, LLC 505-982-2200 ..............................143, 159 Hagen Builders hagenbuilders.com 505-988-4007 .................................171, 174 H and S Craftsmen LLC counter-intelligence-nm.com............170, 173 Kreger Design Build LLC kregerdesignbuild.com 505-660-9391 ..............................109, 169 Palo Santo Designs LLC palosantodesigns.com 505-670-4236 ..................................107, 168 Santa Fe By Design santafebydesign.com 505-988-4111...................................3, 162 Woods Design Builders woodsbuilders.com 505-988-2413 .......................111, 156, 157

CITIES, EVENTS & MUSEUMS

Art Feast artfeast.com 505-603-4643 ............................................85 Canyon Road Santa Fe Destiny Allison visitcanyonroad.com..................................56 destinyallisonfineart.com Canyon Road Select 505-428-0024..................................100, 101 canyonroadselect.com ................................6 Douglas Coffin Design Santa Fe dougcoffin.com designsantafe.org ............................112, 113 505-685-4510 ............................................93 Destination Marcy Street destinationmarcyst.com ............................23 176 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

Grand Centennial Ball NM centennial.org...........................................110 LA Art Show laartshow.com ...........................................84 Poeh Cultural Center & Museum poehmuseum.com 505-455-5041...........................................IBC Santa Fe Concorso santafeconcorso.com ..............................174 Taos New Mexico USA taos.org 877-587-9007 ........................................71 Taos Ski Valley taosskivalley.com 575-776-1413.........................................72

ELECTRONICS

AllBright & LockWood 505-986-1715 ..................................123, 158 Ferguson ferguson.com 505-345-9001 ..................................109, 169 Santa Fe By Design santafebydesign.com 505-988-4111...................................3, 162 Statements statementsinsantafe.com 505-988-4440 ................................99, 163 Taos Cookery taoscookery.com 575-758-5435 ............................................70

PHOTOGRAPHY & DESIGN SERVICES

Constellation Home Electronics constellationsantafe.com 505-983-9988 ................................24, 160

Peter Ogilvie Photography ogilviephoto.com 505-820-6001 ........................................89

FASHION, GEAR & JEWELRY

REAL ESTATE & BANKS

Beeman Jewelry beemanjewelrydesign.com 505-726-9100 ........................................29 Daniella shopdaniella.com 505-988-2399 ............................................35 Earth Elegance (Tracy Collins) earthelegance.net 505-988-3760 ............................................20 Elven Velvet elvenvelvet.com 505-982-2478 ............................................58 Golden Eye golden-eye.com 505-984-0040 ............................................33 The Hatsmith of Santa Fe Inc. thehatsmith.com 505-995-1091 ............................................25 James Reid Ltd. designs@jrltd.com 800-545-2056 ..............................................1 Jewel Mark jewelmark.net 505-820-6304 ..............................Back Cover Karen Melfi Collection karenmelficollection.com 800-884-7079 ........................................58 Letherwerks letherwerks.com 575-758-2778 .......................................73 Mudd’n’Flood Mountain Shop 575-751-9100 ........................................70 Peruvian Connection peruvianconnection.com 505-438-8198 ........................................31 Rippel and Company johnrippel.com 505-986-9115 ........................................19 Sams Shop For Women 575-758-4496 ........................................70 Santa Fe Boots & Boogie 505-983-0777 ........................................25 Spirit of the Earth spiritoftheearth.com 505-988-9558 ........................................17 Wearabouts wearaboutssantafe.com 505-982-1399 ........................................23

HEALTH & BEAUTY & SALON Desertblends of Taos desertblends.com 575-737-0770 ............................................70 Wild Hare Salon of Santa Fe wildharesantafe.com 505-988-1925.............................................81

KITCHENS, BATHROOMS TILE, LIGHTING & HARDWARE The Accessory Annex santafebydesign.com 505-983-3007 ..................................141, 162

Los Alamos National Bank lanb.com 505-662-5171, Los Alamos 505-954-5400, Santa Fe ....................... 34 Sothebys Realty Alan & Anne Vorenburg santafebeautifulhomes.com 505-954-5515 ......................................150

RENEWABLE ENERGY Amenergy amenergynm.com 505-424-1131 ...............................122, 168

RESTAURANTS, CATERERS & LODGING Adobe & Pines Inn adobepines.com 800-723-8267 ........................................72 Bavarian Lodge & Restaurant bavarian@thebavarian.net 888-205-8020 ........................................73 El Meson elmeson-santafe.com 505-983-6756 ........................................23 Geronimo geronimorestaurant.com 505-982-1500 ........................................10 The Historic Taos Inn taosinn.com 888-518-8267 ............................................75 Il Piatto ilpiattosantafe.com 505-984-1091.............................................23 The Inn of Five Graces fivegraces.com 505-992-0957 ..........................................124 Inn and Spa at Loretto innatloretto.com 505-988-5531 ............................................36 Museum Hill Café museumhillcafe.net 505-984-8900 ........................................96 The Palace Restaurant and Saloon palacesantafe.com 505-428-0690.......................................IFC The Pink Adobe thepinkadobe.com 505-983-7712 ........................................95 Rouge Cat rougecat.com 505-983-6603 ............................................23 Saveur Bistro 505-989-4200 ........................................94 Taos Inn taosinn.com 505-532-8267 ........................................75 Walter Burke Catering walterburkecatering.com 505-473-9600 ........................................93