jan ‘20
// alterstudio photo: casey dunn
West East Collection
crystal case
RICARDO BELLO DIAS + STUDIO ORNARE
Dallas - 1617 Hi Line Dr, Suite 190a - TX, 75207 - (214) 377 1212
@ornareusa | www.ornare.com
1019 Dragon Street | Dallas | Design District | 214.350.0542 | www.sminkinc.com
UnCoMMOn DESIGN by Kendall Morgan
Common Desk elevates the ordinary office in its new Arts District enclave. Authentic. Approachable. Comfortable. These are the tenants behind the Common Desk philosophy. But what sets this successful company apart from other similar co-working businesses is the attention to detail inherent in each space’s design. With nine locations across Dallas and Austin (plus three more on the way in downtown Austin, Houston, and North Carolina), Common Desk expanded quickly, but thoughtfully. From the very beginning, founder Nick Clark had something a little more elevated in mind than your typical cubicles and florescent lighting. “Common Desk has always been set apart by our
hospitable approach to everything we do,” says Clark. “We hire staff who know how to genuinely connect with other people, which lets us operate more like a hospitality brand than a co-working brand. This approach has enabled us to stay creative (and) do the unexpected.” Back in 2010, Clark was working in commercial real estate when he was placed on an assignment to turn a building lobby into a shared tenant space. Struck with inspiration at the concept of unique co-workspaces, he soon quit his day job to put all of his energy into what ultimately became Common Desk. The company launched its Deep Ellum branch in October 2012. Housed in a former warehouse building, the first Common Desk set the standard for the future: repurposed industrial details, a mix of 20th century
214.797.1900 | jarrad@jarradbarnes.com | jarradbarnes.com
2843lee.daveperrymiller.com
1322kessler.daveperrymiller.com
2843 Lee Street 2 Bedrooms · 2.1 Baths · 2,432 Square Feet/Tax · Knox/Henderson Area
1322 Kessler Parkway
Impeccable quality, design and attention to detail is apparent throughout this contemporary home. Designed by AIA awardwinning architect Lionel Morrison, this low-maintenance half-duplex home was designed· for theBaths urban dweller withSquare a lock- Feet/Tax · Kessler Park 3 Bedrooms 3.1 · 3,043 and-leave lifestyle. ‘Sophisticated modern’ is best used to describe the clean lines, glass walls and marble finishes found throughout this property. As the current owners are art enthusiasts, there is an extensive automated art lighting system, as Hidden among the trees, cantilevered on a hillside overlooking Kessler Park, is one-of-a-kind masterpiece of sophisticated well as automated blinds, HVAC and security system. Additionally, this urban retreat has a ‘city yard’ with pool, hot tub and design in perfect harmony with nature. This home was the brainchild of AIA architect Gary Cunningham, and the literal water wall, all viewed from the 22-foot windows. Located in Cochran Heights just steps from Knox/Henderson, the Katy definition of a Glass House. Upon entering the .5-acre property, one ascends the winding steps through the woods, or Trail and Uptown Dallas. Offered for $945,000.
the funicular, to the hilltop retreat with lush grounds designed by renowned landscape architect David Hocker. The current owners thoughtfully engaged Gary Cunningham for the recent remodel and expansion with phenomenal results. There are
modern and contemporary furnishings, and the use of local artists to enliven the mix. That first outpost was created with the help of an architectural firm, but just over a year ago, the company brought a design director in-house to refine their focus further. “As they’ve been growing, they wanted to control their brand and the look and feel of their spaces,” says Common Desk’s head of design Austin Gauley. “I came on board from Plan B Group, which was a boutique design and branding firm for restaurants. I’m just interested in communal type spaces and everything about a brand
that reflects a community.” Adds Clark, “Austin and I have built a high level of trust with one another over the past few years. I simply give him some direction pertaining to product mix, needed amenities and programming and allow him to take it from there. He and his team have done an incredible job at refining some of the original Common Desk design influences to continue elevating the experiences we offer inside our spaces.” Gauley pays close attention to the look and feel of each Common Desk to make sure it reflects its neighborhood. Where that first Deep Ellum space has an edgy vibe
(compete with conference rooms named after music venues, vintage Knoll Pollack chairs and graffiti-style murals of Beyoncé and Tupac quotes), the new jewel in the company’s crown in the Trammell Crow Center downtown takes a more upscale, refined approach. At 2001 Ross Avenue, Gauley, and his team of four have created a sleight-of-hand mix of textures and fabrics. Greeted by a gallery wall at the elevators (a nod to the
building’s locale in the Arts District), visitors to the space quickly notice the attention to detail around every corner. Seating ranges from low-slung couches to supportive Herman Miller Aeron chairs. Chat rooms inspired by oldschool phone booths hold adjustable desks. A conference room is nestled behind a secret door in the library. And an elegant cocktail lounge that serves as an after-work hours meeting space is presided over by a portrait of Crow just over the bar.
For furnishings, Gauley chose a mix of neutral couches and chairs accented with pops of lime, terracotta, and moody blue. Key pieces were sourced from affordable outlets such as CB2, West Elm, and Industry West and layered with finds like a pair of antique Persian rugs. Surprise and delight were as crucial as form and function— murals and other artworks sourced with the help of the local organization Artist Uprising brighten otherwise dull walls and transitional spaces.
“Other brands may focus on more of a sterile commercial environment, but we’re finding that middle ground of a hospitality-oriented space that isn’t cold, clean surfaces and bright white lights,” Gauley explains of his mix of white oak, marble, brass, and leather. “When you add textures and layers to things, people feel that it’s comfortable and down-to-earth instead of cold and functional. Mid-century also plays a huge role in our brand—people are comfortable with the clean lines; it’s not flashy.”
EMMI WHITEHORSE
EARTH & SKY WITH DON REDMAN
JANUARY 25—MARCH 21
KIRK HOPPER FINE ART
DALLAS
Each Common Desk starts with an analysis of how many workers can fit in a space. Next, Gauley and his team brainstorm on who their potential users could be, creating a word cloud to describe future tenants. Finally, a mood board is established with imagery, further refining the palette. With the company continuing to grow across the Southeast alongside the launch of a new lifestyle brand, it’s clear Common Desk’s future will remain as engaging for the eyes as it is soothing on the brain. “We see some other co-working groups that are overstimulating with (patterns) touching every single wall and ceiling and tchotchkes. And that’s too much,” says Gauley. “You do need negative space and simplicity, but you need layers and art and texture and warmth. People want to be in a comfortable environment when they work, and striking a balance is truly an art form. You want to come to work in a space that allows you to make choices and be productive and comfortable.” commondesk.com
// emmi whitehorse - bayberry
by Kendall Morgan
AS ABOVE, SO BELOW
// emmi whitehorse - studio
Artists Emmi Whitehorse and Don Redman take on the Earth & Sky at Kirk Hopper Fine Art If the work of painter Emmi Whitehorse and sculptor Don Redman may seem to have nothing in common, look again. Both have deep ties to New Mexico, allowing its enchanted landscape to influence them in an almost spiritual way. And both have enlivened pieces in their current show with the glittering mineral of mica.
Raised in sheepherding family outside Chaco Canyon, Emmi Whitehorse first learned color theory from her grandmother, a traditional Navajo weaver. Trained as a printmaker at the University of New Mexico, Whitehorse ultimately refined her process of layering chalk, oil, and turpentine—and, in this case, mica—on paper applied to canvas. Everything from animal tracks to water rings to tendrils of plants she observes on her daily walks inspires her intricate details.
Brought together by curator and writer Susie Kalil at Kirk Hopper Fine Art, the duo’s take on the natural world taps into our waning capacity for imagination and wonder.
“I don’t take pictures, and I don’t draw from pictures, I just remake what I think I remember,” Whitehorse says. “It’s not about pointing out a place or mapping out something;
// don redman
// don redman, Untitled, 2020
it’s about a particular time of day and the light at that time. I hope it’s beautiful to the viewer when they see it, and that they are also connected closely to this earth rather than forgetting it’s all this organic stuff that makes life happen.” If Whitehorse traffics in all that’s beautiful in the ground beneath our feet, Don Redman’s emotionally charged sculptures seem to transcend the bounds of our earthly plain. Raised in Houston, Redman has lived and worked in Santa Fe for over two decades. A graduate of the Art Institute of San Francisco, he apprenticed with the likes of Luis Jimenez and Salvatore Scarpitta. The latter inspired Redman to create his sculptures so that the viewer would feel a kind of kinetic energy, even if the actual finished piece was static.
“Scarpetti said, ‘I know you can make any 50-ton thing, but I want to see you make something that visually moves that doesn’t move.’ I started playing with that idea when I got a commission to do a piece in Santa Fe behind the opera. I started noticing when cutting splits in a plate of steel how sunlight would cast through the plates create these interesting shadows. As the sun traversed the sky (the work) evolved.” For Earth & Sky, Redman has sculpted a 27-foot piece of 70-year-old cured maple inset with mica panels. Utilized by Navajo tribes in their pueblos, the Spanish initially mistook the mineral for solid gold, coveting what they perceived as untold riches.
// emmi whitehorse - bogplant
“It’s not only a material, but it’s also a symbol,” Redman explains. “It’s about greed and capitalism. It’s always been a metaphor for the purging of bad things.” The still-untitled piece (Redman won’t give his sculptures a name until he can “get six feet away from them”) arcs over one’s head with an atmospheric effect that complements Whiteshorse’s painterly work. In addition, Redman has a diptych of stainless steel sculptures on the gallery’s patio that play with illumination by projecting the sun’s rays onto the ground. What both artists hope the viewer takes away from a moment spent with Earth & Sky is an appreciation for the
planet on which we live, with the artist as a conduit to help us see the need to change the world for the better. “We’re going to be in real trouble if we don’t listen to what Mother Nature is telling us,” says Redman. “And artists have always been the spokesmen for the future. The shamans used art as healing, and it was a sacred way of blessing the culture we came from. Art has always been instrumental as something to tell the masses what’s going on.” Earth & Sky by Emmi Whitehorse and Don Redman is on view at Kirk Hopper Fine Art through March 21. kirkhopperfineart.com
// constant spring residence, alterstudio photo: casey dunn
Kevin ALTER presents Frank Welch Memorial Lecture Series
by Leah Shafer
// tumbleweed residence, alterstudio photo: casey dunn
// hillside residence, alterstudio photo: casey dunn
Lone Star architect Frank Welch is legend around the state. Known as the Dean of Texas Modernist architecture, the prolific Welch spent the better part of 50 years creating schools, churches, commercial buildings, and homes in North and West Texas, including many in Dallas.
Welch, FAIA, died in 2017 at the age of 90 and the Dallas Architecture Forum created the Frank Welch Memorial Lecture to honor his life and career. The first two years brought Ted Flato, FAIA, co-founder of Lake Flato Architects, and Rick Joy, founder of Rick Joy Architects.
Welch’s work remains a master study in balance and flow between site and structure, showing his meticulous attention to bringing the natural surroundings into his design plans. Flow between indoors and outdoors feels balanced in Welch’s work, as is the play of sun and shade and use of organic elements.
This year, the January 29 lecture will be delivered by Kevin Alter, founder of the award-winning Alterstudio Architecture in Austin, Texas. Alter is the Richardson Centennial Professor of Architecture and Associate Director of the Center for American Architecture and Design at The University of Texas at Austin.
// tarrytown residence, alterstudio photo: casey dunn
With partners Ernesto Cragnolino and Tim Whitehill, Alter designs dynamic buildings, landscapes, and interiors that embrace their natural surroundings. Much like Welch before him, Alter responds sensitively to the environment, creating marvelous designs that invite both engagement and reflection. “Kevin Alter and his team are deeply committed to creating designs that are harmonious with and enrich their environment and ‘uncover the inherent spirit of place and personality’ of the project site,” said Dallas Architecture Forum Executive Director Nate Eudaly. The work of Alterstudio Architecture is widely featured in publications like Dwell, Architectural Record, Architect, Texas Architect, The New York Times, The Wall Street Journal, The London Financial Times, as well as the book, Alterstudio Architecture: 6 Houses, published in 2014. Event Details 7 p.m. on Wednesday, January 29 Horchow Auditorium - Dallas Museum of Art 1717 North Harwood Street Reception at 6:15 p.m. Tickets: $20 general admission // $5 for students with ID // Free for Dallas Architecture Forum members AIA members can earn one hour of CE credit per lecture. The Dallas Architecture Forum has established a Frank Welch Memorial Lecture Fund for donations.
// south 5th residence, alterstudio photo: casey dunn
MODERN SPACES
4113 San Carlos Street // $1,499,500 RALPH RANDALL c. 214.533.8355 rrandall@briggsfreeman.com
8723 Daytonia Avenue // $929,000 JACOB MOSS c. 214.335.1719 jacob.moss@compass.com
4347 Avondale AVE // $3,200,000 JARRAD BARNES c. 214.797.1900 jarrad@jarradbarnes.com
3364 Miro Place // $590,000 FAISAL HALUM c. 214.240.2575 fhalum@briggsfreeman.com
// taula house
by J. Claiborne Bowdon
M GOODEN DESIGN
You’ll definitely look like a great cook.
Show off your culinary acumen in the Alea kitchen from Poliform.
Dallas 1617 Hi Line Dr. Ste. 100 214.748.9838 Austin 115 W. 8th St. 512.480.0436 scottcooner.com
Very little happens on the underside of a table, which is not surprising. A table’s function is chiefly to act as an elevated surface, which ultimately makes the underside and, really, even the legs entirely incidental. The legs are there because they have to be, and in the best of cases-like the buttresses of a cathedral- they can add more aesthetic heft and drama to the thing they support, but still the underside of the table is nothing to celebrate or give much attention. This is through no fault of ours; gravity has circumscribed the underside of anything to a default non-functional status. However, architecture has, for almost a century, provided a necessary corollary that the underside of something is not relegated to simply being a surface.
Consider “Falling Water”- Frank Lloyd Wright’s singular design for a residential home audacious both for its careful unity within the landscape and, especially, its floating balconies. The undersides of these cantilevered plinths are suddenly dynamic by virtue of their construction. They are just as worthy a subject of focus, and even a more desirable angle from which to photograph this architectural treasure. Shot from below the undersides of these balconies seem to soar and project out into the air. Seeing these balconies from below, unsupported, active, and unafraid, gives them, and the entire structure, their magic.
This attention to the underside is one of the more unique consistencies in the work of M Gooden Design. Overhangs are not excess- not something unaccounted for. Their undersides are as active and necessary as a window or stair. Whether you find them providing a protective cover from sun and rain, a source of light, or as a chimney or other means of ventilation, you’re unlikely to find an opportunity missed. You need only look to the Taula House to see everything come into focus. The Taula House is the flagship design that greets you on the home page of their website. You don’t quite yet know what you’re looking at, but it sets the stage for everything. One of the great structural achievements of the home is its exterior, which is in full view. The exterior walls of the house are precast panels of concrete, which are supported by the steel frame of the structure. The surface of the concrete is crenellated with a grooved stripe pattern that has a more organic symmetry to it- consistent but not flawlessly pristine in shape. It provides a raw, fresh contrast to the straight and clear lines of the windows and serene white interior. The additional light projected from the undersides of an overhanging window box offer more than just illumination in this context. The texture, the depth of the grooves, is meant to capture and change in appearance as the light plays off the crenellated surface as the sun rises and sets. The repeating patterns of vertical lines, both the separated depths of raised and sunken surfaces and the variegated shades of the honey colored wood slats, continues throughout the home- continuing to stand in brilliant contrast with the smooth, solid elements. It feels less a building than space carved out of the materials that constitute it. “Taula”, it’s worth noting, is the Sanskrit word for “balance”.
This small touch is an intriguing glimpse into the thought behind each choice. The industrial materials, the concrete and weathered steel, are all given a more natural appearance so as to visually settle them into their surroundings. Throughout the house you see the interplay of dark and light colors that help to delineate and emphasize their spaces. The design is not meant to create space that will later find a use though. The home was built to be precisely that- a home-, and in that spirit the consideration of the members of the multigenerational family that would live in it guided how the shared and private areas would occupy the same space with equal precedence.
Engage Educate Experience Enjoy
The Dallas Architecture Forum is for everyone who wants to experience inspired design. The Forum presents an award-winning Lecture Series that brings outstanding architects,interior designers, landscape architects and urban planners from around the world, as well as Symposia, Receptions at architecturally significant residences, and Panel Discussions on issues impacting North Texas.
ď‚‚ď‚
dallasarchitectureforum.org
2019-20 Lectures All are welcome, Forum Members Attend for Free. More information & join at dallasarchitectureforum.org Michel ROJKIND Founder and Principal Rojkind Arquitectos
3 December 2019 Tuesday, 7 pm Horchow Auditorium, DMA
Kevin ALTER Founder and Partner alterstudio The Frank Welch Memorial Lecture
29 January 2020 Wednesday, 7 pm Horchow Auditorium, DMA
Mary Margaret JONES President and Senior Principal Hargreaves Associates
11 February 2020 Tuesday, 7 pm Horchow Auditorium, DMA
Frida ESCOBEDO Founder and Principal Frida Escobedo Architects
Jason LONG Partner OMA New York
Dirk DENISON Founder and Partner Dirk Denison Architects
25 February 2020 Tuesday, 7 pm Horchow Auditorium, DMA
25 March 2020 Wednesday, 7 pm Horchow Auditorium, DMA
7 May 2020 Thursday, 7 pm Angelika Film Center, Dallas
// chenille noire house
The names of the projects speak to the thinking behind each of them, or their conceptual thrust. The “Five House,” currently under construction in Denton, is built on a strict five foot plan and occupies a 700 square footprint. Its rectangular floorplan gives the space depth to counter its size, and glass, including a telescoping wall facing a pool, helps to open it up and make it feel less confined. It’s a very solidly composed building on its own, but its role as a guest house, and its position off the pool, is signaled with the fun angled in beams supporting a roof over the patio, which are also period appropriate to the original mid-century home that occupies the property. Another project is the “Chenille Noire” house, which is meant to be the first phase of a three structure project in Miami County Kansas. The inspiration, the name
translates to “black caterpillar”, is taken from the land’s role as part of the migratory route of the monarch butterfly. Its shape certainly telegraphs its inspiration, and gives it its most defining feature- a porch with a fireplace and a massive overhanging ceiling with a bedroom above, each intimate spaces but operating separately as public and private. The three structure idea is appropriate“Chenille” is the first phase of metamorphosis, and it feels like a younger home– an ideal setting for entertaining and with a welcoming openness to its surroundings. You can see this versatility of thought in so many elements of M Gooden’s project, but you really only need to look as far as their logo- it evokes an M, but it’s a side profile silhouette of a classic butterfly roof. mgoodendesign.com
modern
cravings // nut designed by ray power for lzf available at lzf-lamps.com
// plaxl splatter matte blue available at bzippyandcompany.com
// love bowl 8.5’’ available at nambe.com // parma chair...curvy and comfy available at amercicanleather.com
calendar your modern
Modern events and activities make for fall fun around the Metroplex.
AD EX Walking Tours, Skyline360 // February 01, 03, 08 Main Street District Walking Tour // February 08
Robyn O’Neil: We, The Masses Modern Art Museum of Fort Worth // through February 09
Mary Margaret Jones Dallas Architecture Forum // February 11
Form Follows Fitness 5K ADEX // February 15
Frida Escobedo Dallas Architecture Forum // February 25
speechless: different by design The Dallas Museum of Art // through March 22
Magdalena Abakanowicz and John Chamberlain Nasher Sculpture Center // through April 05
Beili Liu The Crow Museum of Asian Art of The University of Texas at Dallas // through August 16
modern
art galleries
Modern art, exhibits, around the Metroplex. Trey Egan + Kelli Vance Cris Worley Fine Arts // through february 08
Heath West + Rachel Hellmann Galleri Urbane // through february 15
Matt Clark + Susan Barnett + Jules Buck Jones Conduit Gallery // through february 22
Women On Top Barry Whistler Gallery // through february 22
Sarah Williams + Nida Bangash Talley Dunn Gallery // through february 22
Nikola Olic Afterimage Gallery // through february 25
On The Surface The Mac // through March 08
Mike Osborne Holly Johnson Gallery // through March 14
Whole Cloth Site131 // through March 21
214.797.1900 | jarrad@jarradbarnes.com | jarradbarnes.com
1322kessler.daveperrymiller.com
1322 Kessler Parkway 3 Bedrooms · 3.1 Baths · 3,043 Square Feet/Tax · Kessler Park Hidden among the trees, cantilevered on a hillside overlooking Kessler Park, is one-of-a-kind masterpiece of sophisticated design in perfect harmony with nature. This home was the brainchild of AIA architect Gary Cunningham, and the literal definition of a Glass House. Upon entering the .5-acre property, one ascends the winding steps through the woods, or the funicular, to the hilltop retreat with lush grounds designed by renowned landscape architect David Hocker. The current owners thoughtfully engaged Gary Cunningham for the recent remodel and expansion with phenomenal results. There are many notable architectural details throughout, including a cross-over bridge connecting the two-bedroom guest house, multiple outdoor terraces, koi pond and rooftop deck with downtown views. Offered for $2,000,000.