aug ‘20
// welch | hall architects // photo credit dan piassick
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A MATCH MADE IN MODERNISM H C TA M // photo credit dan piassick
by Kendall Morgan
// photo credit dan piassick
Dallas-based Welch/Hall architects deliver a perfect synthesis of style and substance. The very best partnerships of any kind are always effortless. The sort of relationship where one not only finishes another’s sentences but often knows what their counterpart is thinking before they speak. And so it goes with Cliff Welch and Scott Hall. Lauded on the local and national levels for their timeless
compositions, the partners built successful careers on very different focuses. An American Institute of Architects Fellow, Welch garnered his reputation, creating dream homes that embrace both sustainability and craft. Meanwhile, Hall had an equally celebrated career with OMNIPLAN Architects designing such notable buildings as the Museum of Texas Art and Culture in Denton, Watermark Community Church, and the Dallas Holocaust and Human Rights Museum (where he was a Principal and Director of Design).
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// photo credit cliff welch
Growing up with a grandfather in construction, Welch was already on the path to being an architect by the time he entered the University of Texas at Arlington. “I grew up framing houses and pouring concrete, all the things involved in building,” Welch recalls. “And I’d always loved to draw and design and photograph. (As a teenage intern) my grandfather brought me in and showed me the drafting table and T-square, and I immediately fell in love with the idea of something coming out of your head and through your fingers that you could eventually actually walk through and experience.”
Meanwhile, Hall was earning a degree at Texas Tech University College of Architecture. He serendipitously joined a Dallas AIA committee where he met his fellow co-chair Welch, and the two become fast friends. As Welch spent the next decades building his namesake firm (launched in 2000), their families often went hiking and camping together. On the 2017 silver anniversary of Hall’s tenure at OMNIPLAN, he was ready for something new and contemplated creating his firm. Welch had a better idea.
// photo credit dan piassick
// watermark community church - designed by scott hall, aia while lead designer at omniplan
// photo credit dan piassick
“I let Cliff know I was doing this, and he immediately said, ‘Let’s do something together,’” Hall recalls. “If I were ever going to have a partner, it was only going to be Cliff. We share so much in common architecturally and philosophically—our attitudes about life and art. It was quite easy for us to come together to develop what our firm was going to be. It’s a very healthy environment for us to think outside of the box and be energetic and optimistic.” The idea of the two working together was so obvious, many of their friends and colleagues wondered aloud why it had taken them so long to get to this point in the first place.
// photo credit dan piassick
Says Welch, “We have different strengths and project approaches. I tend to be involved in every aspect—the example I use is the football team’s quarterback or the conductor who has to keep everyone in tune. Scott is a better collaborator. The thing about the larger projects the number of consultants is much higher, and Scott is wonderful at handling that with security people and energy consultants and code compliance. He may be working on projects with 15 or 20 consultants, and he’s very good at that.” “We’re both very artistic, and we have the toolbox of designers,” adds Hall. “There’s a craftiness (to our work) we both share, but we’re also believers in the simplicity and honesty of modern architecture and what it offers in a variety of architectural settings. We’re both drawn to it and understand it very well and employ it in our design approaches.” Welch and Hall also share a passion for natural wood and stone finishes and affection for unusual influences. A home Welch designed on Chapel Hill was inspired by Hitchcock’s “North by Northwest,” and Reid Miles’ artful album covers for Blue Note Records. The horizontal panels of copper that wrap Hall’s Holocaust Museum’s exhibition spaces suggest the resilience and durability of living through physical trial. The duo has recently broadened their scope to partner together on townhome projects, ongoing updates for Highland Park Village, and an event center in East Texas. Says Hall, “It’s a pretty vibrant and interesting variety of work. A lot of our projects are first projects. I’d never // photo credit dan piassick
// photo credit dror baldinger
// photo credit dror baldinger
done a museum before the Holocaust Museum, and I’d never done a church before Watermark. The process and the vision and collaboration with our team is something we’re able to apply to any project challenge.” As architecture evolves during Covid-19, both partners have shifted to adapt environments public and private; whether it’s adding additional layers of safety to Scott’s public spaces, or the thoughtful drop-off and pick areas in the front of homes that allow residents to receive food or deliveries from Amazon safely that Welch has devised.
But throughout any challenge that comes their way, the timelessness of modernism remains top of mind. Says Welch, “My belief is quality, well-crafted modernism will stay because it makes sense in the times we’re living in right now. Building systems and architecture are improving all the time, so when you embrace that, it makes sense to do it in a modern style. Modern gives us the opportunity to do things fresh. We’re trying to produce architecture of a quality that it would be worthy of two or three generations to take it over and restore it. I want our work to live on for a long time after I’m gone.” // welchhall.com
THE ART OF ROGER WINTER: FIRE AND ICE offers an in-depth portrait of one of today’s most important American painters.
Critics, collectors, scholars, students and art lovers of all degrees will glean deep insights from this study in contrasts. AVAILABLE FROM TEXAS A&M UNIVERSITY PRESS • WWW.TAMUPRESS.COM AND AT KIRK HOPPER FINE ART • 3008 COMMERCE • DALLAS • 214-760-9230
Disko Bay, 2013, oil on linen, 60” x 108”
// photos: jeremy biggers
AN ARTFUL LIFE by Kendall Morgan
Art advisor Jennifer Klos brings educated expertise and passion for storytelling to every client. For her, art represents one’s unique personality and a memory palace of an emotional moment. “Art becomes a reflection of what you value and what you are inspired by in your own life,” she explains. “If you own a wonderful piece that sits in your breakfast room every morning, you’re reminded of that artist’s story, or what you felt when you bought that piece.”
A fan of both tradition and modernism, Klos was instantly fascinated by art history upon finding herself in a class devoted to the subject as a high schooler in her native Oklahoma City. “When you want to go home and read about the next Gothic cathedral in the medieval age, you know you’ve found something,” she laughs. Post completing her bachelor’s degree at Vanderbilt, she was studying for a master’s in the History of Decorative
Arts, Design, and Culture at Bard in New York when she landed the dream job of all dream jobs. Hired for a coveted internship at the Metropolitan Museum of Art, she worked under the newly arrived Costume Institute curator, Andrew Bolton, to help him pull together his first show for the institution, 2006’s blockbuster “AngloMania: Tradition and Transgression in British Fashion.” Klos found herself handling everything from clothes by the legendary punk designer Vivienne Westwood to incredible 18th-century gowns crafted of Spitalfields silk. “That exhibition really inspired me, and I went on to study
English country house interiors,” she recalls. “I was highly influenced by the way the Met represents objects and shares them with people; it’s my favorite museum in the entire world.” Post completion of her degree, she returned home to curate the Oklahoma City Museum of Art’s first fashion exhibition, focusing on the golden age of Hollywood costumes. The multi-disciplinary approach she learned at the Met helped her engage with her audience on multiple levels. “Everyone has a memory of watching a movie,” she says. “When you get people to tap into nostalgia or a memory
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of their favorite film where they see a character turning a corner in a certain outfit, it’s so much fun. I figured out how to inspire people, and that’s what I take throughout my business as an independent curator—to draw together these links and connections.” In her eight years at OKCMOA, Klos coordinated more than 30 exhibitions ranging from a show of English paintings of the 18th century to the splashy work of photographer Herb Ritts (best known for his celebrity shots and Madonna album covers). Yet she always had a different goal in mind. Fascinated with the history of collecting, she began lecturing the institution’s supporters on how significant patrons of the past built their assemblages of antiques and paintings. An anonymous work from a Victoria and Albert Museum publication of an interior crowded with books and furniture gave her the name for her future business—Collector House. The canvas seemed to perfectly encapsulate the historical lens through which she views the art industry. To shore up her ability to place art in a private space, she did a stint at the Inchbald School of Design in London before relocating to Dallas to launch her company in 2016. Because she knew she wanted the educational side of her business to be a big part of her new company, she created in-person tours at the Dallas Art Fair and hosted series of videos on YouTube entitled “Collector House Conversations.” With many art fairs currently put on pause (including the DAF, delayed until 2021), Klos has pivoted to tell her stories via a series of “Collector House Classroom” webinars, plus virtual classes she’ll teach at Southern Methodist University in the fall.
// vernon fisher, who am i, 2020 acrylic on canvas 73h x 83d in
This online format has its benefits. Klos says the new transparency of pricing and accessibility of work worldwide has helped her illustrate to clients that there is art out there that fits their life, their style, and their price range. “The positive side is we’re taking down some of the barriers in the contemporary art world. I found it to be so valuable to get to show my audience all that information that’s been somewhat private.” Though her client base currently varies both geographically and by age group, Klos approaches each
one with the same philosophy—to broaden their viewpoint and brighten their lives through the purchase of art. “I find that being an art advisor, my favorite moments I’ve had is when people say, ‘Jennifer, I’ve learned so much from you.’ But at the end of the day, I encourage clients to buy what they love, because if they’re going to love it, they’ll be proud of it. I feel most proud when my clients are proud of what they’ve acquired.” // collectorhouse.com
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MODERN SPACES
5911 Glendora Avenue // $2,900,000 FAISAL HALUM c: 214.240.2575 fhalum@briggsfreeman.com
8179 San Benito Way // $1,575,000 JACOB MOSS 214.335.1719 jacob.moss@compass.com
3212 Dartmouth Ave// $3,995,000 RYAN STREIFF c. 469.371.3008 ryan@daveperrymiller.com
3505 Turtle Creek Blvd #18D // $2,999,000 MISSY WOEHR + ILENE CHRIST c: 214.213.9455 missy.ilene@compass.com
// all photos credit: 2nd2nunn photography
10
THE INTERFAITH PEACE CHAPEL TURNS
by Hardy Haberman
Phillip Johnson’s Interfaith Peace Chapel on the campus of the Cathedral of Hope in Dallas was the final work of the legendary modern architect. This year it turns ten years old, but the design and idea are far older. The design started as a part of a new great cathedral Johnson designed for the church in 1995-1996. At the time, his intent was a “building built of simple and common materials, which I understand God is rather fond of”. Yet the graceful simplicity of the design doesn’t reflect the complex engineering required to bring the structure
from the drawing board to reality. Technology to create the steel infrastructure was not even available until almost ten years after it was originally designed. Construction was supervised by Cunningham Architects of Dallas working with Johnson’s former business partner Alan Ritchie. The construction required creating a steel frame in which every piece was completely different yet had to fit together perfectly to create the unique sculptural feeling of the building.
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The chapel was finally dedicated in 2010, five years after Johnson’s death and has been acclaimed as an architectural masterpiece. Now 10 years later, the building still stands as an icon of modern design. Its curving walls and ceilings can feel disorienting at first, but they bring a flow and rhythm to the building that still gives visitors the feeling of sacred space, something Johnson was intending.
“When you work for God, you have to elevate your sights. There’s only one client that can give you that feeling.” Since its dedication ten years ago, the chapel has housed worshiping congregations of many faiths. Its mission is “to welcomes seekers of peace who claim no faith and stands as a symbol of the common goal of us all.” It has served as the site of special events and community forums as well as being available for weddings and other gatherings. With a seating capacity of 175 it is ideal for
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smaller events and the lobby of the chapel can be used as a pre-function area for meetings or receptions. Additional meeting rooms in the basement level of the building can hold smaller gatherings and break-outs for conferences. For the time being, during these times of social distancing, there are no in-person events being held there, but the space Is being utilized by the church as a production studio for regular online worship services. Recently, the entry plaza was completed which ties the chapel to the main sanctuary of the cathedral and the
large John Thomas Memorial Bell Wall, also designed by Philip Johnson. The chapel has also weathered two attacks of vandalism, the last in 2017 when anti-LGBT graffiti was spray painted on the exterior. As the world’s largest LGBTQ congregation, Cathedral of Hope is no stranger to hate groups and attacks, but the church long ago made the decision to be visible and proud. The Peace Chapel, a world class modern building is just one more expression of that visibility. I have a personal attachment to the building as well. I was
privileged to meet Mr. Johnson in 1995 when the project was first announced. I attended a cocktail party held by Rev. Michael Piazza, then senior pastor of the church. Phillip was unmistakable in his round rim glasses, appearing a but frail, but enthusiastic. His appearance was intended help boost excitement for the project and to help raise funds. I fondly remember one of the statements he made that evening and would repeat in interviews later.
is a building I’ve waited all my life to build. It will be my memorial.” Though the Great Cathedral remains unbuilt, the chapel became a reality. It stands as a memorial to Johnson’s creativity and to the goal of creating a sacred space in which all people may experience personal peace. The Peace Chapel, though ten years old, still feels fresh and cutting-edge and will continue to inspire visitors for many years to come.
“I’m the world’s luckiest man, I’m getting to do, at last what I’ve dreamt of all my life, design a cathedral. This
// photo credit: 2nd2nunn photography
stacie hernandez, project management II 72x72 in
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your modern
calendar
Modern events and activities make for fall fun around the Metroplex. Summer Sizzlers Preservation Dallas
Barry X Ball: Remaking Sculpture Nasher Sculpture Center
Texas Made Modern: The Art Of Everett Spruce The Amon Carter Museum of American Art
For a Dreamer of Houses The Dallas Museum of Art
Berruguete Through the Lens: Photographs from a Barcelona Archive The Meadows Museum
Mark Bradford: End Papers Modern Art Museum of Fort Worth
Walking Tours - Discover Dallas Arts District Ad Ex
Sandra Cinto: Landscape of a Lifetime The Dallas Museum of Art Due to the current COVID-19 restrictions, please confirm availability of viewing these exhibits.
modern
art galleries
Modern art, exhibits, around the Metroplex. Nic Noblique + Jeff “Skele� Sheely Cerulean Gallery
Daniel Angeles, David Crimson. Brad Ellis Craighead Green Gallery
Kristen Cliburn Cris Worley Fine Arts
On Being Human Valley House Gallery
Linnea Glatt Barry Whistler Gallery
Earlie Hudnall, Jr PDNB Gallery
Lucrecia Waggoner Laura Rathe Fine Art
Sarah Hutt + Kathleen Packlick Kirk Hopper Fine Art
VIivrant Thang 500X Gallery // view current shows online or appointments maybe available