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CHANGING THE WORLD One building at a time

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CHR I S TO P H E R TH O M S O N I R O N WO R K S ST UD I O A N D G A LLE R Y

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Located within La Tienda at Eldorado Eldorado is home to hundreds of artists, musicians, writers, and performers — La Tienda at Eldorado is where they meet. La Tienda is a fitting location for Destiny Allison Fine Art as it passionately supports the arts and celebrates community. There is no other place anywhere near Santa Fe like La Tienda at Eldorado. It’s not about image. It’s about amazing people doing amazing things. www.LaTiendaEldorado.com

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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

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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.” 104 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

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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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

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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. The Design Crawl features 32 retail and wholesale home dĂŠcor and interior furnishing businesses. Explore new design resources, and meet guest artists and craftspeople in a party atmosphere. Additional information on the homes and businesses, tour maps and driving directions are at designsantafe.org.

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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.

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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.

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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.

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resort style

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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 atÂ Rippel and Company.

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resort style

Evening robe and turquoise stone bustier by Tracy Collins of Earth Elegance. Pants by Donna Karan. Boots from Goler. Belt by Jadu Design. Sterling silver earrings by Melanie at Karen Melfi Collection.

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

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. Canadian First Nations architectural firm of trendmagazineglobal.com Fall 2011/Winter 2012 » Trend 145

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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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Design Project

van Drimmelen/Gore Residence by Archaeo Architects photo by Robert Reck

Design Project

ARCHAEO ARCHITECTS van Drimmelen/Gore Residence

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.

ROBERT RECK

Project Team General Contractor

Gianardi Construction

Lighting

Lightology

Interiors

Core Value Inc.

Granite & Tile

Arizona Tile

Artwork

LewAllen Contemporary

Granite Installation

J Harris Marble & Granite Company

Rugs

FOUR

Wood Staining

Teamworks Custom

Miele Appliances

Ferguson

Shower Floor

Teakworks4U

Plumbing Fixtures

Santa Fe by Design

Pantry & Closet Doors

Sliding Door Company

Cabinetry

Hanks House

Mechanical/Plumbing

Hank Frank Plumbing & Heating

Windows & Doors

Marvin

Electrical

Johnson Brothers Electric

Picture Windows & Doors

Western Windows Systems

Low Voltage Wiring

Gen-Tech

Front Door

Santa Fe Door

Landscape

San Isidro Permaculture

Concrete Floor

Golden Siebert

Raised Planting Beds

Grow Y’own

Interior Plaster

Fabu-WALL-ous Solutions

Lender

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

Design Project

VISIONS DESIGN GROUP Private Residence | Santa Fe, New Mexico

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.

KATE RUSSELL

Design Project

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Design Project

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

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.

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Design Project

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

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

Design Project

GIANARDI CONSTRUCTION Private Residence | Santa Fe, NM

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

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

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!

215 N Guadalupe, Santa Fe, NM

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

505-983-9988 www.constellationsantafe.com

160 Trend Âť Fall 2011/Winter 2012 trendmagazineglobal.com

Design Project

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

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.

Design Project

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

KATE RUSSELL

Interior Furnishings Violante & Rochford Interiors

Design Project

STATEMENTS IN TILE / LIGHTING / KITCHENS / FLOORING

KATE RUSSELL

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.”

1441 Paseo de Peralta, Santa Fe, NM | 505-988-4440 | statementsinsantafe.com

Design Project

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

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

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

KATE RUSSELL

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

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

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

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

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

PALO SANTO DESIGNS Contemporary Passive Solar | Lamy, NM

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

KREGER DESIGN BUILD Custom House | Abiquiu, NM

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

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

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Design Project

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

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

THE FIREBIRD Efficiency. Beauty. Warmth.

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

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

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Design Project

SANTA KILIM Moroccan-inspired Style

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

“Architecture, of all the arts, is the one which acts the most slowly, but the most surely, on the soul.” —Ernest Dimnet PHOTO BY ROBERT RECK