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features Fall 2013–Spring 2014
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Vision, Technique, and Transcendence Cayetano Soto creates a dynamic new work for Aspen Santa Fe Ballet. By Susan Bell | Photo s by Peter Ogilvie
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Grand Abstractions Ceramist Christine Nofchissey McHorse is a master at molding modern forms from traditional methods. By Garth Clark and Mark Del Vecchio
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Winka’s World Dutch architect Winka Dubbeldam has taken Manhattan and is embarking on an ambitious project to remake Bogotá. By Ellen Berkovitch
114
The Bearable Lightness of Being From inside his nine-ton vacuum chamber at his Taos Studio, Larry Bell creates kinetic new works of breathtaking delicacy.
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kate russell
By Lyn Bleiler-Strong | Photos by Kate Russell
departments Fall 2013–Spring 2014
34
EDITOR’S LETTER
36
CONTRIBUTORS
38 FLASH iLSAF Initiates New Land-based Art Biennial; Burt and Lucy Harwood’s Taos Legacy Lives On; SITElines: A New Reimagining of the Biennial Focuses on the Americas; Dream of Water and Memory of Sky
42 GASTRONOMICA SITE Santa Fe’s Feast features radical hospitality in contemporary art
By Gabriella Marks
46 CINEMA SCOPE George R. R. Martin turns the lights back on at Santa Fe’s oldest art house cinema.
By Pete Warzel | Photos by Kerry Gallagher
53 Q&A A quick conversation with the Lannan Foundation
By Kelly Koepke
56 HOW WE LIVE Artist Doug Coffin and filmmaker Kaaren Ochoa find comfort and inspiration in their Abiquiu dream home.
By Wesley Pulkka | Photos by Kate Russell
68
COLLECTORS
David Arment and Jim Rimelspach incorporate African folk art and Acoma pots into an eclectic contemporary art collection.
By Kathryn M Davis | Photos by Kate Russell
DESIGN FOR LIVING 76 Photographer Madeleine Gehrig shares her art of adventuring.
By Rena Distasio | Photos by Kate Russell
The passion of the palate 127 A celebration of an inspired culinary scene: Melting Pot; Beyond the Margarita; Food for Thought; The Grape Escape; Albuquerque Eclectic
SUSTAINABLE DESIGN 192 A new home by architect Jon Dick exemplifies the development goals of the Galisteo Basin Preserve.
By Kimber Lopez | Photos by Robert Reck
ARTIST PROFILE 200 The lyrical, mysterious images of photographer Robert Stivers
By Heidi Utz | Portrait by Karen Kuehn
ARTIST STUDIO 204 Artist Peter Burega paints vibrant abstractions that reflect the juncture between the natural world and the human-built.
By Nancy Zimmerman | Photos by Kate Russell
TUNES
207
Psychedelic country rocker Joe West leads a merry band to the Roswell UFO Festival, sings about aliens, and contemplates his future.
By April Reese | Photos by Tara Gibbens
TRENDSOURCE | Design and More 211 Designing and Making in the Postmechanical Age; Elegance With a Purpose; Who’s the Boss?
END QUOTE
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Robert Reck
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CHARLOTTE FOUST New Work
Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com IMAGE Santa Fe Trail, 2013, acrylic on canvas, 72 × 60 inches
PUBLISHER Cynthia Marie Canyon
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EDITOR-IN-Chief Rena Distasio EDITOR-TRENDSOURCE Nancy Zimmerman ART DIRECTOR Janine Lehmann COPY Chief, EDITORIAL Heidi Utz EDITOR-AT-LARGE Ric Lum photo Editor/advertising coordinator Paola Raymi Martini photo production Boncratious CONTRIBUTING WRITERS Susan Bell, Ellen Berkovitch, Lyn Bleiler-Strong, Natalie Bovis, Garth Clark, Kathryn M Davis, Mark Del Vecchio, Rena Distasio, Gussie Fauntleroy, Mark Johnson, Toby Jones, Kelly Koepke, Carole Aine Langrall, Kimber Lopez, Gabriella Marks, Greg Martini, Kate McGraw, Stephanie Pearson, Wesley Pulkka, April Reese, Heidi Utz, Pete Warzel, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS and artists Lee Clockman, Kerry Gallagher, Tara Gibbens, Karen Kuehn, Stephen Lang, Douglas Merriam, Peter Ogilvie, Robert Reck, Kate Russell, Heidi Utz, Francesca Yorke sales manager Kimber Lopez, 505-988-5007 Social Media Marketing Knock Knock Social sales and marketing Loren Gardner, Carole Aine Langrall Regional sales director Judith Leyba NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 accounting Danna Cooper SUBSCRIPTIONS Visit trendmagazineglobal.com and click “Subscribe,” call 505-988-5007, or send $15.99 for one year to Trend, P.O. Box 1951, Santa Fe, NM 87504 -1951. Prepress Fire Dragon Color, Santa Fe, New Mexico PRINTING Publication Printers, Denver, Colorado
Manufactured and printed in the United States. Copyright 2013 by Trend, LLC. All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007 or send an e-mail to perform@santafetrend.com. SONY
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Trend art + design + architecture ISSN 2161-4229 is published two times in 2013, with Summer (circulation 25,000) and Fall/Winter/Spring issues (circulation 35,000) distributed at outlets throughout northern and central New Mexico and throughout the nation at premium outlets, local grocery stores, Barnes & Noble, and Hastings stores. Please ask your newsstand to carry Trend and friend us on Facebook. Direct editorial inquiries to editor@trendmagazineglobal.com. Trend, P.O. Box 1951, Santa Fe, NM 87504-1951, 505-988-5007
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Fall 2013–Spring 2014 Trend
ARCHITECTS PLANNERS INTERIORS LA N DSCAPES
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from the editor
“What’s it like to live inside a Light Knot?”
Christine mchorse grand abstractions in clay
Winka DUBBelDam
the Dutch architect who has taken manhattan and is remaking Bogotá
passion of the palate Culinary inspiration in santa fe, albuquerque, and taos trendmagazineglobal.com
Fall 2013–Spring 2014 Trend
larry Bell sculptor of kinetic light
volUme 14 issUe 2
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fall 2013 – spring 2014
14 2014 fall 2013F/W/S – spring Display through June 2014
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ON THE COVER: Larry Bell, Light Knot. Photo by Kate Russell. Correction: In our Spring 2013 issue we inadvertently neglected to include Jim Cox in our list of photographers on our masthead.
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kenneth kinlaw
Rena Distasio Editor
trenD art+Design+arChiteCtUre
It’s a question that popped up during a flurry of production team emails, sent while we were choosing this issue’s cover. Good question—and not as slap-happy as it sounds. The first time I saw one of Larry Bell’s kinetic new works, highlighted inside these pages in Lyn Bleiler-Stron g’s profile of the master artist, I was immediately struck by its beauty and weirdly organic structure—like some kind of sci-fi chrysalis in which alien caterpillars cocoon and cook before emerging in full alien butterfly form. I got a similar feeling looking at the work of architect Winka Dubbeldam. Not that I mean to imply that she is alien—although I think it’s safe to say that she is other. As writer Ellen Berkovitch points out in her feature, Dubbeldam follows the beat of her own aesthetic drummer, creating a new language for design and space that integrates client needs, urban environments, sustainable materials, and cutting-edge smart building technologies. Garth Clark’s and Mark Del Vecchio’s piece on ceramist Christine Nofchissey McHorse reveals another artist unafraid to recast the conventions of her particular medium. She isn’t the first Native artist to tread the line separating tradition and innovation, but she is certainly one of the most compelling. Speaking of the line between traditional and innovation, in spite of a digital era that allows us to watch entire films on our handhelds and wire our living rooms for sound, it seems we are still a moviegoing culture, happily willing to get ourselves dressed, out of the house, and into the cinema in the company of our fellow human beings. Pete Warzel’s story on the recent reemergence of the Jean Cocteau as an art house hot spot illustrates why it’s important that we continue to do so. I hope years from now that we’ll still be reading magazines as well. Certainly, there are a few doomers out there who aren’t so sure. One of the protagonists in Gillian Flynn’s latest novel, Gone Girl, for instance, asserts that the death knell for traditional magazine publishing was sounded at the turn of the 21st century, and the trend does not bode well for the survival of the written word in hard copy form. It may be slightly hysterical to blame the Internet, as Flynn does, but then again, look at what we’ve accepted as the new currency of written expression: feature writing stripped down to “content provision,” cultural commentary condensed into billions of 140-character tweets capable of spanning the globe in a millisecond—with their impact lasting about as long as the 2.5 seconds it takes to read them. So, what happens to language if magazines disappear? With all due respect to the novel, no other medium can top magazines for the seamless integration of design and the written word into something that is both a carrier of ideas and an object of artistic expression. I’m proud that Trend still strives to achieve this, not in the service of ego or hipster cred, but out of love and respect for the art of language, the importance of design, and the exciting things that happen when the two merge.
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Fall 2013–Spring 2014 Trend Hurlocker Homes, Builder • ©Chris Corrie, Photographer
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Kate Russell is a nationally recognized photographer based in Santa Fe. Known for her ability to create evocative images and elevate simplicity, Russell’s sensitivity to light and the moment can be seen in her photos. Her work has appeared in numerous local and national publications, including The New York Times, Western Interiors, Santa Fean Magazine, and the books Old World Interiors, by David Naylor, and Designers Here and There, by Michele Keith. Kate’s work with a traveling circus and the arts brought her to the world of photography, and they continue to provide inspiration for projects both near and far.
Nicole Bloss
Karen Kuehn’s photography has been described by various folks-in-theknow as “inimitable,” “exponential,” and “prodigious.” She started as an intern for National Geographic and then moved to New York City, where she worked for just about every major magazine and ad agency. Now residing in Peralta, New Mexico, Kuehn works humbly on her art farm, tending the land and her critters in between editorial and advertising commissions and major art projects. She’s also available for portrait sittings, if you dare.
Denise Warzel
kate russell
contributors
Pete Warzel has contributed his entertainment consulting talents both nationally and internationally for large corporations as well as media and entertainment startups, including United Artists Theatres and Magnolia Pictures. As a freelance writer, he has contributed features to New Mexico Magazine, American Cowboy, and Pilgrimage; has served as books editor for The Montana Quarterly; and has won awards for his short fiction. He currently divides his time between Santa Fe, New Mexico, and Denver, Colorado.
gabriella marks
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Fall 2013–Spring 2014 Trend
Natalie Bovis grew up in Santa Fe and later graduated from the University of New Mexico with a degree in French literature and theater. She spent nearly 18 years living in Los Angeles, Washington, D.C., and the north of Spain, and traveling to five continents before returning to her home state. Bovis has published three cocktail books, taught spirits classes internationally, and consulted for dozens of beverage brands. She has been featured on local and national TV and radio shows, and regularly contributes to magazines.
Rowan Ogden
Lyn Bleiler-Strong is a freelance writer and symposium coordinator, whose art and architecture background includes work with Michael Graves Architect, Frank O. Gehry & Associates, UNM’s Harwood Museum of Art, Tulane University’s Newcomb Art Gallery, and the Joan Mitchell Foundation. She is author of two Images of America books by Arcadia Publishing, Taos (2010), and Santa Fe Art and Architecture (2012). She is the recipient of two Emily Harvey Foundation residencies in Venice, Italy, and a PenTales Hemingway Room residency in Berlin. Ellen Berkovitch’s online magazine, Adobe Airstream.com, celebrated turning five in August. Before founding A2 as the digital voice of contemporary arts from Santa Fe, Austin, and Denver, Ellen wrote for Artforum, Art&Auction, The New York Times, Metalsmith, American Craft, THE Magazine, the Santa Fe New Mexican, and the Albuquerque Journal North. She edited five issues of Trend between 2007 and 2009. After 20 years in Santa Fe, she has applied a bumper sticker to her vehicle that does not say Visualize Whirled Peas. R
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collection 225 Canyon Road Santa Fe, New Mexico 505.982.3032 800.884.7079 karenmelficollection.com
Photography by Wendy McEahern
KAREN MELFI
Flash n e w s , g o s s i p , a n d i n n u e n d o f r o m a r t / d e s i g n / a r c h i t e c t u r e
iLSAF Initiates New Land-based Art Biennial
A
Burt and Lucy Harwoods’ Taos Legacy Lives On
N
inety years ago, two transplants from Europe made a philanthropic gesture that significantly shaped the artistic and cultural development of the Taos area. When Elizabeth (Lucy) Case Harwood (1867–1938) and husband Elihu Burritt (Burt) Harwood (1855-1922) moved to Taos in 1916, they purchased a cluster of adobe structures on Ledoux Street, to which Burt made additions and improvements over the next several years. Patterned after the buildings of Taos Pueblo, it came to be known as El Pueblito and is said The Harwood family. Photo by Burt Harwood. to have been the first non-Native multiplestoried home in Taos and the first to have electricity. While would become the Harwood Museum of Art we know today. the Harwoods lived there, El Pueblito became a Southwest To mark this 90-year milestone, the curatorial department of style salon of sorts, a gathering place for lively discussions, the Harwood Museum of Art embarked on a yearlong quest to lectures, and art exhibitions—and home to Taos’ first public shed new light on the extraordinary lives of Burt and Lucy, who library, initially composed of the couple’s extensive book col- formally studied art and contributed considerably to foundlection. In 1923, following the death of her husband, Lucy ing Taos’ then-fledgling art community. Recently unearthed donated the compound to the Harwood Foundation, which documentation from a variety of sources, including archives of
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Fall 2013–Spring 2014 Trend
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TOP: courtesy of T.i.m.e. at coyote canyon; Bottom: courtesy of The Harwood Museum of art
rtists who are moving off the canvas and out of the gallery to express their aesthetic vision have a vital new resource for funding, direction, and public education. Established in the summer of 2013, the Santa Fe–based International Land-Sensitive Art Foundation supports projects that reflect the tenets of the experiential art practice championed by critic Nicolas Bourriaud as “relational aesthetics.” The brainchild of Executive Producer Chuck Zimmer of New Mexico Arts, Director Manuelito Wheeler from the Navajo Nation Museum in Window Rock, and curator Eileen Braziel of Santa Fe, the mission of Maneulito Wheeler, Director of T.I.M.E. at Coyote Canyon and iLSAF’s president the nonprofit iLSAF is to fund the work of thoughtfully selected artists who create temporary, land-sensitive, iLSAF seeks to move ephemeral art from the political arena interactive art installations that promote community relation- into the private sector. ships and encourage audience response. Its ultimate goal is The organization recently held its first fundraiser, timed to to develop and manifest major land-based art biennials, such the fall equinox, on Sept. 19–22, 2013. Invitations went to poas T.I.M.E. at Coyote Canyon, slated for summer 2014. As tential donors, sponsors, and major press entities, including at part of New Mexico’s Art in Public Places program, T.I.M.E. Chaco Canyon catered by students from Crownpoint’s culinary (Temporary Installations Made for the Environment) projects arts program, as well as a traditional mutton feast hosted by are spontaneous public artwork experiences with a strong a Navajo family at their ancestral home near Coyote Canyon. cultural focus. While continuing to partner with the state, —Kathryn M Davis
Flash
n e w s, g o s s i p, a n d i n n u e n d o
the Harwood, the University of New Mexico, and the Archives of American Art, reveal the couple’s adventurous life together, one that included a 20-year Parisian honeymoon and a home base in Brittany prior to settling in Taos. Two exhibitions honoring the Harwoods will be displayed at the museum from September 21, 2013, to Sunday, January 26, 2014. Burt and Lucy at Home: The Taos Paintings of Burt Harwood, in the Mandelman-Ribak Gallery, and Single Lens Reflex: The Photographs of Burt Harwood, with fascinating images depicting daily life in Taos, from parades, festivals, and Pueblo celebrations to notable artists of his day. As Harwood Museum curatorial fellow James Kent notes, “Burt Harwood’s own pho- Photo by Mildred Tolbert tographs capture the mystique of a heritage by now almost unknown to us. Yet the old-time aesthetic of his nearly century-old prints and negatives eloquently marks the passing of an age, and thus the great gap that separates that culture from our own times.” They also provide viewers with a glimpse into the enormous impact of the Harwoods’ legacy. —Lyn Bleiler-Strong
SITElines: A New Reimagining of the Biennial Focuses on the Americas
Top: courtesy of The Harwood Museum of art; Bottom: kate russell
I
n 1995 SITE Santa Fe launched the only international biennial exhibition of contemporary art in the United States, putting the City Different on the map as a major player in the world of significant art exhibitions. Today, however, many attendees and critics believe that the concept of the
biennial has become too commercial, with the usual suspects—star curators, artists, collectors, and plain old celebrities—mucking up any hopes for a fresh new art find. Even worse, as biennials have become places to see and be seen, the art and the place it is exhibited have become incidental. The same show could continued on page 41
The SITElines team: Curator Lucia Sanroman, Director Irene Hofmann, Curator of Special Projects Janet Dees, Curator Candice Hopkins
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Flash n e w s , g o s s i p , a n d i n n u e n d o f r o m a r t / d e s i g n / a r c h i t e c t u r e
Dream of Water and Memory of Sky
T
wo feet and a heartbeat: believe it or not, that’s all one really needs to get around in Albuquerque. Long regarded as one of the most bicycle-friendly cities in the country, it also has a growing reputation for civic projects that blend artistry and functionality. The Bear Canyon Arroyo Bicycle/Pedestrian Bridge, opened to the public in May 2013, provides easy access for Duke City cyclists across I-25, linking the bikeway at Osuna and San Mateo with the Bear Canyon Trail in a way that is nothing short of luminous. As construction began in August 2008, the City of Albuquerque Public Art Program announced a call for artists to develop a lighting design project for the bridge. New York–based Tillett New York-based Tillett Lighting Design’s winning entry lights the way with 450 LED fixtures featuring custom handmade dichroic glass lenses that change colors starting at twilight.
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Fall 2013–Spring 2014 Trend
Lighting Design, helmed by environmental psychologist/lighting designer Linnaea Tillett, was chosen from among 29 total submissions for the winning entry, “Any-Angled Light.” Tillett and her company’s senior designer, Charlie Brokate, worked closely with local architect Geoffrey Adams, who was drawn to the project, he says, for the opportunity to work with design and engineering professionals “open to pushing the boundaries of aesthetic possibility for this prominent piece of transportation infrastructure.” Constructed from galvanized metal mesh, Adams designed the bridge to create a “geomorphic line of the horizon as it winds its way through the urban landscape.” The public art lighting project was meant to complement and extend this effect into the evening, reflecting Tillett’s vision of “a dream of water and memory of sky” with 450 LED lighting fixtures
featuring custom handmade dichroic glass lenses. Affixed along the span of the bridge at both sides, the lights duplicate the effect of water flowing through the arroyo below by giving off a low-level, cool blue light. As darkness descends, the bridge’s lighting changes to purple, violet, and pink in an effect that echoes Albuquerque’s sunsets. Founded in 1983, Tillett Lighting Design has an international reputation for artistry, technical innovation, and functionality. Of the Bear Canyon project, Tillett says, “It was an opportunity to do a grand scale artwork that delicately fused together a breathtaking landscape of desert, mountains, and a ravishing sky, the layers of history that permeate the site, and a piece of forward-looking transportation infrastructure—a bridge that encourages biking and walking as it crosses a six-lane freeway.” —Rena Distasio
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courtesy of Tillett Lighting
Albuquerque’s New Bicycle and Pedestrian Bridge Conjures Unique Sense of Place
Flash
SITElines continued from page 39
be curated and presented in any city, with no sense that its location matters, except to drive tourism. Irene Hofmann, Phillips Director and Chief Curator at SITE Santa Fe, agrees that biennials have become coopted, resulting in a watering down of their original intent. So she and Janet Dees, Assistant Curator at SITE Santa Fe, decided to do something to help change that. In 2011 a team of curators from Canada, Mexico, and Santa Fe, with advisors from Trinidad and Tobago, Colombia, Venezuela, Argentina, and Canada, met to begin to “reimagine” the whole biennial concept away from a closed system to one that involves its environment—including local people and their culture and history. “The word biennial is going to start to drop away from our language,” Hofmann says. “Our show is called SITElines [and will be] a six-year series of linked exhibitions.” The featured link in SITElines is the north-south axis that is the Pan American Highway, stretching from Prudhoe Bay, Alaska, to Ushuaia, Argentina. Metaphorically, the place of Santa Fe will be mined for meaning in the first of three exhibitions, Unsettled Landscapes. Scheduled to open on July 13, 2014, and run through January 2015, the exhibit will, according to SITE Santa Fe, “look to the urgencies, political conditions, and historical narratives that inform the work of contemporary artists across North, Central, and South America. Through three themes—landscape, territory, and trade—the show will illuminate the connections among representations of the land, movement across the land, and economies and resource derived from the land.” In 2016 and 2018, SITE will present two more exhibits in the contemporary American art series, each from the perspective of a select group of curators and advisors. —Kathryn M Davis
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Gastronomica by Gabriella Marks
Mella Jaarsma, I Eat You Eat Me (2001–2012), photographic documentation of a performance in Yogyakarta, Indonesia
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hat does it mean to sit down with other people and share a meal? A seemingly simple question, but one that will be explored in depth at SITE Santa Fe’s February 2014 launch of Feast: Radical Hospitality in Contemporary Art, a vast banquet of “artist-orchestrated meals” designed to question our cultural assumptions about the nature of hospitality. Irene Hofmann, SITE’s Phillips Director and Chief Curator, has amplified the scope and pieces within the exhibit, which originally showed at the Smart Museum of Chicago under the curatorial vision of Stephanie Smith. In her SITE catalog introduction to Feast, Smith says, “Feast stems from the recognition that sharing food and drink with others is a basic human pleasure and an enduring source of aesthetic inspiration.” Much of the work featured in Feast finds within the shared meal a powerful tool of introspection with which to gather, observe, question, and subvert our habits and assumptions: cultural norms and aesthetic social practices conducted by fork and by spoon.
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The exhibits offer a retrospective look at nearly a century of art centered around this topic, and emphasize moments and experiences created through idea-, process-, and performance-based work, echoing real world spaces and situations, as well as conventional object-making. The Act of Drinking Beer With Friends is the Highest Form of Art is an interactive installation by artist Tom Marioni, in which he creates an actual bar within the museum, complete with exactly 192 bottles of beer. Visitors are invited to share in the quaffing. Although his work originated in sculpture, Marioni pioneered the use of social situations as art. Like many of his works, this installation is intended to create a space for communication. In contrast to the literal act of pouring beer, the classic object art of Félix González-Torres’ “candy pours”encourages participation. In this sculpture-based piece, visitors are urged to take candies from a pile in the corner of the exhibition space. In so doing, they contribute to the visible
attrition of the sculpture over the course of the exhibition, an act of diminishing that parallels the artist’s own body during his battle with AIDS. From a curatorial perspective, the meals of Feast demonstrate a commitment to both the meditative meal of the mind and the ingredients of public discourse. At one end of the spectrum is The Dining Project, a series of three, one-on-one meals in which lottery winners dine in the museum after hours with artist-host Lee Mingwei. At the other end is SITE’s own Spread, a community dinner that provides microgrants for innovative art projects. In a time when we are increasingly engaged with the origins, procurement, and preparation of our foods, the debut of SITE Santa Fe’s Feast provides a unique and uncannily timely opportunity to examine the aesthetic realities of one of life’s most important rituals. And given its location near the farmers’ market in a city known for its cuisine, SITE seems well situated for such a food-centric event. R
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Courtesy Mella Jaarsma
SITE Santa Fe’s Feast Features Radical Hospitality in Contemporary Art
Clockwise from top left: Daniel Spoerri, Tableau Piège, (1972), assemblage on wood. Courtesy of the Smart Museum of Art, the University of Chicago. Tom Marioni, The Act of Drinking Beer with Friends is the Highest Form of Art (1970–ongoing), installation view at the Smart Museum of Art, the University of Chicago. Courtesy of Tom Marioni. Sonja Alhäuser, Flying Buffet (2012), catering performance with butter sculptures, marzipan sculptures, various foods, miniature watercolors. Courtesy of Sonja Alhäuser. Ayman Ramadan, still from Iftar (2004), single-channel video with sound. Courtesy of Ayman Ramadan. Michael Rakowitz, Enemy Kitchen (Food Truck) (2012), food truck and Iraqi cuisine served by U.S. veterans on paper replicas of Saddam Hussein’s china. Courtesy of Michael Rakowitz and Lombard Freid Projects. Julio Cesar Morales, production still from Interrupted Passage (2008), two-channel video installation. Courtesy of Julio Cesar Morales and Gallery Wendi Norris, San Francisco.
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CINEMA SCOPE
By pete warzel | Photos by kerry gallagher
Jean Cocteau’s Eternal Return
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fter seven years of languishing in the dark, the beloved Jean Cocteau Cinema is about to make a comeback, thanks in no small part to a new owner who loves film: author George R. R. Martin. Not only has the Jean Cocteau featured some of the most interesting films of the last 100 years, it has evolved into a vital touchstone of community and culture, with a spirit that transcends its distinctive adobe-Deco and glass-block façade. As Martin puts it, “It has a personality in which the theater itself becomes a character in the whole movie experience.” If anyone knows character, it’s Martin. As the author of the immensely popular A Song of Ice and Fire novel series, the Santa Fe resident, who quietly bought the theater in February 2013, is also a consummate movie buff. Film lovers are
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crossing their fingers that he can bring his magic to this venue. “The Cocteau ran for 22 years as a movie theater,” says Martin. “If I am lucky, it will now run another 22 years. That’s my plan.” Built in 1910 as a Dr. Pepper bottling plant, the Cocteau eventually morphed into a movie theater starting in the 1970s. It served as one of the Southwest’s great art house cinemas until its doors shut, seemingly for good, in 2006. The New Mexico Museum of Film leased the building in 2007, a canny move given the state’s long film-production history and the promise of many more movies to come in those heady days of filmmaking incentives. Indeed, between 2007 and 2009, filmmakers shot all or parts of 97 movies in New Mexico. Though not what die-hard cineastes wished for, the museum project at least preserved the Jean Cocteau as a film history icon.
But when the museum’s exhibits never came to fruition, the state shuttered the venue as a cost-saving measure in 2010. As moviegoers fervently continued to recall the Cocteau’s good old days, Martin decided to purchase the theater solely to preserve its art house ambience and return it to the heart of Santa Fe’s cultural scene. After he appointed Santa Fe Film Festival cofounder Jon Bowman as operator, Bowman began updating the building’s interior and technology, including new marquee lighting. Its August 9 reopening featured a screening of Forbidden Planet along with Jean Cocteau’s Orpheus—the first movies to grace the Cocteau’s screen in seven years. When Martin originally moved to Santa Fe in the late 1970s, the Cocteau had just opened as Collective Fantasy, one of the city’s first art house cinemas. There,
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OPPOsite: LEFT and lower RIGHT, Jonathan Kahn
The Lights Are Back on at Santa Fe’s Oldest Art House Cinema
Martin and Bowman immersed themselves in Santa Fe’s fledgling independent cinema scene. Owners Lynne Cohen, Rich Szanyi, Mary Hether, and Anne Lewis introduced the funky art film ethic and the gourmet popcorn that Martin remembers so fondly and intends to recreate. In 1983 the cinema ended up under the artful eye of veteran film programmer and cineaste extraordinaire Brent Kliewer. This was the first of several such ventures for Kliewer, who would later establish film programs at the City Lights Cinema, the Center for Contemporary Arts (CCA), and The Screen, in addition to teaching film at the College of Santa Fe and serving as a critic for the Santa Fe New Mexican. Hoping to set the standard for art house cinema, Kliewer shared his vision with newly minted architect Jeff Harnar, who proceeded to modernize both interior and exterior structures and add the latest in acoustics and projection optic technologies. Before his untimely death in 2006, Harnar distinguished himself as one of the Southwest’s most notable architects
and designers, and is still noted for his cutting-edge work on the Cocteau. His distinctive glass-block wall, lapis blue– tiled column, and sweeping Deco-style marquee define the building’s entrance to this day. “This was a very industrial area at the time, and the redo of the theater was startling in its original surroundings,” Kliewer remembers. In 1987 Kliewer sold the Cocteau to Chicago natives Jonathan and Carl Kahn, who moved to Santa Fe with their father, Journet, one of the original tutors at St. John’s College of Santa Fe. Carl, an entrepreneur, convinced his futures-trading brother to buy the Cocteau. Under their ownership, the theater continued its reputation as a top art house cinema that enhanced the viewing experience with the addition of a café serving coffee and cappuccino. In 1991, after initially suggesting a partnership, Richard Brandt, then chairman of the New York–based entertainment and signage company Trans-Lux, purchased
the Cocteau outright from the Kahns. Under Brandt, Trans-Lux had made a name for itself in the movie theater operations’ business and was expanding westward. During this era, megaplex theaters began to gain ascendancy, and distributors found it less and less lucrative to allocate films to single-screen theaters. The Cocteau stayed afloat until 2006, when the bottom line trumped those standing in line, and Trans-Lux closed it for good. The two-story building near the railyard on Montezuma Avenue remained relatively unchanged until Martin’s purchase last winter. Beneath its stucco façade sit tough, solid bones: “penitentiary brick,” made at the New Mexico State Prison in the early 1900s. A portal spans the length of the retail space along Montezuma, and large rectangular windows punctuate the second-floor offices above. Inside the cinema, the lobby, café area, and serpentine slope up to the auditorium remain much as they were when Harnar designed them. Both the screen and projection booth have been modernized, but the
Left and lower right: Jean Cocteau Cinema glass-block wall and concession stand designed by Jeff Harnar. Top center: George R. R. Martin and new lobby (right). Bottom center: Jon Bowman. Opposite: Grand reopening, August 9, 2013.
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auditorium retains its original 125 seats and the famous “crying room,” a four-seat soundproof section next to the projection booth offered to families with babies, VIPs seeking privacy, or—given the times—viewers indulging in substances other than cappuccino. Watching a movie in the Cocteau is an intimate communal experience, one that cannot be duplicated at home. One certainly can buy the technology for cocooning, but that eliminates the pleasure of laughing in a crowd of strangers or watching the audience scream in fear at the action on the screen. And while the Jean Cocteau is not a living room or multiplex, neither is it a cavernous movie palace intended to seat large audiences, like the Lensic or Albuquerque’s KiMo Theatre. Instead, the Cocteau reflects the revival/art house aesthetic embodied by Albuquerque’s Guild Cinema and Santa Fe’s The Screen—perfectly scaled for intimate audiences. “The Cocteau is a clubhouse for movie lovers,” says Martin. Santa Fe cinephiles agree that its venerable dream palace must continue to be owned by people who love film. “The individuality, the personality, of the independent movie houses is lost in the big multiplexes,” says Martin. “The theaters I went to when growing up back east were each different, and I still love that one-of-a-kind experience.” Multiplexes invite crowds, not community, and they open up onto parking lots, not neighborhood streets—the experience of watching a movie with friends and discussing it afterward is at the core of the independent movie house experience. The movement may have begun in the 1970s with what Jonathan Kahn calls “funky, hippie art houses,” but, he adds, “that really set the playing field for what people want again today.” The Jean Cocteau is once again poised to join culture and community in Santa Fe. It’s been owned, operated, and patronized by a rich cast of characters in its nearly 40 years of history—a history that actually would make a great film. And now George R.R. Martin can write his own ending for its long-awaited sequel. R 48
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! © Georgia O’Keeffe Museum
Georgia O’Keeffe, Storm Cloud, Lake George, 1923. Oil on canvas, 18 x 30 1/8 in. Gift of The Burnett Foundation. © Georgia O’Keeffe Museum
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Herb Lotz, Georgia O’Keeffe House, Abiquiu - Patio, 2007. © Georgia O’Keeffe Museum
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Charlie Burk Winterowd Fine Art 701 Canyon Road, Santa Fe 505.992.8878 | fineartsantafe.com
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James Holbrook
here’s something about tall grass. And not only here in the desert Southwest, where lush meadows and swaying seed-topped grasses are welcome reminders of nurturing rain. There’s something else, something we may have left behind in childhood: that magical feeling of being hidden from the world, of crouching or lying deep amid the fresh green smells and towering stems. Charlie Burk’s exquisite oil-on-panel paintings take us back to that special world, with the bonus of sumptuous colors and delicate patterns that only a gifted artist’s hand can provide. For the New Mexico–based painter, however, boyhood associations are far from his thoughts as he paints. He works intuitively, drawing on a wellhoned visual lexicon to lose himself—as the viewer also gets happily lost—in a complex play of call and response, one brushstroke calling for the next. The work also derives from Burk’s longstanding fascination with peering through multiple layers at shadowed slivers of ever-deeper space. In this case, nature provides the subject for levels of beautifully intricate, interweaving patterns and graceful lines. It’s clearly grass, of course. A horizon line and slice of sky are visible in many of these works. Yet for Burk, an equally powerful pull is the visual beauty and artistic journey it presents—the ever-fresh experience of dancing on the edge between abstract and representational art. “What really interests me,” he says, “is the texture grass creates and the way it moves in space.” Burk’s paintings are on view at Winterowd Fine Art.
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Don Quade
Bob Sullivan
H
ow do you express in color and form the sound of tiny shells as they jingle on a Native dancer’s skirt? What lines, shapes, and spaces portray the sonorous rhythm of a drum or the quiet murmuring of onlookers as they watch the dance? Here’s something else to think about: If something old and long-used escapes being thrown away, how might it reemerge as art? Colorado-based mixed-media artist Don Quade (pronounced Qua-dee) not only contemplates these things, he translates them
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Winterowd Fine Art 701 Canyon Road, Santa Fe 505.992.8878 | fineartsantafe.com
into a visual, symbolic vocabulary layered with traces of memory and suggestions of cast-off objects given new life. It’s a personal alphabet that rises like bubbles from deep within, expressed in rich colors, abstracted imagery, lyrical curves, and geometric forms. Many of the forms that most powerfully inspire the artist are found in nature on a macro and micro scale: the shapes of farms and rivers seen from a plane, the way clematis tendrils spiral around a branch. Quade is pleased, he says, when viewers
glimpse a sense of the joy he feels in transforming sense perceptions, ideas, and his private iconography through many diifferent combinations of acrylics, oils, color sticks, graphite, and collage. Yet his engaging art leaves open the door for each viewer to experience it in his or her own personal way. Quade’s newest creations, which are born of natural and cultural sources of inspiration from across time and geography, will be featured in a one-artist show in October at Winterowd Fine Art. Fall 2013–Spring 2014 Trend
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“I want to paint to understand the world that surrounds me.” —Stan Natchez Known for his colorful, innovative, neo-Pop-Art style, Stan Natchez believes in the importance of merging the past with the present. In his paintings, modern world imagery joins forces with traditional Native American iconic figures to create inspirational pieces that make a statement. Natchez’s objective is to communicate the reality of contemporary Native American culture while dispelling the romantic idealism that has misrepresented his people for centuries. Through the use of United States dollar bills and Monopoly boards, Natchez demonstrates with humor the effects of consumerism on the Native American people. Holding an M.A. in art history from Arizona State University, Natchez has also distinguished himself as a teacher, dancer, and editorial advisor for Native Peoples magazine. Natchez’s sons, Viento and Gino Bear, create sculptural pieces incorporating pop culture and native icons which can be found at Natchez’s gallery.
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On back wall, largest painting: Emerging, 42” x 50”, acrylic on canvas Painting on side wall: Equinox, 50” x 32”, acrylic on canvas
Kerry gallagher
Stan Natchez
Stan Natchez Gallery 201 E. Palace, Santa Fe 505.231.7721 | stanleynatchez.com
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Q&A
By Kelly Koepke
Touching Base with the Lannan Foundation
T
he Lannan Foundation is one of Santa Fe’s treasures, though if you asked most Santa Feans what this family foundation does, you’d be met with blank stares. Founded in Florida and active since the 1960s, Lannan moved to Santa Fe in 1997. Under the leadership of Patrick Lannan (son of founder Patrick Lannan Sr.), the organization promotes cultural freedom, diversity, and creativity through projects that support contemporary artists, writers, and indigenous communities. The organization keeps and lends a growing multimillion dollar collection of contemporary and modern American and European artists’ works, and continues to expand its grantmaking in all areas. Trend sat down with Christie Mazuera Davis, Program Director of Contemporary Art and Public Programs, to talk about the coming year.
Rachel Eliza Griffiths
Tell us about your grant programs. CMD: We directly support contemporary artists through exhibitions and catalogues, and frequently loan artwork to museums on a lend/purchase program. We make grants to nonprofit presses to translate foreign authors’ works into English, and have a writer’s residence program in Marfa, Texas. The Lannan Prize for Cultural Freedom encourages and supports leaders in American and foreign communities to contemplate, reflect, write, and study. The Indigenous Communities Program supports Native American communities to renew their own institutions and traditions. How are grantees chosen? CMD: Our process is by invitation, and we meet with grantees, often watching their work for years before extending support. Especially in the visual arts, we might see the artist’s work, purchase some, then make a grant. Lannan believes in longterm relationships.
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One of Lannan’s highly anticipated 2013 events will be the reunion tour of nearly all of the original founding members of the Dark Room Collective, formed in Boston in 1988 by a group of young African-American poets as a reading series and to provide community to established and emerging writers. The last show celebrating their 25th anniversary, “Nothing Personal: The Dark Room Collective Reunion Tour,” will be at the Lensic on Thursday, December 12, 2013, at 7 p.m.
Lannan is best known for its Readings & Conversations series, and in 2011 debuted the In Pursuit of Cultural Freedom events. What can we expect in 2013–2014? CMD: This year we’re excited about bringing Dark Room Collective for its reunion tour. This group of African-American poets met in college in Boston in the late 1980s, and includes U.S. poet laureate Natasha Trethewey. Some other highlights are Bryan Stevenson of the Equal Justice Initiative, [novelist] Jamaica Kincaid, Irish writer Colm Tóibín, and Tim DeChristopher, who was incarcerated for attempting to protect fragile wildlands in Utah. How are the writers and their conversation partners chosen? CMD: Every staff member is encouraged to read widely. We meet each January to discuss the authors we think are doing important work now. We look for diversity of topics, ages, and literary genres. We’re rarely turned down when we extend an invitation—98 percent of authors accept.
What’s the philosophy behind charging a minimal ticket price for these events? CMD: First, this enables us to reach a wide and diverse audience with our 14 to 16 events in nine months. And we donate back the box office to the Lensic to support their programs. To encourage students to attend, we give away tickets and buy books for high school and college classrooms. We’ll sometimes arrange to bus students to the readings, and often bring the writers to the classroom. This year, Jamaica Kincaid will be talking with students at Santa Fe Prep. R
To view the Lannan art collection, hear and view podcasts of previous Readings & Conversations, and review a complete list of current programming, log onto lannan.org
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New Concept Gallery 610 Canyon Road, Santa Fe | 505.795.7570 | newconceptgallery.com
stephen lang
Y
ou know when a masterful artist has found his or her signature style—an original approach, a distinctive theme, or an aesthetic concept. That’s what owner/artist Ann Hosfeld was seeking when she opened New Concept Gallery in 2007. Situated in a beautiful 19th-century adobe on Canyon Road, the inspiring art space presents painting, sculpture, photography, and prints in a diverse mix of contemporary styles—each reflecting a highly developed visual expression and sense of artistic maturity. For instance, Aaron Karp’s rhythmically colorful abstractions are instantly recognizable as his own, as are Jane Abrams’ lush floral landscapes or Roger Arvid Anderson’s bronze sculptures. Likewise, photographers Steven A. Jackson
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and Bill Heckel display distinguishing sensibilities—Jackson’s exquisitely haunting, subtly tinted landscapes and architecture, and Heckel’s stunning nudes photographed in stark New Mexican landscapes. Many of New Concept’s 14 artists have gained a broad collector base both locally and nationwide. When Hosfeld settled here in 1982, she brought with her an extensive art background from having worked in New York and Los Angeles galleries and museums. Her own acrylic-on-canvas paintings feature striking, abstracted botanical forms. “Visitors comment on the variety of art we represent,” Hosfeld relates. “They’re captivated by how each artist’s style is very different and quite distinctive.”
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HOW WE LIVE
House on a Hill Doug Coffin and Kaaren Ochoa’s Abiquiu Inspiration
by Wesley Pulkka | photos by kate russell
J
ust as sculptor and painter Doug Coffin and his filmmaker wife, Kaaren Ochoa, fell in love with each other 23 years ago, they also fell in love with the gorgeous views from Coffin’s small rented house on a hillside near Abiquiu. “We tried to buy this place from the owner for nine years, but she wouldn’t sell,” Coffin says. “Finally, while Kaaren was on location shooting Proof of Life and we had already planned to build a new house elsewhere, the owner told us the property was on the market and we had a week to make an offer.” Never mind that it had to be redesigned, reconstructed, and expanded to fill their needs. The stunning views overlooking an idyllic valley surrounded by distant mountain ranges trumped everything.
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The first expansion of the original 1000-square-foot building was a yearlong project that began in 2001. It added a guesthouse and Coffin’s spacious, high-ceilinged studio. The final expansion, now nearing completion, began in July 2012 and houses Ochoa’s office, an impressive ethnic art collection, as well as beautifully appointed living quarters for the couple and their guests—in total, 4500 square feet of space, not counting an invitingly comfortable portal. Entrance to the home is through a rough-hewn antique front door that opens into a kiva-shaped foyer dominated by one of Coffin’s signature totemic sculptures, a heroically scaled abstracted figure integrating solar, lunar, and Anasazi symbolism. To the right of the foyer is the living room, whose
The spectacular views from the couple’s backyard reveal an ever-changing play of light and color against the jagged cliffs and rolling hills.
steel gray walls and concrete floors lend an air of stylish urbanity to a space that could rival luxuy apartments in some of the world’s great cities. Some notable pieces in the art-filled room include a stunning African Bobo mask from the Ivory Coast, an elegantly carved African antelope sculpture with upward sweeping horns, Dan Namingha’s stunning mixed-media painting titled Montage #6, and a shelf holding painter R. C. Gorman’s first ceramic piece, a lustrous black vase enhanced with one of the artist’s signature Navajo women. A longtime friend, Gorman traded Coffin for the piece. The rest of the home follows suit, mixing contemporary and classic New Mexican architectural and design elements into a sophisticated yet welcoming space perfect for living, working,
and entertaining. “When we first purchased the property, it was a hippie homestead sorely in need of an upgrade,” says Coffin. Now, it’s the realization of their dream home. With the assistance of architectural designer John Johnson, Kaaren on board as a design consultant, and enormous help from Coffin’s oldest son, Brian, an artist and master builder, the couple was able to realize the transformation of the original space into something they truly love. “We began with a series of my computer sketches outlining what we were after and then showed them to John, who sorted through structural requirements while adding ideas and suggestions of his own,” Ochoa says. “When he brought the drawings back with his additions and details, we loved how it all came together. During Fall 2013–Spring 2014 Trend
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Coffin and Ochoa in their newly renovated dining area. Doug’s son Brian cleaned up the 50-year-old home’s original rough adobe walls and plastered them to a smooth finish. At left is the dining room table that Coffin handmade from a piece of glass and a large plank of old fir wood. Coffin “selectively” collects materials with an eye toward their future use.
the planning stages, Doug and I would often come to the same conclusion without discussing things, so the whole project was pretty harmonious.” For Coffin, their house with its hand-carved doorframes and myriad custom touches has become an expression of their relationship. And thanks to the space now available to safely and beautifully accommodate their art collection, the home is also sanctuary for their artistic legacy. “These objects are markers along the path we have taken, and each one represents a story about our experiences,” Coffin says. “Now that they are out for everyone to see, they will be able to tell their stories.” The renovation required a level of sacrifice on everyone’s part, especially Coffin, who lost almost a year of studio time. “But Kaaren and I need these peaceful and beautiful surroundings to control and focus our creative energies,” he says. “The serenity of this beautiful place allows me to absorb architectural concepts, cultural artifacts, and universal symbols, as well as phrases from jazz or blues music. As I spend time in the studio, everything becomes a rhythmic play of color and form.” That music could serve as a catalyst for his work was a discovery Coffin made several years ago, when he started painting while listening to his favorite Duke Ellington album. Since then he has collaborated with pianist Roger Kellaway and clarinetist Eddie Daniels, who once brought their music to the Coffin-Ochoa home for a private concert. In August 2013 Coffin was invited by Daniels and Kellaway to paint while they played together at the Detroit Jazz Festival. Of inspiration in general, Coffin says, “I throw the dice every time I walk into the studio. I’m always looking for something new, and I never know how a piece will end up when I begin. I use books, music, and other artists’ work in order to find new symbols and elements to fire my own imagination. My work also draws inspiration from the land, the culture, the people and their
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Three 12 x 12-foot pieces of steel that had been sitting in Coffin’s welding shop were used to create the portal at the guesthouse entrance. Top left: Eight feet in diameter and three feet deep, the couple’s adobe wine cellar maintains a temperature of around 55 degrees and can hold up to 60 cases of wine. “Until our friends show, that is,” Coffin jokes. Top right: The entryway to the home opens onto a foyer holding Coffin’s mixed-media sculpture Sun/Moon Shaman.
attitudes, and the natural beauty of New Mexico. I’ve found a home here.” Coffin grew up near Lawrence, Kansas, and is of Potawatomi and Creek heritage. At the age of eight, he had a paper route that took him through the Haskell Indian boarding school campus, where his father was an athletic coach. The school owned the heroic-scale sculpture by Chiricahua Apache artist Allan Houser titled Comrade in Mourning, completed in 1948. Rendered in white Carrara marble, the work honoring Haskell students who died in World War II was Houser’s first major public sculpture commission. “I was awestruck by that piece and couldn’t imagine how it was made,” Coffin says. “Later on I was thrilled to meet Houser and his son Bob Haozous when I was casting at Shidoni 35 years Fall 2013–Spring 2014 Trend
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HOW WE LIVE
Hanging over the dining room table is an original Carlo Moretti chandelier Coffin received as payment for a commission from collector Adriana Dolcetta. Because Dolcetta had treated him with such kindness, Coffin was reluctant to be paid for his paintings. When she insisted on paying him, Coffin suggested that he would gladly accept the chandelier. The large painting behind it is Coffin’s Zen Movement, and the small piece on the wall at right is by Colette Hosmer and features a chimpanzee skull wearing a headdress made from minnow skeletons.
The couple’s living room has a cozy but contemporary vibe, and is filled with many of their favorite pieces of art, including, above left, paintings by James Havard (left) and Tony Abeyta as well as a bar made from one of two canoes featured in Proof of Life and gifted to Ochoa. The large stone on the floor is a piece of New Mexico travertine. Above right: Coffin’s acrylic-on-canvas painting Moon of the Timekeeper hangs between two of his painted chairs in a corner of the living room.
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Paris, and throughout the United States. Honors include his 1997–2002 participation in the U.S. State Department’s Art in Embassies program and exhibits at the National Museum of the American Indian in New York. Coffin also displayed a monumental painted steel totem in Twentieth Century American Sculpture at the White House: Honoring Native America, a 1997 Rose Garden exhibition of 12 American Indian artists. His partner in love and the arts, Kaaren Ochoa, has been employed in the film industry for more than 30 years. She began her career as a screenwriter, has worked in sound and lighting, and has served as an editor and grip. She is credited as assistant director of more than 33 films, including The Milagro Beanfield War, Crazy Heart, and A River Runs Through It. Her television series credits include Breaking Bad, Law and Order, ABC’s Murder in the Heartland, and the Lifetime Television film Georgia O’Keeffe. Although she has enjoyed working on feature films and television specials, Ochoa says her true passion is writing, directing, and producing documentaries. “You are essentially writing a story with all of the attendant research, fact checking, and educational
ago. Houser and I actually worked together on his sculpture, and we became friends.” The trio also spent time together when Coffin taught classes at the College of Santa Fe in 1979 and the Institute of American Indian Arts (IAIA) in 1980. Coffin majored in sculpture at the University of Kansas and earned a master of fine arts degree in metalworking at Michigan’s prestigious Cranbrook Academy of Art, founded in 1932 by Finnish architect Eliel Saarinen and Detroit philanthropist George Gough Booth. Though Coffin was originally inspired by an encounter with a single artist’s work, he considers himself a mainstream artist who learns from all masters—Michelangelo to Henry Moore— as well as from the ethnographic arts of Africa, Europe, Asia, and the Americas, which he collects with such passion. “I study power objects from tribal cultures around the world, including breastplates, medicine and war shields, totem poles, icons, and other objects that are designed to create a sacred space in the mind of the viewer,” Coffin says. “I treat these things with a great deal of respect for the intention of their makers.” Coffin’s affinity for the universal language of symbols has brought his work before an international audience and clientele, and has resulted in shows and commissions in Italy, Ecuador, 62
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Coffin and Ochoa enjoy some family time with, left to right, Brian, Chemen, her husband, Mauro, and cat Lester. Opposite, left: A photograph of Coffin’s grandmother hangs in his studio office, alongside letters of thanks for his participation in the Art in Embassies visual arts exchange program. Opposite, right: Along with their passion for work, home, and family, Coffin and Ochoa also love to entertain, which has become easier now that their kitchen is fully complete.
potential of a book,” she explains. “But in film you have the ability to tell a story visually, to show people a broader perspective than they may be comfortable discovering on their own. If we do our job well as artists, we have the ability to uplift, educate, and inspire people to build a better community and eventually a better world.” One of her favorite early projects was The Alien Game, a 1978 documentary on migrant workers that exposed the falsehoods surrounding immigration from Mexico and the true economic impact of illegal workers. The film was part of ABC’s La Raza series and was nominated for a Peabody Award. Since the late 1980s, she has partnered with her daughter, Chemen Ochoa, on a number of projects, including Gettysburg and The Milagro Beanfield War. They are also currently working on an as-yet-unnamed film that is still in the works. “I love working with Chemen because she is a professional who has a true understanding of the task at hand, and we just key off one another very smoothly,” says Ochoa. Now 42 and married, Chemen moved to Santa Fe after graduating from New York University at age 21, with the hope of working with her filmmaker mother. “We are the first successful mother and daughter directing and production team since Ida Lupino
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and her daughter, Bridget, broke the glass ceiling four decades ago,” Chemen says. “We work on the set with such synchronicity that production people seldom know that we are related.” Ochoa also has a son, David, who likewise works in the film industry. (In addition to Brian, Coffin has two other sons, Erik and Gabe.) The inception of this big, happily blended family— as well as Coffin and Ochoa’s shared dynamic vision—occurred on an icy January evening in Santa Fe in 1990. The two were escaping the winter chill inside the comforting warmth of El Farol when a mutual friend, the actor and musician Frederick Lopez, introduced them. Ochoa says she and Coffin chatted for a while and then got up and danced the night away. A shoot in California interrupted their budding romance until that April, when they began dating in earnest. “What makes it work between Doug and me is that we both understand the focused dedication it takes to create something of value,” says Ochoa. “When I’m on a set, I have to track every detail and coordinate the cameras, support personnel, and action in front of the cameras. Doug can visit the set and enjoy what I and the others are doing without interrupting the flow.” Coffin is looking forward to getting back to his full-time studio endeavors in a space filled with artifacts, early pieces, Fall 2013–Spring 2014 Trend
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Kate Rivers
Kateriversstudio@gmail.com | kateriversart.com
A
rtist Kate Rivers gathers countless bits of what we toss out, and uses these fragments of image and text as source materials in her art. She sews, glues, and paints on paper and canvas, transforming the detritus of commodity and daily living into vibrant, richly complex patterns and shapes as mixed-media collage. What once were forgotten scraps—used tickets, tags, receipts, product labels, old maps and books, cancelled stamps—become expressive, often symbolic formal designs that draw on aesthetic inspiration from the landscape, birds’ nests, and old quilts. Much of Rivers’ work explores the endless promises consumer culture makes, yet cannot deliver: a sense of belonging, a feeling of worth, or the nest-like comfort of home. Other pieces speak of memory and time. They are formed from the paper traces of human connections and experiences long past, the stories of dreams and loss. Yet in each case, the alchemic magic of art transforms the valueless into a timeless, universal statement, with layers of meaning in striking abstracted designs. While Rivers’ materials emerge from a throwaway culture, her inspiration reflects such enduring gifts as the resiliency of the human spirit and the splendor of the natural world. In one sense, everything is kitsch, the artist believes—alluring and bright for an instant before the dazzle fades. But out of that moment emerges something that lasts. Kate Rivers is represented by Matthews Gallery, Santa Fe; Meyer Gallery, Park City, UT; Joseph Gierek Fine Art, Tulsa, OK; and kateriversart.com.
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Kate Rivers with Reflections, mixed media on paper, 62” x 47” Top left: Truth and Liberty, mixed media on canvas, 36" x 36”
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HOW WE LIVE
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Coffin in his studio, working on the finishing touches to Sun/Moon Shaman. “I put my focus and energy into getting this house completed,” he says, “so for about a year I didn’t make any art. Now that our dream come true is done, I get to be an artist again—but on a different level. We actually have closets, actually have a kitchen that works. It’s very comforting and allows me to have a more pure vision.”
travel memorabilia, and several new works in progress. The shelves are laden with bits and pieces of colorful materials, tools, bottles, and other objects of interest, all reflecting the intricacies of Coffin’s imagination. “I owe whatever success that I’ve had to my mother and father, who truly supported my dreams,” he says. “After my father passed away, my mother helped me in many ways to earn an education and to follow my heart. They left me with wonderful memories that carry me through the day.” Though now in their mid-sixties, the couple has no plans to slow down. Ochoa is hard at work on a new script for a onehour pilot set in New Mexico in 1949, as well as the screenplay adaptation of crime noir writer Charlie Newton’s novel Start Shooting. Coffin and Ochoa’s beautiful dream home and studio on the hillside overlooking a tranquil valley continues to burn inside with the creative fires of two people who love what they do and where they do it. R
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collectors
by kathryn M Davis | photos by kate russell
perfect
symmetry
African folk art and Acoma pots in a contemporary collection
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n the foothills above the Bishop’s Lodge resort, on the road to the village of Tesuque, a resident fox, scattered deer, and a small black bear regularly visit the tidy house with contemporary lines that David Arment and Jim Rimelspach call home. It’s a place that the two have found indispensable. The couple moved here five years ago, although they continue to transact their business in Dallas as professionals in art and architecture. “We like to say that we live in Santa Fe and we work in Dallas,” Arment explains. After “way too many years in corporate America,” he now works as an art consultant, specializing in African folk art. In fact, along with South African friend Marisa Fick-Jordaan, he literally helped write the definitive book on telephone-wire baskets, Wired: Contemporary Zulu Telephone Wire Baskets. The coffee table–quality tome was published 2005 by the Museum of New Mexico Press—curator and book designer David Chickey’s last publication before he formed Radius Books. The couple, who mark 25 years together this year, has one rule about purchasing a new piece of art: “We both have to love it or we’re not going to buy it.” At face value this may seem a difficult line to toe, considering that Rimelspach has, for the past 30 years, nurtured a yen for historic, hand-coiled ceramic vessels from Acoma Pueblo, while his partner has loved and collected telephone-wire art since his first visit to Africa in 1991. (The trip was a birthday present from Rimelspach, and they return every year.)
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Rimelspach built a special display cabinet to house his collection of early-20th-century Acoma pots and Arment’s Zulu telephone-wire baskets. The bottom right shelf features beer pots with woven palm leaf covers. Opposite: The cabinet’s sliding door allows the couple to showcase each collection on its own.
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collectors
Since the pair shares a collector’s passion for contemporary art, however, their rule is in many ways quite practical. Making the leap from the utilitarian folk art of a specific part of the world to contemporary art, with its bent toward the conceptual, may seem a tough gap to cross. Then again, folk art appeals to those with an eye for vivid abstraction, while contemporary art seeks to break down those old, midcentury-Modernist barriers between “high” and “low” art. Of greater significance for this couple, collecting art— no matter what label it may carry—is all about developing relationships. “A lot of our collection has roots in relationships we formed here in Santa Fe, back in the day,” Arment says. The couple cite gallerist Laura Carpenter, whom they first met in Dallas and whose Santa Fe gallery they visited on a regular basis until it closed in 1997, as a major contributor to their education in contemporary
and said, ‘Munson, we’d like a couple of graphite-finished balls—what do you think?’ And she said, ‘Oh, I’ve got the perfect wood for you.’” Hunt’s organic sculpture, sited below young aspen trees on the couple’s property, manifests an aura of calm welcoming at the exterior entryway and hints at an aesthetic of quiet elegance within. The talent pool that is Santa Fe has had a tremendous impact on the couple’s decision to live here. “It’s an arts community, and it’s an educated community,” Arment says, citing David Skolkin and David Chickey of Skolkin + Chickey, James Kelly of James Kelly Contemporary, and Laura Carpenter and Cyndi Conn of Creative Santa Fe as valuable advocates for a vibrant arts scene. “They’re focused not only on the overall quality of life in terms of beautifying and building a city that makes sense, but they’re also thinking about the next generation and new media and making Santa Fe a place that’s
art. James Kelly of James Kelly Contemporary has likewise been influential. “We’ve been fortunate that way,” Arment continues. “Some of our favorite pieces came out of Laura’s gallery in the early ’90s.” In Dallas, the pair admires Talley Dunn, Barry Whistler, and Conduit galleries. These days, however, deals tend to happen when they run into artists on their daily rounds in Santa Fe. “It’s this kind of thing: We had known Munson Hunt’s work, and we knew we were going to have this sculpture platform out front. We ran into her one day
not going to grow stagnant. What more can you ask for? It’s a special place. That’s why we say we live here.” While the Arment-Rimelspach residence is not imposing in size, it is a sure vision of clear and open symmetry, as designed by Rimelspach, an architect for a major international firm for more than 30 years. As we settled into conversation in the home’s elegantly simple living room, he cited Mies van der Rohe, champion of the “less is more” aesthetic, as a primary influence. A specialist in architectural interiors, Rimelspach has worked with Robert
A painting by California artist Ed Moses hangs in the office; another specially designed display cabinet sits at the office entry; a painting by Charles Arnoldi, also of California, peeps from behind the handcrafted cabinet. Opposite top: A detail from the office, where Africana plus books equals heaven on earth for Arment. Opposite bottom: David Arment (standing) with his partner of 25 years, Jim Rimelspach, in their dining room. In the foreground is a detail of a peeled-bark Ponderosa pine salvaged from a wildfire in the Pecos. Behind the couple sit three early-20th-century Acoma vessels.
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A. M. Stern, Michael Graves, Antoine Predock, Philip Johnson, and I. M. Pei. “They’ve all had their impact in one way or another,” he says. “It’s nice being able to work with these architects because you see their distinctive perspectives, which are amazingly different. It makes you appreciate what they do.” Arment jumps into the conversation to boast on behalf of his partner: “Jim did the Encantado interiors [Four Seasons Resort Rancho Encantado and Terra restaurant], the Rosewood Inn of the Anasazi, and the Hyatt Regency Tamaya Resort and Spa in Santa Ana Pueblo.” He’s also designed some “really big houses on top of hills in Santa Fe,” which will remain anonymous. Rimelspach’s penchant for clean lines led him to develop a rather tricky piece that accommodates their passion for both collecting and for a clutter-free home: a movable display case that separates kitchen from living area. The approximately 9' X 15' wooden case with two sliding doors perfectly sets off Rimelspach’s stunning collection of early-20th-century Acoma pots. “They are very architectural,” he notes, adding, “I like the geometric forms.” Move a door to the left, and his partner’s collection of contemporary wire baskets is revealed in all its brilliant color. Shift the two doors right, and African walking sticks appear—a staple of tourist souvenirs in the late 19th century. “During the Boer Wars between the Britons and the Zulus, these sticks were embellished with brass and copper wire,” Arment explains. “I’ve got a collection of those in Dallas. The more I learned about their history, the more I wanted to collect them. Now I know so many people in South Africa that anytime something quirky shows up, it comes to me.” By way of example, he presents an object he refers to as a donkey whip, made of dried and rolled-up hippo hide. “Some of these sticks,” he continues, “are for prestige. You still see them today in Zululand. These cool older guys who have a lot of mojo will walk down the street with one of them.” Clearly Arment has his own mojo when it comes to his
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knowledge of, and affection for, the Zulu master weavers of phone-wire baskets, such as Alfred Ntuli, Elliot Mkhize, and Vincent Sithole. Their baskets take pride of place on a large dining room table made of teak from salvaged oldgrowth trees that had already been felled. While talking about the glorious hues and intricate figures and patterns of the baskets, Arment sighs. “It’s sad to talk about them because only two of the weavers in my book are still alive; the other three have passed away.” The couple explains that HIV and tuberculosis continue to take a terrible toll in South Africa. They help where they can. Overlooking the dining room is a painting by Johnnie Winona Ross—spectacularly understated, in his typical fashion. It communicates silently, across the wide-open living area, with a polished ebony vessel, a fine example of Juan Hamilton’s ceramic work. “For years,” says Arment, “we talked about Hamilton’s work. We’ve met him and been to his studio, and have a little white piece of his in Dallas, but we always wanted a big pot. One day we walked into Gerald Peters Gallery and they had this beautiful piece. We made a decision to jump right then, and it’s got a perfect home here.” Next to the fireplace, the pot perfectly
credit
complements its surroundings, and leads one to examine another specimen of clayware: a collection of fanciful storyteller bears by Cochiti Pueblo artist Serafina Ortiz, who died in 2007. Citing another relationship solidified through art, Arment relates, “We go to Indian Market every year, and we’d always buy one or two of the bears and collect them over the years.” Contemporary works by Lee Friedlander, Jeremy Thomas, John Fincher, Susan York, Ed Moses, Otis Jones, Michael Eastman, and Judy Tuwaletstiwa interweave effortlessly with more beaded and wire-woven objects—including Arment’s tequila bottle collection—throughout the house. A transept leads the eye in an unbroken line from the guest bedroom suite to the master, revealing a simple alignment of vistas from one end of the house to the other. In the guest bath, over the tub, four white cube constructions by Ted Larsen offer clues to how these collectors think: Their art functions on a personal level with an unobtrusive intimacy. Although each piece is impeccable, none is precious or grandiose. Very clean, indeed, are these lines that trace relationships through art. R
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Artist Ted Larsen installed one of his repurposed-metal constructs over the tub in the main bath. Left: The stairs leading up to the rooftop deck reveal Rimelspach’s love of “a very clean line.” He designed the couple’s home in a style he calls Contemporary Southwest—light-filled and crisply linear. Opposite: The couple’s spacious yet cozy living area. To the left of the fireplace is a black ceramic vessel by Juan Hamilton; over the fireplace, a small painting by Spanish artist Juan Uslé adds a pop of color; Zulu beer pots occupy the niche on the other side of the fireplace; and Susan York’s graphite sculpture graces the wall next to the hallway. Below: Storyteller bears by the late Cochiti Pueblo potter Serafina Ortiz. The bear on the far left holds a Cochiti-style pot—a tongue-in-cheek hint from Ortiz that Rimelspach should shift his focus?
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Melissa Haid “Pathway”
fused glass sculpture 9’ x 7” (dimensions approx)
LA MESA
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225 Canyon Road • Santa Fe NM 505-984-1688 • lamesaofsantafe.com Photo: Kate Russell
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design for living
The
Artful Adventurer
Madeleine Gehrig Brings the World Home
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By rena distasio | photos by kate russell
I
n the several days after Madeleine Gehrig returns from a trip to Spain, she offers visitors who drop by her Santa Fe home little golden-colored half-moon pieces of marzipan handmade by nuns at a Toledo convent. Gehrig loves to share her finds, accumulated from over 40 years of trotting the globe, and the marzipan is a delightful surprise—lightly textured, sweet but not cloying, and utterly delicious. It is also one of her few treasures that Gehrig could easily tuck into her carry-on. Although the retired businesswoman and accomplished photographer balks at being called a collector, insisting that she simply buys what she likes, her accumulation of art and artifacts is nonetheless impressive, mixing African masks and Japanese ceramics, Djenné sculptures and 20th-century bronzes, Aboriginal paintings and mixed-media constructions. That very little of it ever fit securely under the seat in front of her is a tribute to her cheerful willingness to suffer for her art. She once pushed a cart holding a heavy statue of a Burmese water spirit through the airport and onto the plane, right behind her then-husband who was also being wheeled onto the tarmac because of a knee injury. “But I wasn’t worried about him,” Gehrig says, laughing. “He was in good hands. I was going along thinking, ‘Just don’t drop the water spirit!’” She is only half joking. Along with travel, artistic pursuits are the driving force in Gehrig’s life. She credits a teacher for her love of art, but when asked about what made her catch and keep the travel bug, she shrugs and says, “I have no idea. But it was the number one passion in my life from the beginning.” Born just outside Zurich, Switzerland, an only child of hardworking farmer parents, she knew from an early age that she “absolutely never wanted to be a farm girl.” Instead, her life after leaving home to study chemistry at a professional school in Zurich has been one of continual change and exploration. Spend a few minutes throwing darts at a map of the world and you’ll likely hit several spots she’s called home—Germany, Canada, Holland, Italy, the United States—along with more than a hundred others she’s visited. Threads of constancy are woven throughout the years as well. For more than two decades, she ran a successful real estate and travel agency from her home base in Rome. Although she has no children of her own, she has formed a tightly knit extended family that includes an adopted son, a very close goddaughter, and a group of a half dozen or so “travel solid” friends with whom she has shared many adventures over the past 40 years. An elegant, blue-eyed blond with an air of gentle, well-mannered grace, Gehrig also possesses the self-assurance and levelheadedness that make for a world-class adventurer. Long before the word “immersive” became ubiquitous in travel circles, Gehrig and her companions were pursing experiences in the most remote, sometimes inhospitable, parts of Africa and Asia—experiences that would have even today’s most intrepid trekker Google-mapping the nearest Hilton. And while she concedes that she and her companions no longer wish to crawl in and out of tents, neither are they slowing down. They currently plan to explore South America more thoroughly and, says Gehrig, smiling, “save Europe for our old age.” Africa and Asia remain frequent destinations. When asked what attracts her to Africa in particular, Gehrig doesn’t hesitate. “The people. There is not one moment when you don’t see someone smiling. Yes, there is immense poverty and hardship in most of the countries, but we have always been received with open arms, smiles, and laughter.” And then there is the continent’s absolutely awe-inspiring geography. Gehrig’s first experience with its power was back in the late 1980s during a scouting trip to Algeria for her travel agency. Her first night in the desert, Mother Nature went on a bender and sent a massive sandstorm to blow through the village in which she was staying. Later that evening, camped out on the roof of her host’s home to keep cool, she was jolted awake by drops that would soon turn into a rainstorm so fierce that it flooded the property and left several deaths in its wake. But along with the destruction came breathtaking beauty: endless lakes of water six to eight inches deep, their surfaces reflecting the seamless blue of the sky, stretching as far as the eye could see. A week or so later came another transformation—millions of bright pink flowers blooming from the water-soaked earth.
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Gehrig’s beloved Burmese mountain spirit. She is primarily interested in Modern art, contemporary Japanese ceramics, and ethnographic art from Africa, Asia, and Australia. She also loves distinctive jewelry, and is shown opposite wearing a silver and shell necklace by friend and Santa Fe jeweler David Gaussoin. Fall 2013–Spring 2014 Trend
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A collage of some of Gehrig’s striking travel photographs. Several are from her visit to Ghana during the Ashanti tribal kings’ yearly celebration in Kumasi’s football stadium. Each leader arrives attended by a small court of wives, relatives, grooms, and warriors— and wearing his best gold jewelry, a craft for which the Ashanti are renowned.
design for living
“It was deeply unsettling in some ways,” she says, “but it remains one of my most remarkable memories.” She would be hard-pressed, however, to name a favorite destination. “It’s impossible to say. My favorite place is the last place I’ve been to.” And she does not like to repeat herself. “Especially if such a long time has passed since the last trip. It is best to keep the memories of a place when it was unpolluted or uninhabited, not destroyed.” But wherever she goes, she is by no means a detached observer. “We sit with the people, we eat with the people, we sleep where they sleep. We have never been treated like outsiders.” And she and her friends regularly return the kindness. Several years ago, for instance, one of Gehrig’s traveling companions met a young man from an impoverished village in Burkina Faso. Together they sponsored the redevelopment of the village, everything from acquiring land to building schools. “One has to give back,” she says. “We have so little idea what goes on in the world. But even though we have such a small postage stamp of time in life, there is still so much we can do.” Still, Gehrig does require time to rejuvenate. “The world has, what, a couple hundred countries? And I have been to about half of them,” she says. “There are many places I would still like to see—too many, frankly—but I also like to stay at home as I love to be alone.” And since moving to Santa Fe five years ago, she has made many close friends with whom she likes to spend time. A gracious hostess as capable of organizing large dinner parties as she is of going with the flow at impromptu get-togethers, Gehrig regularly welcomes an array of friends and adopted family into her home. One of eight structures originally built as part of an 18th-century gristmill located on Santa Fe’s east side across from the river, the restored adobe home still bears many original features. In its long, rectangular layout, the kitchen, dining room, living area, guest bedroom, and bath follow one after the other. The master bedroom, bath, and small office occupy the upstairs space. Patios and gardens blooming with native plants surround the elegant, cozy house, which is decorated with Gehrig’s keen eye for color and pattern. And while the artworks inside must number in the hundreds, they are lovingly and thoughtfully displayed, without any one piece overwhelming the other. “Because I travel so much, I don’t collect any one thing,” Gehrig explains. “Every time I go, I discover something new—another culture, other ideas. The world is so infinite.” Still, her democratic eye does skew toward certain cultures and themes, namely ethnographic art from Africa, Asia, and Australia. These 80
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objects both remind her of her travels and also serve as tangible testaments to the commonalities that bind humankind, regardless of cultural differences. One of her first-ever purchases is a wooden ancestor piece from Africa, carved upon the death of a loved one and placed outside the family home in the hopes that the deceased spirit will enter the effigy, offer protection, and bring good luck. She also has pieces from the Amazon and Indonesia that serve the same function. African initiation masks, a section of a bronze frieze from a now-destroyed Tibetan monastery, and paintings from Australian Aborigine artists all reflect the shared human impulse to make sense of our world and our place in it. Gehrig’s love of abstract imagery is revealed in her collected American and Italian paintings and Japanese ceramics, as well as in her own photography. “Having traveled all my life, I started early to make photos in order to remember my trips,” she says. But the photos are more than just snapshots. She has had several exhibitions of her work in Rome and two others in Santa Fe, one at the Center for Contemporary Arts (CCA) and another at Victoria Price Art & Design. She has enjoyed brisk sales of a series of unusual boxed photo cards and is also planning a small book of her abstract photography. Despite her wide-angle view of the world, her camera eye aims at its details—her big love is macro photography and the infinite beauty of the minutely scaled. The end result in both cases is a search for communion among people and cultures, the natural and the human-made. Hence, the forms revealed in an up-close view of a Shanghai skyscraper are echoed in another photo of windblown patterns on Saharan sand dunes and still another of the geometric structure of Italian roof tiles. But whether she is hiking a remote section of the Himalayas, hunting down a treasure, or distilling portions of the world with her camera, Gehrig always remains solidly herself. Asked if she ever feels overwhelmed or unmoored in her travels, she says firmly, “No, never. I live in my own skin, I see with my own eye.” One gets the sense that she is too busy participating in life to indulge in much navel-gazing. “We are all just little ants, you know? And I’m one of many, neither positive or negative, important or unimportant.” Perhaps her most unique discovery of all is not how different we are, but how alike. In our impulses to create art, to adorn our bodies, to connect to our ancestry—and in the end to make our marks and leave something positive for the future. R
Above: Gehrig’s home is a stylish sanctuary, but her preferred method of travel for many years rarely involved anything more glamorous than a sturdy backpack, tent, and Jeep. Those immersive experiences also helped forge the tight bonds of friendship she shares with her travel companions. “These relationships are precious,” she says. “It is so important when you travel, especially to places that are difficult, to have companions with similar values and temperaments.”
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Some of Gehrig’s favorite pieces, opposite, top to bottom: A “two-faced” head by Chinese artist Wang Keping, who was a founding member of China’s first nonconformist artist’s group, Xing Xing (the Stars). The piece represents the dualities of his life as a child in Communist China— one half Buddha, the other Chairman Mao. The bronze piece is a portion of a frieze from the 13th-century Tibetan monastery Densatil, once considered the country’s most beautiful until the Chinese destroyed it as part of their Cultural Revolution in the mid-1960s. The sculpture at bottom is by Japanese ceramist Mishima Kimiyo. 81
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ocated in the heart of the historic Railyard District, just minutes from the Plaza, is one of Santa Fe’s most popular and unique shopping experiences—three stores in the Gross Kelly Building that offer a distinctive look and feel. From decorative to architectural to home furnishings to jewelry. From traditional to folk to contemporary. This single destination provides a glimpse into the past and the present, the familiar, and the far away. For 20 years Antique Warehouse has imported architectural elements and furniture from Mexico, including Spanish Colonial antiques and old Mexican ranch furniture, doors, and shutters—all an integral part of the Santa Fe look and mystique. Ranging from elegant to rustic and showcasing beautiful indigenous wood and native craftsmanship, each piece is individually selected for its age, character, and the beauty of the wood. The doors and furniture of Old Mexico, which have graced the finest of haciendas and the humblest of casitas and cantinas, have evolved over several centuries from many cultural influences. Created by both the sophisticated carpenter and the skillful artisan, all are now fully restored and in any surrounding evoke an Old World feeling of graciousness, authenticity, and warmth. Locals consider Casa Nova one of the best places for unique gifts and a “must stop” for their out-of-town guests. The shop offers extraordinary art,
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Cayetano Soto creates a dynamic new work for Aspen Santa Fe Ballet by susan bell | photos by Peter Ogilvie
On Memorial Day 2013, the Colorado Mountain College campus in the Roaring Fork Valley west of Aspen is devoid of students. But strains of a piano and the sound of voices echo across the sunny courtyard. Hard at work in a small basement studio, members of the Aspen Santa Fe Ballet (ASFB) are at their barres focusing intently on classic ballet drills and patterns. Their coach, Sharee Lane, visiting from the University of Utah School of Dance, marks time and moves from dancer to dancer, touching recalcitrant limbs, refining this motion, honing that pattern. This is not a troupe chosen to form a physically seamless corps de ballet in the Balanchine manner— these dancers’ bodies are as wildly divergent as their hair and skin tones. But their high level of technique is instantly apparent from the leanly muscled lines of their legs and arms and their beautiful arching backs. Each dancer directs powerful and individual athleticism to the service of graceful movement. These traits have become hallmarks of the ASFB, a dynamic, year-round dance company renowned for presenting the work of contemporary choreographers. Now in its 17th year, the troupe has assembled a repertory of compelling work, and it tours to great acclaim worldwide. This particular rehearsal is for Catalan choreographer Cayetano Soto’s new piece, Beautiful Mistake, created exclusively for ASFB and scheduled to premier in six weeks, first in Aspen, then a week later at Santa Fe’s Lensic Theater. When the class finishes, the dancers applaud their instructor and, as if on cue, Soto bursts through the door in a T-shirt, baggy pants, and scarf. Born in Barcelona to a nonmusical family, at the age of 12 he became enamored with Bob Fosse. After studying ballet at the Instituto del Teatre in Barcelona, he went on to become a classical star with companies in the Netherlands and Germany. Soto danced with the Munich Ballet Theater until 2002, when he left to begin a career in choreography. It did not take him long to establish himself as one of Europe’s leading talents in contemporary ballet. Now based in Munich, the 38-year-old Soto leads a peripatetic life. He has two assistants who visit diverse dance companies throughout the world to help him prepare his pieces for the stage. On this particular day, one was in Brazil working with Balé da Cidade de São Paulo. Soto has worked with the ASFB twice before: In the 2008–09 season, he staged Fugaz, a work dedicated to his recently deceased father, and in 2010 he premiered Uneven to enthusiastic reviews. Thrilled to be choreographing his second debut for the company, he finds the ASFB dancers, whom he collaborates with during the creative process, to be exceptionally individual and versatile artists. “Each one of them is one-of-a-kind, and this is beautiful,” he says. Because they have worked together before, Soto finds their learning process breathtakingly rapid, he says, boasting that they learned in 90 minutes a complicated 20-minute section he anticipated taking four hours. Today the energy remains high as Soto begins work, praising the dancers while urging them to push the boundaries of their bodies. “Don’t play it safe!” he calls out. “Lower, lower,” he says of a plié, ignoring a dancer’s exclamatory “ouch!” and responding with an encouraging, “Lower! I think you can!” Then, with arched brows and an impish grin, “More weird, more weird!” He leaps up to demonstrate the movement precisely as he wishes to see it. This, he explains later, is what he considers the core of the piece and his favorite part of all dance, the pas de deux. >
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Choreographed for five men and four women, Beautiful Mistake is a wondrous tangling and untangling of limbs, a complex exchange of twisting, unpredictable lifts. At times the body parts seem to detach themselves. Whose hand is that? Where is his foot? The dancers sweat profusely, their chests rapidly rising and falling with every breath. Does any other art form encompass such astonishing athleticism, such precise yet graceful movements, such collective intelligence and focus? Each dancer, including those watching from the sidelines, concentrates fully on Soto’s every word and gesture. For this piece he has selected emotional, energetic electronic music
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by Icelandic composer Ólafur Arnalds combined with that of Canadian Charles Wilson. The brainstorm for Beautiful Mistake came while choreographing another piece. “Sometimes in the studio I discover beautiful things by mistake,” he says, going on to speak of his dances as a form of self-analysis, internal issues working themselves out in movement. “I work cinematically,” he continues, explaining that he envisions the stage design, costumes, and lighting before entering the studio. Even at the costume fitting, the clarity of his vision is evident as he decides the precise width of the women’s high collars and the exact drape of their black chiffon blousons.
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Choreographed for five men and four women, Beautiful Mistake is a wondrous tangling and untangling of limbs, a complex exchange of twisting, unpredictable lifts. Aspen Santa Fe Ballet was founded in 1996 by dynamo Aspen resident, dancer, and visionary Bebe Schweppe. She approached two premier dancers from the Joffrey Ballet, Tom Mossbrucker and Jean-Philippe Malaty, and the three started the company and school in the Aspen valley. After four years of pushing against the limitations of their small-city home, and in spite of the challenges they knew they faced, they began a search for a partner city. According to Malaty, the concept of dual city locations for a dance company is not new. It provides a company with a more stable season and doubles performance opportunities as well as donor base. However, almost all dual city companies—including the Joffrey, whose Los Angeles–New York partnership the ASFB’s founders experienced—have failed. At the time, the Santa Fe Festival Ballet, a pickup company that presented dance seasonally, was struggling both financially and administratively. When board president Mary Anne Larsen, a resourceful
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Santa Fe arts patron, reached out to the Aspen Ballet for help, the two organizations merged. Given the long synergy between Aspen and Santa Fe, the match would prove fortuitous. Both cities serve as incubators for the arts, generating highly creative work. Many enthusiasts as well as critics and performers commute between the two places. And not only the arts but also the sciences attract audiences from throughout the world. For instance, since 1950 the Aspen Institute has brought in great creative thinkers for lectures and seminars, while the Santa Fe Institute’s reputation for interdisciplinary systems’ research has a global reach. Both cities also stage multiple annual music festivals with international reputations. Among them are the Aspen Music Festival, founded in 1949, and the Santa Fe Opera, established in 1957. Residents of both communities are dedicated supporters of all of the arts and are philanthropists with
Top left: Samantha Klanac Campanile and Peter Franc prepare to execute a challenging lift as part of a pas de deux. Top right: Cayetano Soto (left) instructs the dancers while Tom Mossbrucker, ASFB’s Artistic Director, looks on. Opposite: Katie Dehler and Craig Black calibrate their balance in a rapid exchange during a rehearsal of Beautiful Mistake. Fall 2013–Spring 2014 Trend
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cosmopolitan tastes. And the cities’ mountainous settings are famous the world over for their inspiring natural beauty and abundant opportunities to enjoy it. Mossbrucker and Malaty describe the dual city partnership as a watershed moment for the company. Linking these two respected performance venues in support of dance gave the company an artistic gravity that ASFB proceeded to test with great success against the giants of the dance world. In its 17 years, the company has worked with 40 different choreographers, 17 of them multiple times. Every time they work with a new choreographer, the dancers get better, Mossbrucker says. During every season, at least one new work is premiered. With a $4 million budget and five full-time staff under the executive directorship of Malaty, the 501c3 company is a lean machine. Running year-round and touring nationally and internationally, ASFB produces two winter shows in addition to its summer programming. The company pays its 11 dancers yearround, which is highly unusual in the U.S. ASFB runs schools for all ages in multiple locations in the Aspen valley and Santa Fe, including the very popular Mexican Folklórico program for children. It also acts as a presentation organization, bringing other dance companies to both communities throughout the year. The breadth of the company’s activity is all the more remarkable because its funding comes primarily from a base of only 700 enthusiastic individual donors from Aspen, Santa Fe, and beyond.
Ten days before Beautiful Mistake premiers, Cayetano Soto returns to Aspen to polish, refine, and make final corrections. The company travels with its own lighting specialist and stage manager, each of whom must seamlessly integrate lighting and sound requirements with each theater’s equipment and technical staff. During the Lensic stage rehearsal, along with the occasional expletive and familiar pats on the back, soft applause ripples 90
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With rippling muscles and steely control, Katherine Bolaños, Joseph Watson, and Samantha Klanac Campanile bring Soto’s dynamic choreography to life. Opposite top: At the Lensic dress rehearsal Opposite bottom: Tom Mossbrucker helps polish a complex lift with dancers Katherine Bolaños and Nolan DeMarco McGahan.
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from backstage onlookers after a beautiful, impeccably executed pas de deux. Indeed, the July 16 premiere is a success, a dazzling tour de force ending in resounding applause for the nine dancers’ virtuoso performance of Cayetano Soto’s breathtaking original work. Beautiful Mistake joins the ASFB repertoire and is certain to inspire other companies to mount their own versions. And as ASFB continues its much-lauded productions, dance lovers throughout the world will be thrilled to discover one of the cultural jewels of the Rocky Mountain West. R
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The company returns to the Lensic with The Nutcracker on December 21 and 22, and then again in March to begin a new season. For more information, log onto aspensantafeballet.com 92
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Laurence Sisson
Michael Wigley Galleries, Ltd. 1101 Paseo de Peralta, Santa Fe 505.984.8986 | michaelwigleygalleries.com
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courtesy of Michael Wigley galleries, LTD.
he rhythm of crashing waves and the fluid forms of tide pools along the Maine coast may seem worlds away from the arid landscape of the desert Southwest. But to New England–born painter Laurence Sisson, the visual architecture of both landscapes feels very much the same. After all, much of New Mexico was once covered by a primeval inland sea. In Sisson’s masterful renderings, coastal islands and undulating seas are echoed in the punctuating shapes of mesas and hills that rise from the high desert floor. Delicate vegetation, sinuous waterways, dramatic clouds, and angular, fractured rock in both places offer endless inspiration for the painter’s widely collected works in watercolor and oil. Born in Boston in 1928, Sisson spent two weeks in quarantine as a young boy after contracting chicken pox, and was given an easel, paints, and a drawing pad to entertain himself. When he emerged, his parents were struck with his natural talent and encouraged him to pursue art. After attending the prestigious Worcester Art Museum school, he joined the army and spent time in Japan, falling in love with what he calls the “rhythmic, arabesque quality” of Japanese art. At 17, Sisson became the youngest artist to be honored with full membership in the American Watercolor Society. He settled in New Mexico in 1978, and today his work hangs in the permanent collections of 16 museums and such institutions as the National Park Foundation. “Laurence is an iconic American painter,” notes Michael Wigley, owner of Michael Wigley Galleries in Santa Fe.
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Grand Abstractions Ceramist Christine Nofchissey McHorse Creates Modern Forms From Traditional Methods
Addison Doty/Courtesy of Clark + Del Vecchio
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By Garth Clark and Mark Del Vecchio | portrait by lee clockman
hristine McHorse believes that clay was in her destiny from the outset. The San Francisco River ran south out of the canyon past her parents’ house in Morenci, Arizona, providing her with one of her most tenacious childhood memories. “Once a year, overnight, the muffled song of the water changed to a deafening roar as the spring rains brought swollen muddy waters,” she writes in an undated letter. “We’d stand alongside our neighbors, as close to the river as we dared, as it demonstrated its awesome power. Wet, cold, and shivering, we’d watch the bobbing logs and spinning driftwood race by. We stared as the banks plunged into turbulence. I distinctly remember the damp earth smell as the river changed its course again and again. It was the smell of clay.” Although she began her artistic career as a jeweler, McHorse could never fully shake the lure of the clay. Today, she is known around the world, one of only two Southwestern ceramists who have broken into the international market (the other being Diego Romero, whose painted ceramics satirize his Anglo-Cochiti roots). If encountered in a non-Native setting, however, one wouldn’t necessarily identify her pots as Native American. They have in fact more in common with Modern art. But a practiced eye can certainly read the clues that reveal her roots. Micaceous clay, though found in other parts of the world, is one pointer. Her work also shares a similar language of form with some of the best Navajo abstract art in other media. Its flowing, undulating lines and gentle swelling volumes celebrate the place of water, air, and earth in Navajo spirituality—all handled with subtlety and a distinct lack of ethnic sentimentality. Still, McHorse seeks to achieve with her work something beyond herself, her tribe, and her clan. This sets her apart from most Native potters, not only in style but also in philosophy, particularly on the subject of protecting pottery traditions. At the Micaceous Pottery Artists Convocation at Santa Fe’s Indian Arts Research Center in 1994, McHorse rejected the notion that pottery should be protected from Anglo invasion or even from
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intratribal poaching of Pueblo styles. “I wouldn’t want anyone to place restrictions on me,” she commented, “so I wouldn’t want to place restrictions on anyone else. I draw my inspiration from the whole world.” The first traveling exhibition of her work, Dark Light: The Ceramics of Christine Nofchissey McHorse, recently opened at the Nerman Museum of Contemporary Art in Overland Park, Kansas, where it drew rave reviews. Seen together, the pieces represent a groundbreaking development in the ceramic arts, both in America and in Europe. And while McHorse’s Navajo identity does add an unavoidable frisson of the exotic, her renown derives more from the fact that her work is both exceptionally innovative and directly parallel to contemporary art. McHorse has earned her place in contemporary American art without exploiting the romance of the “Indian Potter” to pave her way. This does not mean she rejects her roots, but instead rebuffs the limitations the market has imposed on her birthright. A proud Navajo, she always introduces herself according to Navajo protocol in public speeches. “I am Christine Nofchissey McHorse, Diné potter and silversmith, born to the To ditch II nii (Bitter Tower Clan), born for the Kiyaa aanii (Towering House Clan).” The fact that most of McHorse’s new pieces find their homes in contemporary art collections speaks volumes about how influential and even revolutionary her ceramics continue to be, and the degree to which her evolution as an artist mirrors the overall Modernist chain of evolution— from Brancusi through Hepworth, then to Noguchi and Tony Cragg’s recent biomorphic work. In a THE magazine review of her 2011 James Kelly Contemporary exhibition, critic Jon Carver characterized McHorse as “the imaginary love child of Maria Martinez, the great San Ildefonso potter [known for her black-on-black mirror pottery] and Francesco Borromini, the florid Baroque architect . . . Her micaceous clay vessels introduce an element of muscular architectonics and formal complexity into the realm of indigenous Southwestern ceramics in a way that would make both parties of this mythical parentage proud. Her deep warm black surfaces shimmer with Fall 2013–Spring 2014 Trend
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Addison Doty/Courtesy of Clark + Del Vecchio (4)
“McHorse can be viewed as a kind of primordial plumber, moving through the earth’s core, connecting her tubes and pipes, and reaching for the surface.”
Page 94: Double Rain Bird (1997). Page 95: Detail of Nautilus (2006). Clockwise: Linkage (2005), Vesuvius (2006), Nautilus (2006). Opposite: Spine (2010).
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chatoyance of mica that have been a brilliant part of pottery here, while her radical curvilinear clay constructs owe as much to Baroque, Brancusi, and Barbara Hepworth as they do to ancient regional forms.” McHorse counts among her muses photographer Edward Weston and visionary Catalan architect Antonio Gaudí. In her compact, fastidious studio, she gives pride of place to Weston’s classic 1927 image Nautilus. It rests next to photos from her recent visit to Barcelona, including the writhing fecund chimneys of Gaudí’s masterpiece, the Casa Batlló apartment building. McHorse’s creative process begins with drawings, at first rough sketches on the chalkboard in her studio, then more complex working drawings in which shapes are cut out and pasted to scraps of paper. They are not intended as finished works; instead they serve as the equivalents of architectural blueprints, from which she precisely directs the clay and finds ways to coax her medium into unconventional shapes. Her relationship to the drawing process is similar to that of Minimalist Tony Smith’s, who has said that he enjoys most the illusion of volume on a flat page. McHorse similarly derives satisfaction from taking her flat renderings and rounding out the final form, hewing close to the drawing and its proportions. To achieve these shapes, McHorse has evolved an unusual inner structure and an equally unusual system of construction. When ceramists construct a vessel or sculpture from multiple volumes, they typically make each separately, then cut and join the parts. McHorse prefers that the process be uninterrupted. Every piece is the result of continuous coiling, unbroken movement that in turn gives disparate elements a holistic presence and dynamic connectivity. McHorse does not necessarily begin from the foot, the traditional starting point. She may instead commence a work in its top, middle, or bottom. (Case in point is her iconic Nautilus pot, which she began at the curlicue’s smallest interior point, then evolved backward, with its dominant volume coming last.) Using flat, pappardellelike ribbons of clay, she begins coiling, then pauses for a few days to allow the clay to harden enough to carry the next component. The process is slow and precise, engineering in mud. When McHorse begins to work with these volumes, it is as though pressure forces the shape upward, sometimes remaining trapped in a tube, as with Untitled (Linkage), and at other times ballooning outward as it makes its journey. What the artist channels is volume, pushing it through her form, giving a strong sense of release and flow. When there is no mouth or exit, the containment produces sculptural tension in her work. Indeed, McHorse can be viewed as a kind of primordial
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Spatial Concerto (2012). Right: Drawing for Free Radical.
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Addison Doty/Courtesy of Clark + Del Vecchio (2)
plumber, moving through the earth’s core, connecting her tubes and pipes, and reaching for the surface. This process is at its most literal in Black Teapot, although the journey of water entering and exiting the vessel is an unconventional one. The tubes that travel within the form force it upward and allow its walls to become elastic, driven by their conflict with interior forces. The same is true of Fountain, where liquid is encouraged to rise and spill down the form before it stops and hovers, frozen at the last minute. In other works, the linear penetration of McHorse’s core volumes is a fierce spine, primordial in character, like the ridged back of a dinosaur or ancient armored fish. We see this with great drama in Spine, where vertebrae burst from the volume and arch aggressively as though readying to battle space. This happens more subtly with Rolled Rose, where the outer skin peels back to reveal an interior spinal column, and with the gently styled Flame, which certainly invokes fire but also a sense of ritual, like the crook of a ceremonial staff. In looking at the detail of Flame, the relief work in Vesuvius, and the two sockets from which a tube exits and reenters in Linkage, one senses the finesse and sharp detail of a metalworker. This reminds us that, prior to her ceramics career, McHorse was a jeweler. Indeed, a distinguishing feature of McHorse’s pots are their thin edges and precisionist’s sense of form—much more common in Native metalwork than in clay. The shimmering mica adds a metallic sheen that suggests McHorse’s relationship to her first craft. This is not an unusual relationship. Ever since the Iron Age, a strong and symbiotic connection has existed between ceramic and metal vessels, one informing the other. To take it a step further, Double Rain Bird is crafted both in clay and in bronze. The clay original, which cracked in firing, is the only work that McHorse has lost to
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lee clockman
the kiln, a testament to her patience and skill, and the rugged dependability of her clay. As parents bronze baby shoes, she immortalized the act by casting the form in metal. And while a clay object can often lose its presence in such a process, this transfer succeeded and became the point of departure for the Dark Light series. As the metal, with its mirror black surface, flowed over line and volume with loving embrace, it was no longer the same piece—but the full equal of her breakthrough pot. Both are primary works. Metal also plays a role in her most recent—and first multipart—work, Untitled (Spatial Concerto), a triptych she produced in 2012. While many ceramists establish a signature form then reproduce it with only slight alterations for years, McHorse’s Dark Light objects are each unique, singular conceptions often unrelated to the ones that follow. This most demanding way to create eschews lateral exploration in favor of perpetual vertical innovation. McHorse does this for a number of reasons. After making repetitive forms for decades, she became not only exhausted but also lost enjoyment of the process. These days her long-suppressed creative inclination is to see each work as a challenge, a “what now?” moment to move ahead, sometimes connecting to a past work, but more often representing a radical shift. For instance, one can clearly see Spatial Concerto’s connection to Free Radical, but with an important distinction: Christine McHorse working in her studio, summer 2013 the manner in which each deals with gravity. In climbing up, Free Radical resists Newton’s law, while kiln, shift material and method, or both can’t be predicted. But Spatial Concerto embraces it and hunkers down. It reads top-down this work will clearly serve as a benchmark, another moment of not bottom-up, comfortable with its weight and mass, even hugging change as decisive and unexpected as that introduced by Double the ground. It is also the only work that reads as a maquette. The Rain Bird in 1997. other pieces are at ease with their scale, but Spatial Concerto is not. This is not to say that the Dark Light series will end. McHorse’s One can easily imagine this work in bronze standing ten to twelve relationship with micaceous clay has been a magical one, matefeet in height with a patina that mimics a micaceous surface, black rial and artist in a slow, spiraling, and symbiotic dance. Whatever absorbing light, flashes of mica reflecting. develops from this moment on will remain wedded to this This larger scale is not accidental but a harbinger of the future. unique earth, and the mastery her hands have achieved with their Just as McHorse has pushed against utility, traditional forms, strength and beauty. R and rigid distinctions between pottery and sculpture, she is now rebelling, albeit conceptually, against the size limitations of the Dark Light will appear at the Museum of Contemporary Native Arts kiln. Whether this means she will have to work with a bigger in Santa Fe from January to June 2015.
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human-centered design and technologies changing architecture, from artificial intelligence to building systems that can effectively “think” on their own. Whereas the architectural icon of the 20th century was Howard Roark, the hero of Ayn Rand’s novel The Fountainhead, the new architect that Dubbeldam embodies is nimble, not static. Architecture, she contends, is “not form, but performative. Not aesthetics, but intelligence.” A through-line threads through her work, an ethic that Dubbeldam refers to as “bottom-up.” Bottom-up in Winka’s world goes to the essence of the architectural task—to be inquisitive, to be able to shape complex arguments. Also, she says, “to use the computer as an intelligent tool, to learn to think with things rather than against things. The idea is that you cannot grow something bottom-up if you plan it top-down.” Teaching bottom-up design might start
bottom: Winka Dubbeldam
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inka Dubbeldam arrives right on time for our Skype meeting from her laptop in Berlin. A dashing brunette wearing an open smile and carmine red lipstick, she signals thumbs up to the sequence of “Can you hear me now?”s. As principal of the New York firm Archi-Tectonics, Dubbeldam, 47, works
as a leader in international architecture, pivoting between private patronage and innovative approaches to funding urban revitalizations. Born and raised in Holland, Dubbeldam trained first in Rotterdam, then took her second Masters in Architecture at Columbia University in 1991. Formed three years later, her practice sends her globe-hopping, with recent work in Berlin, Bogotá, Shanghai, Tel Aviv, and Santa Fe. She’s also a full professor, who directs the post-professional program at PennDesign, training post-graduate architects who take a one-year Master’s in Architecture. Dubbeldam defines architecture as the design of space. Theory underpins her approach. Just as in mathematics, where objects can “hover,” as she puts it, between fixed points, Dubbeldam’s architecture also is a shape-shifter—humanistic, to live in; futuristic, to encounter on the city street. Hers is a continual interplay between
DOWNTOWN BOGOTá | MY IDEAL CITY Client: Prodigy Networks, BD Promotores Project: Bottom-up Urbanism to Design the City of the Future Location: Bogotá, Colombia
Top Left: Winka Dubbeldam; Top right: Ferda Kolatan; Bottom right: Archi-Tectonics
Dubbeldam is adamant that intelligent architecture demands sustainable choices in heating, ventilating, cooling, and lighting. “It’s so basic it shouldn’t even be discussed at this point.” She can’t understand why, for instance, every New York apartment can’t have thermostats and every stairwell, dimmers—low-cost technology that affords short- and long-term benefits. with her asking PennDesign students to consider the building an intelligent structure. Bottom-up site planning involves engaging the public in an active inquiry about what’s intrinsic to that place. When it succeeds, bottom-up architecture catalyzes effects in cities in which “what you create starts to activate other actions and other spaces.” (To begin with, people move back in. Then, ideally, the city regrows integrally.) Indeed, consider Dubbeldam a kind of architectural weathervane. She reads contemporary culture to see what’s coming and to shape possibilities. At any given moment her firm is likely to have luxury Manhattan apartment buildings on its boards. Completed ones include the Brewster Carriage House in Little Italy, 33 Vestry Street, and 497 Greenwich in Tribeca. The real estate blog Curbed NY has featured her personal and professional real estate transactions eighteen times in
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six years. Yet, despite being snarked in the blogosphere as often as she is flattered in the architectural press, Dubbeldam is not a big fan of what she calls “the pop star idea in architecture.” She adds, “I’d rather do good work and focus on that.” Among her good works have been several pro bono projects: designing an orphanage/ school in Monrovia, Liberia, and serving as one of 20 architects who customized the iconic “Jalk” chair—named after late Danish furniture designer Grete Jalk— for a breast cancer benefit auction. While Dubbeldam wears Belgian fashion and groovy haircuts, she drove an AMC Pacer for nine years—picture Winka, the social democrat, in the driver’s seat—and the car is still one of her 12 favorite objects, she told Elle Decor in a March 2011 interview. For Dubbeldam, architecture in the art realm started in 2002, when art dealer Max Protetch asked her to participate in the exhibition New World Trade Center: Design Fall 2013–Spring 2014 Trend 105
Musician John Legend and photographer Ellen von Unwerth live in Winka-designed buildings with Winka-designed interiors. (As the blog Curbed NY would say, “Dubbel Trouble!”)
Proposals at his eponymous New York gallery. The project asked 60 architects to reenvision downtown New York in the wake of 9/11. Protetch, who now lives part-time in Santa Fe, first began exhibiting architecture as art at his original gallery in Washington, D.C., in 1978. Speaking about the 9/11 project 11 years later, he and Dubbeldam independently agree that launching an art show to propose new designs so soon after the attacks came with huge responsibility. New Yorkers were still raw with fear. However, the show became a gathering place for its residents to embrace optimism by deeply engaging with materializations of what could be created anew. The gallery was jammed from the moment it opened to its closing, Protetch recalls. Dubbeldam, then in her 30s, contributed to the exhibit a smart video game, in which players chose elements of a new downtown. A newly imagined lower Manhattan then shaped up, visibly, onscreen. Remembers Protetch, “What I was hoping to get out of the World Trade Center show would be something like a peak experience. I would identify the most brilliant new project that would stand out like a gleaming beacon. I didn’t get that. I got a younger person’s newer approach to dealing with the project, rather than making an iconic structure.” Dubbeldam’s perspective emerged from her own trauma, in having witnessed the planes hitting the buildings from her weekly Tuesday 8:00 a.m. meeting at the 497 Greenwich construction site. The experience vulcanized her belief that new architecture must leave the hero epoch behind. Instead, she stressed that being in harmony with the emotional situation of New York post-9/11 meant 106
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Client: Project: Location: Area: Completed:
BackGround: Floto + Warner Photography; Inset (left): B. Doherty/University of Pennsylvania School of Design; right: Paul Warchol Photography (2)
Winka Dubbeldam at PennDesign
Aida Salon Hair salon, facade, and garden design Upper East Side, NYC 2000 sf 2000
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Peter Schein
Client: Peter Schein Project: Residential Loft Location: West Soho, NYC Area: 3200 sf
Floto + Warner Photography (2)
inquiring of the collective to inform and shape new architecture. She didn’t see this as inconsistent with making daring spaces that employ green design. Protetch kept track of the young architect and today lauds her sublimity. He particularly praises one of her houses, located near New York State’s Croton reservoir. The dwelling sits on plinths constructed in place over the landscape’s natural boulders, evoking a musical interplay between raw nature outside, and the stylized interiors. “She’s a great architect,” Protetch says, “a good example of the intellectual bent in architecture and art.”
A Future Bogotá Contemplating Dubbeldam’s work, one is reminded of the line by Archimedes, “Give me a lever long enough . . . and I shall move the world.” She knows she won’t do it alone, however. For a project called Downtown Bogot á: My Ideal City, she has been tapped as lead architect and team-builder on
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a crowdfunding project to revive urban Bogotá, Colombia. The work derives from a Colombian developer’s recent success in sourcing $200 million from 3200 donors for a new downtown high-rise. The money raised would seem to reflect residents’ furious appetite to play a part as citizens in reshaping their city. To begin work, Dubbeldam drew in the New York media consultancy and “bespoke event” marketing firm PSFK (pronounced “piece of K”). The firm asked Bogotá residents to answer 3000 questions about their preferences on the website miciudadideal.com/en. As of August 2013, nearly 3500 suggestions had already been submitted. After speaking about My Ideal City at TEDGlobal on June 10 in Edinburgh, Scotland, Dubbeldam traveled to Berlin to mount representations of the project at the Architecture Forum Aedes. Conceptually, the project circles around certain “attractors” designed to make Bogotá a more livable city, which for Dubbeldam again returns to “bottom-up.”
“What I’m thinking is not very normal,” she allows. “You have to imagine downtown Bogotá as a version of downtown Los Angeles before SCI-Arc [the Southern California Institute of Architecture] moved in, but worse.” There are 33 colleges or universities in Bogotá, so the student population is expected to be at the front line of its downtown renewal, much in the way that SCI-Arc students helped revitalize their Los Angeles neighborhood. Some 1.7 million Colombians commute downtown on weekdays, but only 250,000 live there. In Latin America, the architect stresses, unstable currencies have engendered stable real estate markets, unlike in the United States, where so many bad mortgages burst the housing bubble. “Traditionally, the West thought it would save the Third World, but Latin America is fast growing a middle class that is educated and ready to build cities,” Dubbeldam says. “Attractors” are spark plugs for change that reveal the intrinsic site qualities that, if remediated or built upon, are generative— i.e., cause spin-off reactions. > Fall 2013–Spring 2014 Trend 107
V33 RESIDENTIAL BUILDING Client: Vestry Acquisitions, LLC Project: Vestry Street 9 residential units, 7 units with underground parking, including two 3-story townhouses and one 2-story penthouse Location: Tribeca, NYC Area: 32,364 sf
Floto + Warner photography (3)
ecause b ” ll e c n o is : per-luxe pr u s “ a o t e esn’t mind c o n d e t id n s e ie r t o 7 u 9 e hipster q 33? d her GW4 e h r t a t p u B m . o c d e V Snarkers toilet to b ecked out m h c o r f o h e n w li a of the view herman or Lady Gag dy S Was it Cin
Floto + Warner photography (3)
GW497 Client: Take One, LLC Project: New 11-story addition to existing warehouse: 25 residential lofts, art gallery, retail and gym/pool Location: West Soho, NYC Area: 77,000 sf Completion: 2004
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Tradition’s New Rules “It’s not that easy to fold a building,” Dubbeldam told a Syracuse University audience, remarking on the Tribeca project, with its wavy glass facade. Designing it forced her to examine the “essence” of what is known in architecture as the 110
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“curtain wall,” usually a nonstructural south-facing section of glass designed to facilitate a passive solar effect. Discussions with the contractor about the curtain wall standard led her to the view that “restrictions are rules. Every rule is a game. And every game has rules you can break. The moment you don’t standardize [a curtain wall], but just call it a glass wall, there are all kinds of opportunities.” The 497 Greenwich project was, in Dubbeldam’s design, an 11-story building wrapped around a preexisting six-story warehouse on the same site, the curtain wall reenvisioned to recreate a more dynamic relationship between inside and out—again, architecture transcending boundaries to create a performative experience. It stands to reason that Winka Dubbeldam is assertively not a contextualist; instead she hovers between a fixed point in the past and the new dynamic she’s creating for the present and future. For 33 Vestry Street, she envisioned the sevenunit building as a series of “stacked villas.” There, the relationship between private interior and public street magnetized. Dubbeldam used the front as a site of complex physical intersection between the lines of
the neighboring buildings that she “pulled over” the facade, and the south-facing back as the spot where cantilevered floor slabs are heated by, yes, a curtain wall that overlooks lush planted gardens. At the Greenwich building, Dubbeldam notes that residents can sit in their living rooms and be inside of rainstorms without getting wet. At Vestry Street, lying in bed, the “street sees you.” Sure, such upscale buildings elicit the NYC pun brigade: “Dubbel Dam! FloorPlan Porn!” Then comes the recitation of features: “Dornbracht faucets! iPod in-wall docking stations! Gas fireplaces in every unit!” And while every building has a LEED certification, Dubbeldam holds that
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Left: Floto + Warner photography; right: courtesy of archi-tecTonics
She cites redirecting the Bogotá River from a concrete bed to a more natural sluiceway. Using the dilapidated galerias (interior shopping corridors) of the historic La Candelaria neighborhood to envision new shopping squares absent any global big-box brands is another attractor in progress. Artists also live and work there. Twenty of them already inhabit houses that a Colombian art collector has purchased. They pay rent in art, and the public comes downtown for events that constellate around the budding colony. One doesn’t have to scratch deep to detect roots in architect Rem Koolhaas, an architect who has made the practice of architecture synonymous with the design of cities, and for whom Dubbeldam once worked. And if city planning comes with a big overlay of theory, so does Dubbeldam’s approach to code and regulations.
TOP left: Floto + Warner photography (2); drawing: courtesy of archi-tectonics
green design should be so elementary it doesn’t even need discussing. Thermostats in every New York apartment, dimmers in every stairwell, she urges. She allows that her work, as described in New York media, tends to evoke the inventory of luxury product catalogs. “I joke, ‘my architecture was just reduced to a bathtub,’” she says. “But architecture is not a floor plan or a finish. Architecture is space. To me it doesn’t make a difference whether people have money or not. I treat the project just the same. I expend the same effort on creating spatial experiences.” That she is bringing her aesthetic to a building in Santa Fe County has been confirmed. However, the project, for a digital film company, is in the early fundraising stage, and hence still hush-hush. But no matter where she works, her mindset and aesthetic remain the same, what French philosopher Gilles Deleuze described as articulating the need for the “right” problems. “Architects have to rethink urban issues, sustainable issues, architectural issues,” she asserts. “All the while we have to be great designers. For me that combination is really important. It’s our job to instigate things and get things moving.” R
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Gypsy Trail Residence Client: Michael H. Spain Type: Residence, Kent, NY Area: 3000 sf Completion: 2003
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Taking a Stand for Nature The Academy for the Love of Learning in Santa Fe has been awarded LEED® Gold established by the U.S. Green Building Council and verified by the Green Building Certification Institute (GBCI). LEED is the nation’s preeminent program for the design, construction and operation of high performance green buildings. “Our building takes a stand for a more respectful relationship with nature, a commitment that grows out of our own learning methodology—which calls for a heightened awareness of our impact on everything that surrounds us—and out of the legacy of Ernest Thompson Seton, the great American naturalist, upon whose former estate our campus stands.” states Aaron Stern, President and Founder, Academy for the Love of Learning, “Surrounded by climate-appropriate landscaping, sun-tracking solar panels, and geothermal wells, our building makes minimal use of nonrenewable resources. We are thrilled to be awarded Gold LEED certification. This was our goal from the beginning of the project and represents the value that we place on space, stillness, and the grounding that we believe we must hold at the center of all that we do, as an organization and as individuals.” The Academy for the Love of Learning achieved LEED certification for energy use, lighting, water and material use as well as incorporating a variety of other sustainable strategies. By using less energy and water, LEED certified buildings save money for families, businesses and taxpayers; reduce greenhouse gas emissions; and contribute to a healthier environment for residents, workers and the larger community.
z
“Buildings are a prime example of how human systems integrate with natural systems,” said Rick Fedrizzi, President, CEO & Founding Chair, U.S. Green Building Council. “The Academy for the Love of Learning efficiently uses our natural resources and makes an immediate, positive impact on our planet, which will tremendously benefit future generations to come.”
Kate Russell
For more information visit aloveoflearning.org
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of B eing L ight ness
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Light and Reflection in the Work of Larry Bell By Lyn Bleiler-strong | photos by kate russell
Larry Bell caught the Los Angeles art wave in the late 1950s and has been successfully navigating those often turbulent waters ever since. Instead of looking to art history for guidance like their New York counterparts, Bell and a handful of renegade Southern California artists found inspiration in their immediate surroundings—lackluster architecture, tacky billboards, and the prevalent hot-rod and surf cultures of their day. “There is a tendency out here to not care about art history because we’re a young city,” conceptual artist John Baldessari told filmmaker Morgan Neville in the 2008 film The Cool School: How L.A. Learned to Love Modern Art. “We don’t have to deal with our past because there is no past.” Employing nontraditional methods and materials—from assemblage of found objects to spray paint and techniques used in surf board construction—the L.A. artists were making a significant splash. And for Bell, this approach was a perfect fit. Bell was born in Chicago but raised in L.A.’s San Fernando Valley, in an environment virtually bereft of a modern art culture. At 17, a brief but pivotal stint at Chouinard Art Institute starting in 1957 would change the trajectory of his life. In Bell’s day, the school was known as “the mouse house” because of its reputation as a training ground for Walt Disney Studios. “I went off to art school with the intention of learning to be an animator,” Bell says. “But I liked the painting instructors better than the technical ones, so I changed my whole focus to fine art.” At Chouinard, Bell was impressed as much by the forward-thinking and unconventional lifestyles of his peers and instructors—especially early installation art pioneer Robert Irwin—as he was by their work. “Larry was thrilled by the racial and social mix of the student body, as was I,” classmate Dean Cushman recalls. “It was truly exciting to be around so many different lifestyles, opinions, and talents.” Mere miles from the white-bread values of the then-ultraconservative San Fernando Valley of his youth, 19-year-old Bell was suddenly immersed in a tidal wave of cultural upheaval. Initially influenced by the Abstract Expressionists, particularly Willem de Kooning, Bell began by painting on canvas but quickly became interested in hard-edged shapes. A part-time job at a framing shop further shifted his focus. Working around glass gave him the idea to stick a piece onto one of his canvases. “It looked great,” he says, “and I eventually decided that I was just making illustrations of volumes when what I really wanted to do was make the volumes themselves.” Thus began the creation of glass cubes and large glass installations—and the lifelong fascination with light, reflection, and surface that would define Bell’s career. As early as 1961, Bell’s work was shown at L.A.’s Huysman Gallery on La Cienega Boulevard, along with Ed Bereal, Joe Goode, and Ron Miyashiro, in a group exhibition titled War Babies: 1937–1961. One year later his first solo show opened across the
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Bell with two of his loves: his constant companion, Pinky, and one of several Borsalino fedoras that make up his collection. Long recognized for his sense of style and flair, which early on prompted buddy Billy Al Bengston to nickname him Dr. Lux, Bell is also a cigar connoisseur and collector of H.G. Wells memorabilia and 12-string guitars.
street at the legendary Ferus Gallery. Bell soon joined John Altoon, Billy Al Bengston, Robert Irwin, Ed Kienholz, Ed Moses, Ken Price, and others as the youngest member of Ferus’ stable of rock star–style artists. Their sweeping significance is illustrated in The Cool School documentary. Almost overnight, it seemed, L.A.’s once bland, conservative cultural landscape had transformed into a vital art scene thanks to Bell and his fellow artists. In 1964 gallery owner Sidney Janis noticed Bell’s work and included the glass cubes in a group show at his gallery in New York City. This, in turn, led to a sold-out solo show at the Pace Gallery in 1965 and a brief move to New York. But, missing friends and the West Coast lifestyle, Bell moved back to California in 1966, settling into a studio in what was then Venice’s low-rent artist district. In The Cool School documentary, art critic Peter Plagens recalls, “In those days in L.A., there were two kinds of artists: those of us who were teaching, who were basically wusses because we wanted a salary and security and stuff like that . . . and the real artists, guys who were living by their wits and renting storefronts down in Venice.” Curator Hal Glickman adds, “Wallace Berman was the one who said you could be an artist, a real artist, in Los Angeles, and that there you could live a life of poetic poverty.” 116
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As the 1960s morphed into the 1970s, Bell worked in the thick of an increasingly exciting time to be a young artist in L.A. Along with a range of cultural icons, he was chosen to be included on the legendary album cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, designed by Peter Blake. And Bell’s 1971 acting debut was documented for posterity in a lead role in one of Ed Ruscha’s obscure art films, Premium, a 24-minute, 16-mm romp featuring model Léon Bing, comedian Tommy Smothers, and designer Rudi Gernreich. But the art scene was also notoriously social, and the demands to see and be seen, however enjoyable, were taking their toll. Thinking a change of pace would benefit his art, in 1973 Bell followed longtime friend Ken Price to Taos, New Mexico. “I’m a party guy,” Bell says, with a boyish grin. “If I allow myself to be distracted by poker and hanging out at the bars, it breaks my concentration. In Taos there is much less temptation. It’s easier to control one’s distractions here.” In Taos Bell continued to gain international recognition for his early explorations in light and illusion, from glass cubes and large glass sculptural installations to applying similar surface techniques to paper and canvas in the Vapor Drawings and Mirage Paintings series. He even made a foray into furniture design in the early ’80s. Asked by longtime friend Frank Gehry to collaborate on a commission for Cleveland client Peter B. Lewis in the late ’90s, Bell developed a series of calligraphic stickmen, some of which have been transformed into large bronze figures he calls Sumer Figures. Like his furniture making, these stickmen seem to have no parallel in either Bell’s earlier work or his current explorations into light and surface, until one learns that he had a talent for drawing cartoonlike characters in high school. Still, the series Fractions (small collage compositions made from pieces of previous works on paper) that followed was in keeping with Bell’s earlier passion. As the late Douglas Kent Hall observes in an essay titled “Strange Days: Conversations with the Doctor,” “No matter what new material he explores, Bell keeps coming back to glass. He attempts to translate the qualities he achieves on glass to other surfaces, other materials. For example, his series of elegant vapor drawings on paper, their thin coatings identical to those he lays onto glass, assume a mysterious other-worldliness.” Although he was enamored with the life and career he had built in Taos, in 2004 Bell found he was once again missing his West Coast friends and lifestyle. By an odd twist of fate, the same studio he had back in the day was available for rent. The current owners had made improvements, and though the rent had increased a bit from the $75/month Bell once paid, he nonetheless jumped at the chance to lease it. Some artists might find the duality of keeping two studios unsettling, but for Bell the arrangement is grounding—and each location has its advantages. “Taos is much more livable than Venice, but Venice has a unique creative energy and magic,” he says. “In the studio I have there, I have been incredibly productive. It may have less to do with the places themselves than with my focusing
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Left: A light knot in progress inside Bell’s nine-ton thermal evaporative vacuum tank. Bell creates his light knots using a process similar to the thin-film deposition technique used to coat the insides of potato chip bags. Reflective metals and silicon monoxide are set on heating terminals, shown in top photo. The vaporized metals are then blown out into the vacuum, where they naturally float to adhere to the surface of the Mylar form hanging inside.
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Bell’s Taos studio occupies half of what was once a commercial laundry catering to hotels and restaurants—large enough to hold rows of his light knots, his vacuum tank, and assorted other laboratory-like equipment. The setup once inspired late writer/photographer Douglas Kent Hall to call it a “combination warehouse and space station,” while Taos author John Nichols has likened it to Willy Wonka’s chocolate factory.
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and not being distracted. Sometimes I just sit and look at stuff. Or just not think about working until the muse comes around and kicks me out of my chair.” But these days, whether in his Taos studio or Venice space, Bell says, “I’m there to work.” As for the commute, the 74-year-old Bell enjoys the road time as a chance to unplug, with his American bulldog, Pinky, in tow as copilot. “I turn off the radio, take out my hearing aids, and just drive. It is as close to a religious experience as I get—16 to 17 hours of meditation and random thoughts. I get some great ideas on the road, but I usually forget them,” he says, grinning. “The only distraction is my CB radio because when you are out there, the only important news is what’s happening a mile ahead of you.” It’s easy to trace the evolution of much of Bell’s work. Pieces are sequentially numbered, and materials from one series tend to show up differently configured in new work. Bell’s most recent series, Light Knots, are threedimensional kinetic forms made of Mylar film that Bell cuts, folds, and coats with vaporized metallic particles in a nine-ton vacuum tank in his Taos studio. “Light Knots came right out of these things,” Bell explains, gesturing toward a piece from his Mirage Works series. “Those have 50 or so layers of Mylar, but I began manipulating individual sheets making sculptural forms. [The light knots] just fell out of the work. In a strange way the work makes itself—and it is always honest. [A kernel of future art] is always locked inside the [present] work . . . you just somehow have to find it. But the next thing is always there.” As Bell points out in an interview for a recent show in Southern California, the light knots reward the patient viewer, revealing themselves over time as they revolve elegantly with the slightest air current and display infinite gradations of color, opacity, and reflection as well as myriad variations of form. Bell’s son, videographer Oliver Bell, documented the knots’ undisturbed reaction to natural light. “It was wonderful!” Bell enthuses. “Ollie set up his camera in the studio one evening and let it run all night. The next day he came running in and said, ‘You’ve got to see this.’ Holy cow! I hadn’t seen the light play on them that way. It was a gift from the work to me.” Over the years, writers and critics have lumped Bell’s work into various camps, calling him, among other things, a Perceptualist, Abstract Expressionist, and member of the Light and Space movement. “I’ve never really thought of myself as a Minimalist either, but I’ve been included in that, too,” he says. “I just appreciate the fact that anyone considers my work in any way. I have always just trusted the work. I have been included in a lot of different movements, and in most cases I never even thought about the intellect of a movement regarding what I am
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from Left: David Huguenin, Kate Russell, Alan Shaffer
doing. Everyone’s perception of a trip is different, and I see my trip in a different way than most people.” However Bell’s trip is perceived, his work continues to garner worldwide respect and is included in the Museum of Modern Art in New York, the Solomon R. Guggenheim Museum, the Albright-Knox Art Gallery in Buffalo, the Los Angeles County Museum of Art, the Art Institute of Chicago, the Massachusetts Institute for Technology, the Tate Modern Gallery in London, Museum Ludwig in Cologne, the Stedelijk Museum in Amsterdam, the Walker Art Center in Minneapolis, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art. The Taos studio brims with activity this year, as Bell’s long-standing personal assistant and loyal friend, Lois Rodin, juggles many calendars and time zones. Artwork from exhibits in France and Southern California are returning to Taos, while other shows are being organized. The London gallery White Cube Bermondsey will exhibit Bell’s work in mid-October. Obviously pleased, Bell says, “They want to show works on paper and my collage work, which no major gallery has ever been interested in before. Collages, vapor drawings, and the light knots.” Meanwhile, Bell and veteran studio assistant, artist Cody Riddle, are busy inventorying various glass pieces in storage to create a composition for a possible yearlong installation at the Chinati Foundation contemporary art museum in Marfa, Texas. “One thought being considered [for the Marfa show] is to tie the glass sculptures into the light knots in some manner because the knots reflect, absorb, and transmit light, just like the glass. But in the glass it is all based on right-angle relationships, whereas there are no right angles in the knots,” Bell explains. In the midst of yet another exciting run with the Light Knots series—and with national and international exhibitions on the calendar—Bell is still successfully riding that wave he caught decades ago in Los Angeles. When asked about highlights of the ride so far, he assumes a reflective tone. “My life is filled with highlights. Just getting up in the morning is a highlight. Having work where the energy is self-propagating, where the energy you put out creates even more energy, is a highlight, as is a good work run that lasts six to seven months. Stumbling over accidental things and finding that the thing I stumbled across is actually the next step is always exciting.” Pausing thoughtfully, Bell adds, “My trip has been full of these things.” R
Light Knot 7 (2012), polyester film vacuum-coated with aluminum and silicon monoxide, fishing line, and hardware, from the Weightless exhibition at Larry Bell Venice Studio Annex, 77 Market Street, Venice. Opposite: Leaning Room (2011), environmental light installation with leaning walls, black lights, and florescent paint, from the exhibition Larry Bell in Perspective, Carré d’Art, Musee d’Art Contemporain (Nimes, France).
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taos Pueblo is the only Native american community designated both a World Heritage site by UNEsCo and a National Historic Landmark.
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Michael DeYoung
On the Exotic Side Down a side street or along the Rio Grande Gorge, you will encounter the unusual and the unusually beautiful in Taos. Visit our national treasures that include the Río Grande del Norte National Monument, Taos Pueblo— the oldest continually inhabited Pueblo in the U.S.—and San Francisco de Asis Mission Church (one of Yahoo’s top places to see before you die). Taos offers visitors an opportunity to experience living historic “museums” that uphold authentic Indian and Hispanic cultures. Add to that a community that is deeply rooted in making all kinds of art, and you have an atmosphere that is unique as well as exotic. There’s always something free and easy to do, so check TAOS.org for what’s happening currently.
An Intensely Active Place The Town of Taos is a beehive of activity and one-of-a-kind events. Relaxed, yet full of local shops, art and conversations, Taos offers a range of eclectic and international food and shopping in and around the historic plaza.
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Taos adventures are infinite. Magnificent landscapes and natural surroundings invite an endless possibility of outdoor adventures—breathtaking moonlit snowshoeing and hiking picturesque mountain peaks to hot air ballooning in the Rio Grande Gorge and world-class downhill skiing.
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Martyrs Steakhouse
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expertly handcrafted, high-end, he recently saloon-style “belly up to” bar. In opened Martyrs addition to an impressive wine Steakhouse has (150 vintages) and beer selecraised the Northtion, the Honey Locust Bar ern New Mexico culinary bar offers an extensive specialty by adding a touch of class to cocktail menu, with names like Taos dining options. Located The Sidecar, the Cucumberin a masterfully renovated priBasil Gimlet, and the Speakeasy vate residence once occupied Manhattan, which hark back by a local blacksmith, this to the roaring ’20s. The Blackupscale eatery is within easy smith, a house favorite and nod walking distance from historic to the home’s original owner, Taos Plaza and directly across is a refreshing blend of fresh the street from the Taos Cenmint muddled with lime juice, ter for the Arts. Its name was vodka, and ginger beer, served derived from adjacent Martyrs in a chilled copper mug. A genLane, dating back to Govererous happy hour bar menu nor Bent’s reign. includes a reasonably priced A newly added private tempura shrimp salad, spinach patio out front has become a Caesar, truffle fries with béarpopular, dog-friendly space, naise sauce, and macaroni and while the main restaurant cheese made with bacon and and bar occupy a Craftslocal green chile. man-style adobe home built Behind a private door and in the teens or early ’20s. down a low-ceilinged stone Great attention has been staircase is a hallway leading paid to restoring historic feato yet another private door. tures, down to hardware and Behind it, a small, exclusive filament light fixtures. The wine bar with a decidedly front room, which maintains speakeasy, albeit upscale, vibe original dark wood columns will soon be available for small and architectural details, dinner parties and special is tastefully decorated with gatherings. An old blacksmith local artwork, including sevshop at the rear of the property eral exquisite etchings by has been carefully transformed the late Gene Kloss and a into yet another intimate commissioned painting of a Local braised lamb shank, served over warm garbanzos with space—this one large enough flapper by artist Ed Sandoval tomato velouté broth topped with currants and orange zest to accommodate modest-sized that echoes the style of the steakhouse. White linen tablecloths, crystal chandeliers, and lace wedding receptions and private parties. General Manager Rik Bowman says he looks forward to hosting wine- and food-tasting events curtains make for an unexpectedly elegant ambience. Chef Gabriel Farkash’s steak options encompass rib eye, New York, there, as well. Whether relaxing on the front patio, enjoying gracious fine dining filet mignon, porterhouse, and surf and turf, cooked to specification and embellished with a variety of house-made sauces. Other avail- in the main house, sipping signature drinks in the Honey Locust Bar, able entrées include several seafood choices, free-range chicken, and or holding a private party in one of the smaller rooms, you will find that braised lamb shank, as well as small-plate dishes and soups and salad Martyrs Steakhouse has added a touch of class to Taos’ restaurant scene. for lighter appetites. One of the home’s back rooms has been transformed into the Honey Daily: Lunch 11:30 a.m. to 2:30 p.m., happy hour 2:30 p.m. to Locust Bar, adorned with a tin panel ceiling, vintage lamps, and an 5 p.m., and dinner 5 p.m. till closing
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146 Paseo del Pueblo Norte, Taos 575-751-3020 | martyrs-steakhouse.com
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Clockwise from top left: Free-range Harissa chicken breast with Israeli couscous tabbouleh; Catch of the Day: Grilled lemon tarragon swordfish, with local seasonal veggies, marinated chanterelle mushrooms, and fingerling potatoes, topped with a balsamic reduction sauce; a view of the lovely patio at dusk; eight-ounce filet mignon, with local seasonal veggies and a cabernet demi sauce.
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PHOTOS by Stephen Lang
The Gorge Bar and Grill
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ocated at the corner of Paseo del Pueblo Sur and Kit Carson, The Gorge Bar & Grill’s upstairs location provides prime vistas of the historic Taos Plaza. Seasonal seating on an outdoor balcony above the treetops allows a bird’s-eye view of the activities below, while in colder months diners can sit by the fire and bask in the friendly indoor ambience. No doubt, the location is hard to beat. But it’s The Gorge’s eclectic menu and extensive beer, wine, and tequila bar that provide the main attractions for locals and out-of-towners alike. The always-friendly waitstaff is quick to point out that the establishment was named in honor of the spectacular Taos Gorge, saying that, in the context of the name at least, “it is a noun, not a verb!” But one look at the appetizer menu—with offerings like Loaded Gorge Nachos, chile-dusted sweet potato fries, and Ultimate Bison Sliders—suggests otherwise. This is comfort food designed to satisfy.
Incorporating locally grown ingredients whenever possible, Executive Chef Arik Zamora and his team offer a wide array of sandwiches and burgers served with apple cider slaw, cottage cheese, or beer-battered or sweet potato fries, plus several varieties of tacos—or, as they say, “the only food shaped like a smile.” Entrée choices include grilled Atlantic salmon (with calabacitas, herbed goat cheese, and chimichurri), barbecue pork ribs with house-made spicy barbecue sauce, and center-cut sirloin (with bacon-tomato “smashed” potatoes, green beans, peppercorn compound butter, and crispy onion strings). Gorge bar offerings (“from a tap, from a vessel, from a grape”) include an extensive wine and craft beer inventory, plus premium tequila and a pagelong list of specialty margaritas for “a hard-earned thirst.” All this plus two—count ’em, two—happy hours: Mondays through Fridays, 3 to 5:30 p.m. and again from 9 to 10 p.m. Mondays through Saturdays, 11 a.m. to 10 p.m. Sundays till 9 p.m. 103 East Plaza, Taos 575-758-8866 | thegorgebarandgrill.com
The Gorge’s executive chef, Arik Zamora, with general manager Lisa Manzutto-Zamora. Left: Grilled Atlantic salmon with calabacitas, chimichurri, and herbed goat cheese. Top: Keido’s BBQ Pork Ribs with chile-dusted sweet potato fries and apple-cider slaw. 126
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The
Passion of thePalate New Mexico’s Culinary Inspiration
kate russell credit
Dungeness crab and spring pea soup, parmesan and pepper flan, breakfast radishes, and aged balsamic caviar, prepared by Chef Martin Rios of Restaurant Martin, SantFe.
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Melting Pot Fuse
in
Traditions Old and New New Mexico’s Culinary Landscape
mere 30 years ago, when duck was still something you ate primarily à l’orange in high-end restaurants and a quesadilla was just the Mexican version of a toasted cheese sandwich, it hadn’t yet occurred to anyone that the tang of a killer chile sauce and the chewy goodness of a freshly made tortilla might marry well with the flavors and textures of highbrow fare. It wasn’t until 1987, when renowned restaurateur Mark Miller opened his landmark Santa Fe restaurant, Coyote Café, that the duck quesadilla was born, and along with it an entirely new genre of cooking: upscale Southwestern. The marriage seemed a groundbreaking one at the time, but it shouldn’t have. Fusion cuisine—the blending of cooking styles and ingredients from different countries and traditions—existed in the Southwest many centuries before it came to dominate the sophisticated culinary scene of the late-20th and early-21st centuries. When the first Spanish explorers arrived in the 1500s, bringing with them their staples of nuts, oils, cheeses, meats, and wine, they found the Native residents regularly giving thanks to the Creator for the gifts of corn, squash, and beans. Known as the Three Sisters, this triumvirate was notable not only for its nutritional balance, but also for its symbiotic ability to ensure a more successful crop when all three were planted together. Their flashier little sister, chile, was brought north from today’s Mexico via ancient trade routes to add its own nutritious and tongue-tingling punch to the mix, while other New World crops like tomatoes, potatoes, vanilla, avocados, and chocolate were making the rounds as well. Once fused, the Native and Spanish cooking traditions produced the familiar staples still found today on menus throughout the region, from green chile stew to carne adovada to chicken enchiladas. But there’s more to Southwest cuisine than the hardworking fare of centuries past, and nowhere is that more gratifyingly evident than in Northern New Mexico. While chefs the world over experiment with everything from molecular gastronomy to bacon-wrapped cheesecake in an attempt to invent the Next Big Thing, savvy cooks flock here to take advantage of our age-old assets. Inherent hospitality, an enduring reverence for the land and its bounty, and an atmosphere of discovery and invention all fuel the creative inspiration of those who have chosen to immerse themselves in heirloom vegetables, grass-fed local meats, and fruit from nearby orchards, far from the stress of overly competitive colleagues and snarky restaurant critics of major metropolitan areas. The resulting cuisine is innovative and exciting, not merely trendy. Chef Patrick Gharrity of La Casa Sena, for example, invigorates the classic Caesar 128
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Douglas Merriam
by Nancy Zimmerman
kate russell; opposite Douglas Merriam
Museum Hill Café’s Old World Sampler features the flavors that have been staples of Southwestern and Mexican cooking for centuries. Paired with one of their wine flights, it makes for a wonderful lunch, either before or after touring the museums.
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Chile has been the heart of New Mexico cuisine for centuries. From top chefs to home cooks, it’s still made much in the same way today, only food processors and blenders have replaced the mortar and pestle.
opportunities to broaden our palates and embrace the distinctions among them. Wine here has become a true passion, as evidenced by the increasing number of collectors and wine clubs, and a number of restaurants are adding wine bars and shops to their offerings. It all comes back to the food, of course; without the impetus of excellent chefs providing wine-worthy food, the passion would have withered on the vine. Responding to the burgeoning wine culture and abundance of local farms, ranches, and dairies contributing fresh, organic produce and meats, chefs here—some of them transplants from the world’s great restaurants, others home-grown—find Northern New Mexico, with its appealing mix of sophistication and lack of pretension, an ideal place to expand their repertoires while incorporating traditional foods and getting close to the earth that nurtures them. Let the world’s other culinary capitals contend with fleeting fads and attitude—here we’ll savor the work of talented chefs grounded in local lore and ingredients, preparing their dishes with loving attention to detail. And we’ll always give thanks for the Three Sisters, who started it all. R
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stephen lang
salad with a dressing of red chile and lime, and his pan-seared salmon filet sports a mocha crust in a mole sauce. Xavier Grenet of Ristra brightens black Mediterranean mussels with chipotle and mint, and the savory pork rack comes with a piñon sage brioche, a New Mexican twist on a French favorite. At Midtown Bistro, Angel Estrada introduces a Southwestern flair to dishes like his calamari with citrus chipotle aioli and habanero pineapple sauce. Today’s wine scene also owes a debt to history: New Mexico is the oldest commercial wine-growing region in the country, more than a century ahead of California. The Franciscan monks who accompanied the conquistadors to New Spain brought with them a vine known as the “mission grape” to supply themselves with sacramental wine, and the country’s first wine-growing region was born. The grapevines were planted initially in 1629 at an Indian pueblo south of present-day Socorro, and by 1800 cultivation had extended all along the Rio Grande. A long growing season made possible by the strong New Mexico sun made for ideal conditions, and the wine trade flourished until 1920, when vineyards succumbed to root rot and alkaline deposits caused by the Rio Grande’s frequent flooding. Wine production’s rebirth took root in 1978, when experienced vintners from as far away as France and Italy began to buy up prime land and lend their expertise to the growing and winemaking processes. As quality improved, the industry took hold; today some 44 wineries craft award-winning cabernet sauvignon, chardonnay, merlot, sauvignon blanc, pinot noir, and riesling, among other varieties, from Taos to Las Cruces. Sparkling wine produced by transplanted members of the Gruet family, renowned in France for their champagne, has become increasingly popular. It’s well known among chefs and wine connoisseurs that local foods taste best with locally produced wines; growing from the same soil, the plants take on the flavors of the earth to form a subtle but discernible complement that deepens their connection to one another. As more and more chefs avail themselves of locally sourced ingredients, New Mexico’s everimproving wines are getting another look from wine aficionados who once dismissed them. True oenophiles embrace good wine regardless of provenance, of course, and local connoisseurs are savvy enough about their choices to keep chefs and sommeliers on their toes, always in search of the next great find or the perfect vintage to complement that season’s menu. Given the range of cuisine here, there’s room for everything from fine French burgundys to a light Italian prosecco to a Spanish rioja and the subtle fruitiness of locally produced pinot noir. Chile-spiced dishes pair particularly well with fruity wines, which bring out the slightly sweet undertones of the chile—chile is a fruit, after all. Upand-coming vintages from South America, Portugal, Australia, and South Africa are showing up on high-end wine lists along with the usual French and Californian favorites, expanding our
New downtown tasting room NOW OPEN 308 Read St. - Santa Fe Monday-Saturday For information & sales 505-467-8892 • santafespirits.com
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When you make a reservation at Heritage Hotels & Resorts, you make a difference.
W hen you stay in any of our one-of-a-kind properties, you’ll encounter a distinctive story that celebrates New Mexico’s rich, multi-cultural legacy. It’s why you visit. It’s why you keep coming back. at’s why we donate a portion of every room night to culturally and artistically signiicant endeavors. is way, our inspiring traditions will always be here to enchant new visitors. And old friends. Photo by Jeff Caven: Woodcarver Luis Barela, grandson of “The Picasso of the West” Patrocinio Barela
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Established 1981
An Award-Winning Selection for Every Taste! Always Featuring...
Join us behind-the-scenes with a Wine Tasting every Saturday from 4-7 p.m.
• Over 3,500 Wines • 1,000 Beer Selections • 105 Single Malt Scotches • 390 Types of Vodka • 220 Varieties of Tequila • 157 Brands of Rum
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Fresh ideas are shaking up new cocktails
By Natalie Bovis, The Liquid Muse Photographs by Stephen Lang
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he City Different is small but mighty when it comes to fabulous food. Growing up in Santa Fe, then working as a culinary journalist, cocktail book author, and mixology consultant in far-flung cities before finally returning home, I’ve developed a deeper appreciation for what this town offers. Whether dining in a world-renowned restaurant or indulging in someone’s aunt’s doughy, hot-from-the-horno tortillas (smothered with melting butter and honey), a mouth-watering experience is always only steps, or moments, away. Being a creative haven, Santa Fe intertwines eating with art, and cooking is an art form unto itself. Three local chefs (out of 20 culled from Texas, Colorado, Arizona, Utah, and New Mexico) were nominated for James Beard’s 2013 Best Chef in the Southwest award. Not to mention that thousands of dollars’ worth of art graces the walls of our top eateries. Therefore, it stands to reason that what happens behind the bar should be artistically expressed as well. Mixology is defined as the “art and craft of the cocktail.” The international phenomenon of bartenders transformed into mixologists has swept major cities and is seeping into smaller towns with an appetite for gastronomy. The term mixology pertains to the study of classic cocktail recipes (some centuries old)—understanding distillation, using proper mixing techniques (shaking versus stirring), managing proportions/ balance/flavor, creating spirits and food pairings, using fresh ingredients (versus bottled mixes), and highlighting seasonal, local ingredients. In short, mixology is similar to what a chef studies but in liquid form. My family came to Santa Fe in 1974, when downtown was dotted with dingy bars serving the rough-and-tumble crowd. My parents owned Winona Trading Post, a store and gallery located across from what’s now El Paseo Bar & Grill. Before touristy stores took over Galisteo Street, Winona stood beside a vacant lot next to the Senate
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New Mexicans love their margaritas and can always find a perfectly made one at Burro Alley. Opposite: The Honey Locust Gin Fizz, made from lemon juice, rosemary-honey simple syrup, Fever Tree club soda, and gin, is just one of several signature cocktails at Martyrs Steakhouse in Taos.
Lounge, known for late night bar fights and exploits between locals and visitors rolling into the old bus station around the corner. I remember the stench of stale beer being washed off the sidewalk as I walked to the gallery after elementary school. Like most local kids, I later worked in restaurants and bars during school holidays. Back in the day, “mixology” would have been laughed at, beaten up, and kicked into the street. Fast-forward 30-plus years, and welltraveled visitors and locals expect the same
creature comforts they’ve encountered in other world capitals. When dining and drinking, they want high-quality, classic, fresh. Today our celebrated chefs pick through gleaming produce at the Santa Fe Farmers’ Market. Even some bartenders tap local farmers. Wine is still important, but the jet-set crowd wants the option of cocktails. Proper ones. Offering dashing drinks alongside fine fare is becoming more common in our little town. Santa Fe native Quinn Stephenson, Fall 2013–Spring 2014 Trend 135
Wine/Dine an owner and bar manager at Coyote Café, the Den, and Geronimo, serves an impressive spectacle of smoke, fire, and molecularinspired ingredients in his culinary cocktail programs. James Reis, bar manager at the Rosewood Inn of the Anasazi, has a fondness for the classic with creative twists in his cozy hotel bar. And Secreto Lounge’s bar manager, Chris Milligan, is passionate about all that is classic, home-infused, and plucked from the garden. Each of the aforementioned gentlemen has worked in the Santa Fe dining scene for more than a decade and has had a hand in upping the local imbibing scene. Milligan, for example, who moved here in 1996, notes that back then, people were into wine and margaritas. “It took a long time for the cocktail to be recognized in
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Santa Fe, but it was also a long time coming,” he says. “I started using fresh ingredients while working at a pool bar in 2009. I raided the kitchen for berries, apples, mangoes—whatever I could find. It kind of irritated the chef, but he saw what I was up to and thought it was pretty cool.” Milligan was lucky to soon land the job at Secreto, inside the Hotel St. Francis, whose owners were looking for that sort of thing. “I love cocktail history, and as with any profession, I want to know as much as I can about the ingredients and spirits that I am using, to create not just a drink but a drink experience.” Other places raising the bar include the Thunderbird Bar & Grill on the Plaza, where general manager Jamie Durfee has studied mixology for her cocktail program and impressive spirits selection. Maria’s New Mexican Kitchen is still the local margarita haven, with mind-boggling options. Meanwhile, Il Piatto, an acclaimed farmto-table Italian restaurant with only a wineand-beer license, is now including wine cocktails on its menu. And, it doesn’t stop there. In the last few years, several distilleries have operated in New Mexico. Santa Fe Spirits makes vodka, whiskey, gin, and brandy, and offers public tours and a tasting room. Don Quixote Distillery & Winery concocts a blue-corn version of both its vodka and bourbon, and uses local grapes and apples for its New Mexican brandy and calvados. KGB Spirits blends Taos Lightning whiskey (both bourbon and rye) with branch water (i.e., natural running water source) from Alcalde, then uniquely ages it in barrels exposed to all four seasons.
The art of mixology is about more than just shaking or stirring; it’s about creating surprising flavors and presenting them with flair, like Burro Alley’s mojito (far left), El Farol’s sangria, and Geronimo’s veggie martinis.
Their Vodka Viracocha and Hacienda Gin are made in copper pot stills imported from Bavaria and filtered through local healing crystals. (Jinja Bar & Bistro features an entire KGB signature cocktail list, and Santacafé has several KGB products on its menu.) Additionally, Bitter End Bitters is made in Santa Fe and distributed worldwide. Their exotic flavors feature culinary influences, such as Indian Curry, Jamaican Jerk, and Mexican Mole. While dozens of Santa Fe bartenders and consumers have attended my cocktail classes, I’ve also encountered some respected bartenders who say they aren’t “into” mixology (which is akin to chefs saying they are not “into” cuisine…). However, like all small towns, it sometimes takes a little longer for worldwide trends to catch on, even if they are culinary meccas. Santa Fe is still the Wild West, after all, and perhaps its rebellious spirit is what has sheltered its uniqueness, keeping it on the Top Ten lists of places to visit in the U.S.A. However, with the trend of chefs and bartenders working more closely together, the sharing of market-fresh and homemade ingredients is bound to catch on around town, continuing to solidify the Land of Enchantment as a destination for global foodies and cocktail aficionados. R
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food for thought
Eat or Die.
Top: Stephen Lang; Bottom: cynthia canyon
It’s a simple proclamation, one made famous by The Raw and the Cooked author Jim Harrison, who also said, “Eating well, however simply, is part of a life fully lived.” So who needs art? Food is where it’s at! Unless you believe, as I do, that food can also be art. Here in Santa Fe, we have plenty of access to all variations of food from around the world, prepared with the utmost skill and care by creative chefs who shun factory food and source as much as possible the freshest local meats, poultry, and produce. If I could be granted a couple of wishes, though? I would move to strike chile as the predominant characteristic of our culinary identity. I would imagine more street food, a high level of nightlife to support that food, and maybe even an incubator kitchen. I also imagine an economic engine that drives a healthy, nonseasonal economy less dependent on tourism, one that makes us a city with a growing population of millennials, alternative energy companies, and social media headquarters. While I’m at it, I would like to see a loosening of architectural covenants that result in more contemporary architecture, both to enliven the landscape and encourage more foot traffic. A light rail connecting the north and south sides of town, as well public transport from the ski area to town, would also be great—let’s make it harder to drive and easier and more enjoyable to use public and alternative forms of transportation. In my Fanta Se, bicycling would be the preferred mode of transportation. All these things would help our food scene to grow and prosper. That said, however, let me take this opportunity to also thank those who work in Santa Fe’s food industry for their dedication, tenacity, and hard work. — Ric Lum
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PHOTOS by Stephen Lang
Geronimo 724 Canyon Road, Santa Fe 505.982.1500 | geronimorestaurant.com
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eronimo is one of the most artisanal dining experiences to be had in Santa Fe. The key personnel form an impressive trio, with internationally lauded chef Eric Distefano heading up the kitchen, Chris Harvey guiding the flawless service, and Quinn Stephenson serving as lead sommelier. Experts agree that the restaurant rivals anything you’ll find in the dining capitals of the world, as attested to by its AAA FourDiamond and Mobil/Forbes Four-Star awards. Says Harvey, “For the past two decades that I have been running Geronimo, the philosophy of the restaurant has remained the same: the highest quality of food we can prepare, wonderful staff to serve it, and a beautiful building to serve it in. We spare no expense.” Housed in the historic Borrego House built in the mid1700s, the thick adobe walls and traditional kiva fireplaces
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Partners Chris Harvey, Eric Distefano, Lloyd Abrams, and Quinn Stephenson Opposite: Organic roasted beet salad
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Top Right and opposite: douglas merriam
Above Left: Honey “Mar-Tea-Ni” with chamomile foam Above right: Geronimo Mignardises, Pate de Fruit, toffee, truffles, macaroons, and brittle Opposite: Roasted Berkshire “Tomahawk” pork chop enhance the contemporary, romantic ambience. Geronimo is the ideal “gallery” for a foodie. If flavors were colors, you would want to prep your canvas with one of Stevenson’s signature aperitifs, such as the norteño margarita, a Hatch green chile–infused plata tequila shaken together with orange liqueur and fresh lime juice. Chef Eric Distefano’s dishes, which change seasonally, are as beautiful as any sculpture one might encounter along Canyon Road. His Maryland crab cakes transcend the ordinary via a caviar-dill sauce, braised leeks, and baby watercress salad. Peppery elk tenderloin with applewood-smoked bacon is his among his renowned signature dishes, accompanied by roasted-garlic, fork-mashed (is there really any other way?) potatoes, sugar snap peas, and a creamy brandiedmushroom sauce. He also offers several vegetarian options, such as a Japanese eggplant black-truffle ricotta lasagna that includes a sun-dried-tomato foam and roasted cippolini onions with thyme. The wine list reflects sommelier Stevenson’s deep understanding of how to pair wine with food, with each bottle individually selected to bring out the best in every dish. Throughout the meal, Harvey’s team of servers moves about the room with a quiet grace that resembles a well-choreographed dance, offering their expert suggestions with warmth and hospitality. Feel free to take some of your entrée home to leave room for dessert. You wouldn’t want to miss the chocolate hazelnut cake, featuring praline crunch, hazelnut mousse, caramel crème anglaise, and blood orange sauce. Equally tempting is the house-made ice cream and sorbet trio, with more than a dozen flavors to choose from. As you stroll out onto a darkened Canyon Road, take a deep breath of the fresh mountain air and ponder that memorable meal while the valet retrieves your car. You’ll probably be reliving it for a long time to come. Open nightly, 5:45 p.m. to 9:30 p.m.
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PHOTOS by Stephen Lang
The Compound
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ward-winning chef Mark Kiffin characterizes his food as “contemporary American cuisine,” but behind that straightforward term lies a world of culinary inspiration and knowledge. Blending Continental and Mediterranean dishes with New World influences, he relies on such flourishes as a perfectly reduced pan sauce or expertly blended seasonings to add panache and excitement to familiar-sounding fare. You’ll find salt-and-pepper shakers on your table, but you won’t need them to enhance the already complex flavors of dishes like organic Scottish loch duart salmon with cauliflower gratin and caper emulsion or Muscovuy dusk breast with heirloom white grits
with chorizo, garlic, and cumin. Hearty and satisfying without being heavy, with an unexpected subtlety and welcome balance of flavors and textures, this food is the real deal: elegant but unpretentious, worthy of the most special of occasions but accessible enough to make you want to become a regular here. Desserts continue in the same vein, with classic favorites like strawberry shortcake and pineapple upside-down cake elevated to gourmet territory by their impeccable execution and imaginative accompaniments— red-wine strawberry sauce and mint crème anglaise for the shortcake, Kaffir lime–coconut sorbet and rum caramel for the cake. Kiffin knows his wine, and the extensive menu of fine vintages reflects his expertise in pairing them with food to bring out the best in both. The knowledgeable wine steward and waitstaff can offer suggestions and explanations to ensure the perfect selection, while the dessert menu provides recommendations for postprandial wines that complement rather than compete with the sweet treats on offer. “You can’t change what’s in the bottle, but you can always control what goes on the plate,” he says, “so my seasonal menus are designed to work with the characteristics of the wines. For example, if you have a wine with apple undertones, you’ll want to make a sauce with hints of apple to accompany, say, a pork roast.” Two popular elements of the Compound experience are periodic wine dinners, featuring a menu designed to showcase a carefully curated selection of fine wines, and private dining opportunities. The latter are offered either in a secluded room overlooking the patios and a lush garden, or in the exhibition kitchen, which features a cozy kiva fireplace and a view of Chef Kiffin as he prepares your customized menu. Patio dining is available from May to early October, and the patios also can be booked for private parties, weddings, and corporate events. The Compound’s soothing, minimalist decor is a carryover from the days when it was a traditional fine-dining venue—one of the early landmarks on Canyon Road. When Kiffin took over in 2000,
653 Canyon Road, Santa Fe 505.982.4353 | compoundrestaurant.com
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Tuna tartare topped with Osetra caviar and preseved lemon. Right: Grilled natural reserve Blackfoot River Valley Angus beef tenderloin with cépe O’Brian potatoes and foie gras hollandaise. Opposite: Chef Mark Kiffin and the Alexander Girard–designed dining room.
he dispensed with the stuffy jacket-and-tie requirement and revamped the menu to bring the restaurant into the modern age, but deliberately retained and refined the romantic atmosphere created in 1967 by famed architect and interior designer Alexander Girard, whose clean take on Santa Fe style featured inlaid ceiling tiles and nichos in the “Mexicotton” pattern he made famous. White adobe walls, crisp white linens, and white candles all serve to underscore the graciousness of the architecture and allow the food to be the star of the show, as it well deserves to be. Lunch Mondays through Saturdays, noon to 2 p.m. Dinner nightly, 6 p.m. to closing Cocktails and bar menu nightly
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Saveur Bistro
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aveur Bistro owners Dee and Bernie Rusanowski have created a delightful restaurant in the heart of Santa Fe that caters perfectly to the eclectic tastes of its clientele. Here, carnivores and vegetarians alike will find a wide selection of beautifully prepared food, made from the freshest ingredients and served with a generous dollop of hospitality. Opened more than a decade ago at a prime spot on the corner of Montezuma and Cerrillos, Saveur has since become a beloved Santa Fe eatery. While it’s not unusual to see a line snaking out the door during the breakfast and lunch rush, don’t be deterred; it moves quickly, thanks to efficient teamwork among its staff. With its rustic tiled floors, earth-toned walls, gleaming copper pots, and brightly colored ceramics, the restaurant imparts a French country charm that Dee considers an extension of her home. While she spreads the love with her infectious enthusiasm for people, heartily greeting diners from her spot behind the register, Bernie does so with his food: a compendium of carefully crafted American and French-style breakfast and lunch items available for either dining in or taking away. Whether you crave a custom breakfast or a continental buffet of hand-squeezed juices and fruit-filled pastries, breakfast at Saveur is a special way to start the day. Lunch is always a destination, the perfect spot to bring family, friends, and colleagues to graze the buffet, enjoy a made-to-order sandwich, or indulge in a full gourmet meal—accompanied by a glass or two of well-priced French wine and a luscious dessert. And for a quick, delicious dinner, stop by at 3:30 p.m. to purchase the remaining fresh food. Reminiscent of fine European specialty shops, Saveur’s deli counter is lined with a wide selection of exotic cheeses and meats, as well as a variety of tempting desserts. The buffet, presided over by Bernie in his crisp white apron and toque, offers an array of vibrant vegetables, hot meat and pasta dishes, and three choices of soup. Entrees range from seafood crepes topped with cheese sauce to a perfectly sautéed steak. Devoted Francophiles, the Rusanowskis make yearly trips to France, where Bernie continues to hone his culinary skills. Whether he’s stuffing an avocado with delicately flavored shrimp salad, steaming perfectly seasoned, al dente green beans, or whipping up a crème brûlée, Bernie demonstrates the depth of his commitment to cooking what he calls “food the way it should be cooked, the food you remember from your childhood, the food that makes you feel good.” And ultimately, that’s what a meal at Saveur is about: feeling good. Step inside and you’re a stranger only until Dee kisses your cheek and gives you a hug. After that, you’re family. Open Mondays through Fridays, 7:45 a.m. to 3:45 p.m. Breakfast, lunch, and catering
204 Montezuma, Santa Fe | 505.989.4200 | saveur.com
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Items like stuffed avocados, baked salmon, and a variety of fresh vegetables liven up the buffet table. Opposite: Key lime pie with a cappuccino is a great way to end a meal—or enjoy with a friend during an afternoon break. Owners Dee and Bernie Rusanowski, whose love of good food and warm service shows through in everything they do.
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Ristra
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ings as the Black Mediterranean einvention is at Mussels, seasoned with an the heart of lastinnovative blending of chipoing success. This tle, mint, and aromatics. Here year Chef Xavier Grenet fuses passion with clasGrenet, Ristra’s reigning sic technique to create modern chef for more than 14 years, interpretations of iconically is expected to assume ownerFrench dishes. And as modern ship of the French restaurant diners have come to expect, the sometime in the fall of 2013. Southwestern landscape has In partnership with his wife, a presence on the plate, with Nathalie Bonnard, who will entrées inflected by the local terassume the front-of-house roir—the chiles, herbs, and prolaurels, Grenet looks forward duce that distinguish the high to infusing new energy into a desert palate of Santa Fe. Take favorite that has warmed the the piñon sage brioche pudding hearts of locals for more than that accompanies the Natural a decade. Pork Rack, a fine example of Santa Fe’s culinary landGrenet’s blending of French scape impresses with its heritage and local seasoning. scope and idiosyncratic variaOn entering Ristra, guests tion—from small, authentic are greeted by the gracetaquerias to boisterous New ful curves of the bar, where Mexican family-style fare a bistro-style menu features to elegant and poised fine small plates, cocktails, and dining. The latter is Ristra’s a curated selection of wines. lingua franca: classic French Here, choices range from the cuisine, thoughtfully plated defining Crispy Duck Leg Conand presented in a warm fit, nuanced New Mexican with environment accented by Cantal green creamer potatoes contemporary, contemplative and green peppercorn sauce, to artwork courtesy of the Zane the thoroughly American Ristra Bennett Gallery. burger. The burger’s popularity A French native, Grenet can be attributed to several learned the intricacies of Spice Duck Breast with turnip gratin, fried kale, and raspberry sauce. factors: a perfectly charbroiled his culinary heritage in the Harris Ranch Natural Angus time-honored tradition of patty, or such additions as blue or Emmental cheese or green chile. Ferrandi, the French School of Culinary Arts in Paris. Upon graduation, his education evolved under the tutelage of preeminent master But for Chef Grenet, the secret lies in the bun, an almost ciabatta-like chef Joël Robuchon. In the Paris kitchen of Robuchon’s Jamin, an roll from Los Angeles’ famed La Brea Bakery that is uniquely suited to partnering a juicy burger. exclusive, Michelin two-star restaurant, Grenet learned the essential In the future, Grenet looks forward to expanding the repelements of fine French dining. To create food at this level night after night demands “la rigueur,” a ertoire, developing more Southwestern regional dishes with a disciplined doctrine of organization, precision, and clarity of vision that classic French accent. It’s a recipe for success that sounds like both evolving and upholding the fine-dining tradition at Ristra. emphasizes the central ingredient of a dish absolutely. As Grenet puts it, that element—whether a filet of wild salmon or tenderloin of elk—must be “100 percent on the plate.” From there, the seasoning becomes the Lunch Tuesdays through Saturdays, 11:30 a.m. to 2:30 p.m. means through which that essential flavor is expressed. Grenet is careful Dinner daily, 5:30 p.m. to closing to elaborate that the seasoning must not overpower the dish, but rather 548 Agua Fria | 505.982.8608 | ristrasantafe.com enhance and complement its key flavors. At Ristra, this attention to detail is evidenced by such signature offer-
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Clockwise from top left: Entryway; Squash Blossom Tempura with Boursin cheese and red chile beurre blanc; tuna tartare with capers, avocado mousse, and fried plantain; Chef Xavier Grenet.
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315
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PHOTOS by Stephen Lang
Restaurant & Wine Bar
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hef and owner Louis Moskow is passionate—passionate about food, passionate about wine, and passionate about offering visitors to 315 Restaurant & Wine Bar nothing less than a superlative dining experience. Although young, Moskow has spent over a decade serving his classic French cuisine along the Old Santa Fe Trail, Chef/owner Louis Moskow thriving in a town that often struggles with a culinary conscience hard-pressed to move beyond the virtues of red versus green. When asked how he’s been able to achieve his success, whether it’s been about evolving or staying true to his ethic, Moskow looks away momentarily and then speaks with the guarded candor of a reclusive artist hesitant to divulge his secrets. “I think it’s been about evolving to stay true,” he says with a grin. If Moskow’s answers are elusive, his ability in the kitchen is anything but, and a menu full of savory dishes offers testament to his precision. Seared duck breast with leg confit potato galette; a monkfish vol-au-vent; and a grilled veal flank with coconut-milk pea flan, served with spring vegetables and morel mushroom sauce are just a few of the highlights. Daily specials
315 Old Santa Fe Trail, Santa Fe 505.986.9190 | 315santafe.com
Pan-roasted halibut with asparagus risotto and local baby seasonal vegetables. Opposite: Petit Plateau with oysters, shrimp, mussels, crab claws, and cocktail sauce
vary based on whatever seasonal options may inspire Moskow at the moment. His work ethic is tireless, and even after staying open late on a Friday night and charming the regulars who come to pay tribute, he’s up early the next morning for the farmers’ market, where he purchases all of his ingredients firsthand. “It’s about the technique,” he says, “adherence to the principles of French cooking. If you have the technique down, then you can do anything—you can improvise and be creative.” Moskow is also a wine enthusiast, and that’s putting it lightly. He personally sees to every drop poured, and specialty wine dinners featuring some of the most renowned wineries in the country are a regular occurrence at 315. “We pour the best glass of wine in town,” he says without hesitation. Moskow’s extensive collection features hundreds of selections from the finest vineyards in the world. Beyond wine, the bar at 315 is a mature drinker’s mecca. There’s Sazerac and absinthe, specialty margaritas, aged scotch and whiskey, and for beer drinkers, Stone IPA on tap. If you’re concerned 315 might be out of your price range, consider the bar menu, with five plates for just $35. Creole macaroni and cheese with andouille sausage, and baked oysters casino with bell-pepper herb butter are two of the current offerings. The atmosphere at 315 is secluded and private. Lush foliage separates the restaurant from the outside, and only candles reveal smiling faces over gorgeous plates of food on the back patio at night. Come to 315 and live in the world of Louis Moskow, if only for an evening. The experience is not one that will quickly fade—and will no doubt call you back. Sundays through Thursdays, 5 p.m. to 9 p.m. Fridays and Saturdays until 9:30 p.m.
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During the summer, guests can sip their cocktails in front of blooming cosmos on the patio. Fall 2013–Spring 2014 Trend 149
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Midtown Bistro
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hen a longtime Santa Fe restaurateur and a top chef teamed up last year, the results were what you have come to expect in a Santa Fe fine-dining experience—fresh local ingredients, inspired fusion flavors, and excellent service. But at Midtown Bistro there’s a delightfully unexpected twist: an airy, contemporary space with just the right touch of industrial chic. This off-the-beaten-path location also disproves any notion that a popular Santa Fe restaurant must occupy a cozy old adobe downtown. Midtown Bistro, off West San Mateo, sits happily in a light industrial area a stone’s throw from the railroad tracks. Edmund Catanach and chef Angel Estrada knew what they were doing when they repurposed a building that once housed a gallery and later a spa. With towering, angled, and softly muted skylights, the space has an open, loftlike feel. Yet its acoustically perfect ceiling makes it, perhaps surprisingly, among the most serene dining spots in town, especially considering its reservations-advised popularity after opening less than a year ago. What’s not surprising is the consistent top quality and care that goes into every element of the Midtown Bistro experience. Catanach brings to the venture 35 years of restaurant management, honing his skills at the Plaza Café, Rio Chama Steakhouse, and Santacafé, while Estrada’s impressive résumé includes 18 years at the venerable Santacafé, six of those as executive chef. At the Bistro, his culinary focus is sophisticated American with a Southwestern flair. The right-sized menu offers options for every taste—including vegetarian and gluten-free choices, and modifications available for special dietary needs—while remaining concise enough to allow for superb attention to every dish. Among the most popular at dinner: grilled New Zealand rack of lamb with minted couscous, red bell peppers, rainbow chard, and tamarind glaze; or Spanish goat cheese–stuffed, grilled
free-range chicken breast with two-cheese polenta cake. Pacific blue crab cakes with mixed greens, mango salsa, and lemon aioli are muchrequested at lunch, and the Bistro’s gluten-free crispy calamari adds a New Mexican twist to a popular starter, with chipotle aioli and habanero pineapple sauce. When the weather cools, Chef Estrada turns to the inspiration of the harvest for comforting, full-flavored dishes such as butternut squash and caramelized apple soup; a salad rich with beets and other root vegetables and sweet, ripe pears; and seasonal glazes and sauces including a savory celery root puree to accompany free-range chicken or Colorado beef. Year-round, the menu features creative variations on well-loved themes; the cut of beef might periodically change, for instance, while the chef’s dedication to brilliant culinary combinations, perfect preparation, and beautiful presentation does not. As winter deepens, watch for special threecourse wine-tasting dinners to warm the spirit and delight the tongue. An approachable, well-rounded wine list, by the glass or bottle, allows each dish to be perfectly paired. And on pleasant and mild days, Midtown Bistro’s lovely tucked-away patio provides an eminently agreeable outdoor setting for lunch or Sunday brunch. Lunch: Mondays through Saturdays, 11 a.m. to 2:30 p.m. Dinner: Mondays through Saturdays, 5 p.m. to 9 p.m. Sunday Brunch: 11 a.m. to 3 p.m.
901 West San Mateo, Santa Fe 505.820.3121 | midtownbistro.com
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Kate Russell
Clockwise from top left: Friends enjoy a midweek lunch; grilled bistro steak salad with living watercress, baby bok choy, cherry tomatoes, and soy-sesame vinaigrette; grilled New Zealand rack of lamb with minted couscous, red bell peppers, rainbow chard, and tamarind glaze; grilled Alaskan halibut with sweet corn risotto, calabacitas, and basil pesto. Opposite: Owner Edmund Catanach checks in with some diners. The airy, industrial-chic interior.
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Museum Hill Café
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s the weather cools, aspens turn golden, and the crowds of summer give way to a quieter, more personalized Santa Fe experience, Museum Hill Café turns to the delicious comfort of warm, full flavors matched with perfect wines by the bottle or glass. Owner Weldon Fulton, who describes the elegant hilltop restaurant as a “high-end experience at café prices,” introduces seasonal dishes to his yearround menu of inspired international cuisine. Celebrating the newly created Santa Fe Botanical Garden at Museum Hill, for example, the Café presents its Botanical Garden Salad, featuring hearty root vegetables in a lovely fresh salad mix. Also new for fall: fresh grilled salmon with a side of warm grilled asparagus and tomato salad. And of course, on a chilly day nothing compares with rich, creamy homemade soup—tomato/basil, cream of artichoke, and cream of mushroom among the chef’s specialties. The restaurant’s primary focus is lunch, including favorites like Tommy’s Rubicon— pastrami, sauerkraut, and grainy Dijon mustard on grilled rye, otherwise known as the “best pastrami sandwich in Santa Fe.” In addition, a live jazz dinner takes place one Friday evening each month, when the Santa Fe Music Collective Series presents music starting at 7 p.m. Every jazz dinner starts service at 5 p.m. with signature Southwest fusion dishes such as smoked duck flautas and Asian shrimp tacos. Moving deeper into winter, look for the restaurant to be transformed with wonderful holiday decorations by local floral designer Carole Langrall. With its matchless location amid world-class museums, the
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Museum Hill Café also takes culinary inspiration from current exhibitions. A special prix-fixe menu inspired by New World Cuisine: The Histories of Chocolate, Mate y Más continues through January at the Museum of International Folk Art next door. Starting with a sweet corn custard with rich poblano cream sauce, the three-course meal incorporates indigenous New World ingredients into each course. The entrée features pulled chicken breast mole, crisp red polenta, onion, tomato, and pinto beans with crema, sided with a salad of diced nopal (cactus), jalapeño, tomato, onion, garlic, and queso fresca. Finish with a dark chocolate truffle graham tart, and enjoy the perfect accompanying glass—the experience includes a generous pairing of Argentine or Spanish wine with each course. In fact, the Museum Hill Café is widely known for its extensive variety and quality of wines by the glass, Fulton notes. Having owned restaurants in California before settling in Santa Fe, Fulton infuses the Café experience with relaxed sophistication and a vision of making traditional dishes, including vegetarian and vegan options, fresh and new. Generous free parking and spectacular views add to the element of delightful ease, while an adventurous yet thoughtful approach to cuisine brings full, wellcomposed flavor to the forefront. “With our New Mexican dishes, I always want to taste the true flavors,” he observes. “The flavors are well balanced, not overpowered by heat.” Lunch daily. Closed Mondays until summer, June 1–Sept. 2. Santa Fe Music Collective Series: santafemusiccollective.org
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710 Camino Lejo, Santa Fe 505.984.8900 | museumhillcafe.net
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Clockwise from top left: An exceptional wine list that changes seasonally is available to pair with any menu selection; fresh grilled salmon salad on a bed of organic mixed greens with a pineapple-mango salsa; outdoor seating is available during the warm months.
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TerraCotta
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erraCotta Wine Bistro makes its presence felt as soon as you hit Johnson Street. A lush rose garden, blooming with color in the warm months, fronts the street alongside the building and leads guests into the charming patio entrance. It’s one of the warmest welcomes in Santa Fe. “That was our goal,” says co-owner Catherine O’Brien, sitting at an elegantly set table in the dining room with her longtime business partner, Glenda Griswold. The pair, who also own the catering company Peas ‘n’ Pod, have been working together for the last 17 years and decided now was the time to act on their dream of owning a full-scale restaurant. “We wanted to create a restaurant welcoming to both tourists and locals,” says Griswold, “a place to come in and eat great food, where people could be together, relax, and enjoy fine dining and classic wines at affordable prices in a warm atmosphere.” Open since the first week of August 2013, TerraCotta has already created a buzz with its globally inspired cuisine that features local, regional, and organic ingredients whenever possible. But for O’Brien and Griswold, “buying local” is more than a catch phrase. The ladies are serious about their desire to become a “community-sound” restaurant, a notion that Catherine defines as “keeping the creators of our local economy in business and growing.” Entrees, most priced under $20, change seasonally. Recent standouts include planked salmon brushed with whole-grain mustard and brown sugar; all-natural chicken breast dipped in toasted pecan butter; and grilled flank steak marinated in balsamic vinegar and coffee, served with sweet potato frites and farmers’ market vegetables. Lighter fare encompasses a wide selection of soups, salads, paninis, and shared plates, such as Chef Catie’s cheese board, featuring imported and domestic cheeses served with fresh sun-dried
fruits and nuts. A selection of sweet indulgences that the ladies aren’t afraid to call “totally decadent” rounds out the offerings. TerraCotta’s ambience is bright and inviting, with accents that include paintings by local artists and little potted succulents sitting atop brightly colored serape-style table runners. The total effect blends the elegance of fine dining with traditional Southwestern warmth. The staff are as welcoming and kind as the owners themselves. And even well-behaved canines are welcome to enjoy one of nicest patios in town while their owners sip a glass of wine or sample a microbrew while noshing on some bruschetta. Eight different bruschetta choices include artichoke, spinach, and ricotta, as well as a local goat cheese with roasted garlic and charred tomato. Whatever your appetite—a snack, lunch, or full dinner—stop by, stay, and feel the love. Hours: Mondays through Saturdays, 11 a.m. to 9 p.m. Sundays 3 p.m. to 8 p.m.
304 Johnson Street, Santa Fe 505.989.1166 | terracottawinebistro.com
Top: TerraCotta owners Glenda Griswold and Catherine O’Brien Left: Chef Catie’s cheese board Right: Mezze platter
Opposite: Wholegrain mustard and brown sugar–glazed planked salmon
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Pizzeria da Lino
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ith a light, tomatoey sauce and ultra-fresh toppings perched on a thin, crispy crust, the pizza that emerges from Pizzeria da Lino’s oven may be the most flavorful in town. Owner Lino Pertusini, originally from the Italian Lakes District, understands how to make Italian pizza that diners have likened to pies they’ve enjoyed in Venice. Pertusini credits his dough—made from old Neapolitan recipes—and an imported Mugnaini wood-burning brick oven, which he proudly dubs “the Ferrari of pizza ovens” for the authentic Italian pizza. A block from the Plaza, this rambling old adobe has been updated with Venetian plaster walls and skylights. In its cheerful rooms with black leather chairs and red-glass lighting fixtures, da Lino serves a wide selection of pizza as well as small rustic dishes, pastas, and salads. From the main room, you can watch chefs sear each pie to perfection. An inviting, tree-strewn patio with a fountain and heat lamps for chilly evenings often hosts local musicians, creating a convivial atmosphere. Recommended pizzas include the Campagnola, with roasted rosemary chicken and mushrooms, and the Quattro Staggioni, split into four “seasons” of artichokes, ham, mushrooms, and olives. Pertusini takes pride in his toppings, using local ingredients that include handpicked mountain fungi. The restaurant also creates an outstanding version of that venerable classic, the Pizza Margherita. Looking to relax with a crisp pinot grigio or a rich Chianti? The restaurant’s intimate bar serves a varied selection of Italian wines, with Peroni and other beer choices. Pertusini hopes to branch out into homebrewing beer in the future. To its dessert menu of such traditional temptations as tiramisu and cannoli, da Lino also serves several varieties of gelato made with fresh fruit and without artificial flavors. Lunch: Mondays through Fridays, starting at 11:30 a.m. Dinner: Nightly from 4 p.m.
Top: Pepperoni pizza fresh from the oven Bottom: Vegetarian, Margherita, and mushroom pies
204 N. Guadalupe, Santa Fe 505-982-8474 | pizzeriadalino.com
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Osteria d’Assisi
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sso buco: if you’ve ever sampled this comforting Italian specialty of veal shank braised to perfection, you understand how delectable Northern Italian cuisine can be. First prepared in the 19th century, it may have originally been cooked as a farmhouse dish or invented by an osteria, a neighborhood restaurant in Lombardy and usually garnished with a risotto. Santa Fe is fortunate to have its own such osteria, even named for its patron saint, Francis. Nestled into a district once known for its vices—several bordellos and a racetrack around the current USPS site—Osteria d’Assisi became instantly popular as an Italian-cuisine mainstay from its 1995 inception. Known for its gracious, professional service and sophisticated cuisine, the softly lit, romantic old home draws the likes of movie folk, politicians, and local celebrities, who appreciate the meticulous care taken with their meal as well as the extensive wine list and a full service bar. Distinguished chef Cristian Pontiggia and proprietor Lino Pertusini, both bred in the Lake Como region and drawn to Santa Fe’s mountainous charms, pride themselves on serving Italian food so authentic it’s been certified by Ciao Italia. “These are many family recipes that we prepare with a contemporary twist,” Pontiggia notes. Pertusini insists on freshness, with fish flown in daily and locally sourced meats, herbs, and produce. From a family of resort chefs, he’s been a prominent player in the New Mexico food scene for decades, previously owning the Palace Restaurant back in the old days. Dishes to savor? Pertusini recommends starting with the restaurant’s popular Blue Point oysters with a cucumber cocktail sauce appetizer or the burrata caprese, house made. For the main event, two fine options are the trout al cartoccio or the ravioli di vitello con funghi. For those dining gluten-free, Osteria prepares an excellent torta vegetariana al forno: baked vegetables dressed with a basil ricotta tomato sauce. For dessert try the flourless chocolate mousse dumpling or panna cotta, just several of the many sinful choices.
58 South Federal Place, Santa Fe 505.986.5858 | osteriadassisi.com
Lunch: Mondays through Saturdays, 11 a.m. to 2:30 p.m. Dinner: Nightly from 4 p.m.
Fresh halibut, with cream of basil, sweet Italian peppers, and pancetta dust. Top right: Prosciutto-wrapped Berkshire pork tenderloin, with crispy asparagus and fresh porcini mushrooms.
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Left to right: Pietro Pertucini, Lino Pertucini, Chef Cristian Pontiggia
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Vanessie of Santa Fe Inn and Restaurant
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menu. Crafty bartenders Lisa Leyba and Rich Coats have created or more than 30 years, Vanessie Santa Fe has been a a specialty drink menu with cocktails like the Hideko Ginger popular destination that keeps both locals and tourists Martini, named after director of operations Hideko Amasaki and coming back for more. Guests of the charming made with local Viracocha vodka; and the Doug Montgomery 18-room, boutique-style inn can enjoy decor based Manhattan, featuring Taos Lightning Rye. And even the spirits are in the lovely Santa Fe landscape, with rooms painted the colors important in these spirits—La Margarita Rosa tributes Vanessie’s of the desert and tastefully accented with authentic Southwestern infamous ghost, Rosa. touches. The onsite award-winning restaurant continues to delight, Just around the corner from the lounge, the main dining room with culinary choices such as Water, Earth, and Fire covering all beckons guests with its warmly lit ambience and art-adorned the essential elements. And then there’s the lounge, famous for walls. Ask to be seated on the Sunset Patio, where the last rays attracting performers from around the world, including renowned of sun create a dining experience you won’t soon forget. pianist Doug Montgomery, who plays five nights a week. Longtime chef Augustine “Tino” Bencomo has fashioned a Step inside the spacious lounge and you immediately know this menu filled with delicacies from land to sea, with some “fire” place is special. A grand piano sits at the center of the vast room, thrown in for added texture. Fish lovers will appreciate the mouthsurrounded by cabaret-style seats, each with a perfect view. The watering Chimayo chile–crusted diver sea scallops with cheddar walls display paintings by such acclaimed local artists as Carole cheese grits, while land lovers can enjoy 6- or 12-ounce filets LaRoche, Bill Worrell, and Poteet Victory, along with Coad Miller’s prepared in garlic whiskey au poivre or a port wine demi-glace. striking black-and-white photos of legendary past performances. Bencomo’s portions are generous but intelligently thought out, Venture further to the back bar, where dim, sensuous lighting leaving room for dessert without guilt. tempts you to pull up a leather stool and sample one of the famous With so many options and a lively nightly entertainment slate, it’s martinis while snacking on appetizers that include truffle blueno surprise that Vanessie remains a popular cheese fries and Maryland crab cakes. Santa Fe destination. Keep coming back and Service here is so friendly and personal 427 West Water Street, Santa Fe they may just name a drink after you! that patrons often know the names of the 505.982.9966 | vanessiesantafe.com staff, or soon learn them by glancing at the Dinner nightly, 5:30 to 9:30 p.m.
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Clockwise from top left: Director of Operations Hideko Amasaki, pianist Doug Montgomery, and Chef de Cuisine Augustine (Tino) Bencomo; lightly battered Sweet Fire Calamari; the Hideko Ginger Martini, made with local Viracocha vodka; delicate sea bass filet crusted in onion three ways on a bed of sweet corn risotto, covered in a creamy ancho chile sauce.
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Santa Fe Bar & Grill
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ew restaurants can boast a unique cut of steak. Yet at the Santa Fe Bar & Grill, a charbroiled sirloin is cut to resemble a baseball, one of several unique selections on the menu at this creative Southwestern-style eatery. Here diners take a journey through classic favorites interpreted with locally inflected flavors to arrive at an original Santa Fe destination that has garnered loyal patronage from both locals and travelers. For Santa Fe native Rob Day, a former chef and now restaurant entrepreneur, the key to a restaurant’s success is to “find your niche.” For Day, that niche is “a dining experience that incorporates New Mexico cuisine, original staples of Southwest cooking, and Latin American flavors with an international dining experience.” Since his childhood, spent watching his mother work in the small restaurant she owned on Canyon Road, to stints as the dining-room manager at La Fonda Hotel, to years abroad apprenticing and cooking in Italy and Switzerland, Day has been immersed in the world of food. Upon his return to Santa Fe from Europe, he served as dining director for the original Rancho Encantado Resort in Tesuque, then opened his first restaurant on San Francisco Street in 1984. Following the success of its sister restaurant, the San Francisco Street Bar & Grill, just off the Plaza, Day introduced the Santa Fe Bar & Grill in 2002. Strategically located in DeVargas Center, this restaurant provides a northside mainstay for residents from Las Campanas, Tesuque, and Los Alamos. Visitors enjoy the convenient access and ample parking. The restaurant interior is nothing short of epic. In contrast to the curving enclosures of traditional adobe architecture, the Santa Fe Bar & Grill features a grand dining room amplified by lofty ceilings. Day took his vision for the restaurant’s design to Santa Fe–based Plan A architect Stephen Samuelson. Together
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they’ve incorporated the expertise of local artists, from commissioned paintings celebrating essential culinary elements to hand-hewn metalwork framing the open kitchen and elegantly abstract, custom-designed lighting fixtures. An airy sense of space encourages visitors to take a breath, observe, exhale, then relax and enjoy the environment. This attention to detail extends directly to the very ingredients that grace the plate. Here, bistro classics are given a Southwestern spin, expressed by the addition of chile as well as sauces, dressings, and aiolis made from poblano and Chimayo red chiles, pine nuts, and Cotija cheese. For instance, the Cobb salad includes jicama and mild poblanos, while the Baseball Cut sirloin steak is adorned with poblano rajas, a succulent mild green chile precisely julienned for excellent flavor. The steak itself is locally sourced from Colorado’s Heritage Farms and Sterling Ranch. Beyond these favorites, the extensive menu features such familiar comfort foods as tortilla soup with roasted tomatoes, poblanos, corn, tortilla strips, and Cotija cheese—perfect on a brisk winter evening. And indeed, the Santa Fe Bar & Grill well-presents the best of both worlds: a touch of home with a uniquely Southwestern provenance. Open daily, 11 a.m. to 10 p.m.
187 Paseo de Peralta, Santa Fe 505.982.3033 | santafebargrill.com
One of Santa Fe Bar & Grill’s most popular entrées is the Grilled Gulf Prawn & Avocado Salad: marinated gulf prawns, avocado, mangos, and cherry tomatoes on mixed baby greens and romaine lettuce. Opposite: Owner Rob Day
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Tabla de los Santos
W
hen the owners of the St. Francis Hotel sought a buyer for Tabla de los Santos last year, they hoped to find someone who would walk in with a fresh vision while appreciating the minimalist decor that is the historic hotel’s signature. They found that person in veteran restaurateur Clay Bordan, who passed through the vaulted doorway, walked down the dimly lit hallway to the large dining room, and discovered the perfect space to create his “organically inspired fare with a twist,” as he calls it. Bordan and his wife, Julie, bought the restaurant in June 2013 and remain excited about sharing their passion for healthy food with Santa Fe gastronomes. With no plans to change the name or rustic decor, the couple had time to focus on creating the culinary magic Bordan is known for. Originally from the East Coast, Bordan developed his unique cooking style by experimenting with Chef Clay Bordan various local cuisines from the places he has lived and traveled to. His former restaurant, Clay’s La Jolla, in La Jolla, California, became the benchmark for a new movement known as “California artisan cuisine,” in which he utilized local organic produce and wild seafood in a synergistic way that combines the love of good food with an element of visual beauty. From the elegant, neutral palette of its interior dining area, complete with traditional New Mexican carved wooden tables and
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chairs, to the outside patio with its “secret garden” feel, Tabla de los Santos epitomizes that soul-soothing, Old World sensibility that Santa Fe is famous for. The minimalism works well with Bordan’s idea of creating dishes with aesthetic appeal. Here, you’ll find color only on your plate, not the walls, he says. Colorful, flavorful dishes include roasted Hatch green chile– and pancetta– wrapped tiger prawns with goat cheese polenta and passion fruit barbecue sauce, and grilled bavette steak with green chile potato gratin and broccoli rabe enhanced with a portreduced chile demi-glace. Explosive shades like lime green, magenta, and tangerine often show up in the garnishes, adding still more excitement to the palette. Vegetarians take note: a full meat-free menu starts with an array of tasty appetizers and ends with tempting desserts like tres leches cake and a flourless almond torte, all made inhouse. The full bar’s specialty cocktails are a local legend, and your server can advise you about the ideal wine pairing to complete your culinary canvas. Bordan’s commitment to providing an organic, first-rate experience has garnered positive feedback. Says Bordan, “My mission is to provide beautiful, healthy food and great service—all at an affordable price. Processed food has no home here. We want you to taste the love!” Breakfast and lunch daily: 7 a.m. to 2 p.m. Dinner daily: 5:30 pm to 10 p.m. Last seating 9 p.m.
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210 Don Gaspar Avenue, Santa Fe 505.992.6354 | tablasantafe.com Clockwise from top left: Bevette Steak, with green chile potato gratin, broccoli rabe, reduced port wine and red chile demi glace; pan-seared sea bass, with wild lavender honey roasted fingerling potatoes, French green beans, spring onion, mango salsa, micro beet flowers, and celery jus; just one of many great wine choices; pan-seared sea scallops, market white truffle creamed corn and kale, Meyer lemon risotto, chipotle-infused salad, and preserved Meyer lemon.
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El Farol
T
he word farol can be interpreted in myriad ways—light, lantern, lighthouse—meanings that orbit a central theme of illumination. The warm light that is the El Farol restaurant has been a landmark beacon on Canyon Road since 1968. Prior to that, the location was home to La Cantina del Cañon, which had drawn visitors since 1835. El Farol was not always the tapas mecca we cherish today. When owner David Salazar purchased the restaurant in 1985, he was inspired to bring to the Southwest the kind of innovative Spanish tapas cuisine he’d discovered on the plate at restaurants like the historic Ballroom in New York City. Santa Fe’s cultural history resonates with Spanish cuisine like no other American city’s, as its relationship with Spain dates back hundreds of years. Once a Spanish colony, the city was founded by, and continues to be home to, direct descendants from the Old World. According to Salazar, the Spanish legacy can be heard in the unique New Mexican norteño dialect, which still uses archaic words no longer in use in contemporary Spain, though Spaniards recognize them from old texts. But the true common language here is food. El Farol’s menu is rooted in the classics, such as the paella Valencia, which features Spanish saffron rice with shellfish, chorizo, and chicken served in a traditional cazuela at the table. Additional entrees include a 12-ounce Angus rib-eye steak and salmón a la plancha, p repared with Spanish Manchego cheese, polenta, saffron jus, and Catalan spinach. However, El Farol is best known for its stellar selection of small plates, or tapas. Ranging from cool options, tapas frias, to hot, tapas caliente, the presentation of colors, ingredients, and flavors is breathtaking. There’s something here for every taste, from longstanding favorites like gambas al ajillo (spicy sautéed garlic shrimp with lime and Madeira) and jamón serrano (mountain-cured Spanish ham with mustard), to innovations like codorniz (grilled quail with espresso barbecue sauce) and aguacate (crispy fried avocado with salsa cruda and lime cream). As Salazar proudly proclaims, this is passionate food that breaks the ice—equally effective for a potential romance or business venture.
El Farol is proud to offer flamenco dinner shows each Saturday night, featuring performers from the National Institute of Flamenco.
When people share food from the same plate, they share a deeply human moment that brings personalities and palates together. While tapas in Spain are traditionally enjoyed as an appetizer, Salazar and chef Ever Y. Paz have introduced a presentational style in which small plates comprise the meal. Multiple smaller dishes provide a comfortable medium for experimentation—diners order a few plates with familiar ingredients and combinations, then branch out to intriguing new flavors. “Come for the wonderful food, stay for the exciting music and live entertainment.” This is Salazar’s mantra for El Farol, and throughout his tenure he has endeavored to create a cultural centerpiece that begins with the flavors of Spain and extends to its music and dance. With the debut of the new back patio, El Farol features a spectacular platform for presenting the passionate dance of Yjastros: The American Flamenco Repertory Company. Salazar calls this his “cafe society,” and has extended the entertainment to nightly offerings of Latin, world music, jazz, blues jams, R&B, gospel, and soul. Ultimately he would like to move this cultural experience from El Farol to Spain itself, by creating small private tours of Spanish vineyards, restaurants, and flamenco hubs. More than just a restaurant, El Farol is truly an experience, a destination, an entire night’s celebration, where the key ingredient of inspiration is pasión. Open Mondays through Saturdays, 11 a.m. to midnight Sundays till 11 p.m.
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Paella, with saffron rice, scallops, shrimp, mussels, clams, chorizo, and chicken
808 Canyon Road, Santa Fe 505.983.9912 | elfarolsf.com
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The Teahouse
The Teahouse patio will quickly became your favorite place to relax with a paper, a cappuccino, and a warm scone.
F
resh from an intensive period of culinary training in Italy, Richard Freedman opened The Teahouse’s doors in November 2012. He was ready to create excellence. His maxim, and that of partners Jake and Sandra Mendel and the entire Teahouse staff: “Everything we serve has to be delicious and at a good value.” Or, as a quote by Hindu teacher Neem Karoli Baba on a wooden sign above the door puts it, “Love, serve, and feed the people.” In a century-old Canyon Road adobe with whitewashed walls, The Teahouse serves breakfast, lunch, and dinner daily. The softly shaded patio provides an idyllic setting in which to enjoy the Santa Fe’s wonderful weather. And when cooler seasons pull us indoors, the restaurant’s delicately lit dining room, trimmed in chocolate-brown accents, offers a comfortable, romantic ambience recalling the hearth and hearts of an earlier century. Set among the renowned galleries that have become institutions, the dining spot reflects the owner’s belief that perfect food preparation is also an art. Indeed, Teahouse chefs are masters of their canvas. The breakfast menu, for example, boasts six variations on poached eggs. A case of fresh house-made pastries also promises mouthwatering delights. Paired with one of the dozens of teas in lemon-yellow tins lining the walls near the register, these tantalizing treats transform a wake-up cup into the perfect start to any day. For lunch or dinner, The Teahouse’s thoughtful wine and beer
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list offers such possibilities as a glass of San Angelo pinot grigio, Tenuta di Arceno chianti, or a Belgian beer. These are best enjoyed while nibbling on antipasti, such as a delicate burrata with tastes of the Italian Apulia region in its creamy decadence, drizzled in basil vinaigrette on a bed of heirloom tomato. Or indulging in one of the paninis—wild mushroom, with porcini, crimini, balsamic, and fontina; or the Cubano, featuring roast pork, ham, Swiss cheese, pickles, and mustard. Entrees include traditional lasagna Bolognese, made with house-made tomato sauce, roasted lamb, pork, veal, and layers of silky béchamel. Of the kitchen’s faithfulness to traditional recipes, Freedman declares, “There are some dishes where the authentic versions are just too good to change.” The Teahouse is one place not to skip desert. Complete your meal with a tiramisu, panna cotta, or decadent Italian chocolate cake rich with imported Pernigotti chocolate. Then finish your evening—and for a romantic dinner, impress and spoil your companion—with a glass of Lillet or the 1982 vintage reserve Pu-Erh tea, well worth the price for the excellence that comes only with age. Whatever your selections, including delicious vegetarian and gluten-free options, the experience will leave you blissfully content and anticipating your return. Daily 9 a.m. to 9 p.m. Free parking available on East Alameda, a half-block from The Teahouse
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821 Canyon Road, Santa Fe 505.992.0972 | teahousesantafe.com
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The fresh and colorful burrata salad is the ideal starter for the lasagna Bolognese. Top left: It might be impossible to resist the decadent panna cotta. Right: Owner Richard Freedman offers his guests a wide variety of exceptional teas from China, India, Japan, and Sri Lanka, as well as custom blends.
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Body
T
he Body complex at the corner of Cordova Road and Don Diego is an extraordinary destination for health and well-being in the heart of Santa Fe. Artist, bodywork practitioner, chef, and entrepreneur Lorin Parrish dreamed up this apex of things good for you “to create a new paradigm in business by establishing a place for people from all walks of life to gather and share in a diverse community center where everyone wins.” In addition to finding spa services, yoga classes, fitness training, childcare, and fashionable boutique shopping all in one beautifully designed building, visitors can also enjoy an exquisitely prepared meal for carryout or dining in. What started as a juice bar ten years ago is now an airy, Zen-like space devoted to food that satisfies on the fork and makes your body feel well after your meal is a memory. A full lunch and dinner menu are augmented by delectable desserts and a full range of juices and smoothies designed to rejuvenate, hydrate, and even detoxify. While many restaurants find it a challenge to stay current with their diners’ ever-evolving culinary requirements and philosophies, Parrish has long been dedicated to providing gluten-free and vegan dishes. Lorin’s personal menu favorite, the raw enchilada, is a spectacular example of Body Café’s sumptuous, savory fare that is fresh and delectable. With its ingredients of green cabbage, red bell pepper, corn, red onion, chile colorado sauce, and nut sour cream in a bellpepper wrap, this is simply a delicious dish. The fact that it’s vegan, while central to the restaurant’s food ethic, is almost beside the point. Although the menu is designed to be inclusive, Lorin’s own culinary philosophy is primarily vegan, which she promotes with vegan dishes that are so irresistible that protein options become less important or interesting. But ultimately she is dedicated to creating a communitycentered café where families and friends join each other to share healthy meals, satisfying most palates and dietary preferences. Those who prefer paleo will definitely want to try the gluten-free lamb burger. Made from grass-fed lamb sourced from Galisteo’s
333 Cordova Road, Santa Fe 505-986-1111 | bodyofsantafe.com/body_cafe.html
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Talus Wind Ranch, it comes with a choice of curried fries or salad. Another tasty option is the collard green burrito, both vegan and gluten-free, a distinctively rich reinterpretation of a Southwestern icon served beside organic greens. These days it’s hard to keep track of every last study and new finding about living a healthy, vibrant life. The Body Café eases that burden by being a trusted educator and purveyor of healthy options that make your body feel well. Parrish takes this commitment to heart, combining common sense, high standards, and a tireless devotion to locating the cleanest, healthiest ingredients, such as the highest grade cold-pressed Greek olive oil, natural nonoxidized nuts, wild-caught and sustainably harvested fish—all of which are locally sourced whenever possible. Open daily for counter and full service
Three-Dip Sampler. Left: Owner Lorin Parrish.
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The vegan, gluten-free collard green burrito: brown rice, nut cheese, pumpkin seeds, flax seeds, cilantro, salsa fresca, sun dried tomatoes, sea salt, garlic, tamari, olive oil, served with organic greens Sunrise juice blend: orange, apple, carrot, beet, lemon and ginger juice
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Burro Alley Café
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n years gone by, little burros laden with stacks of firewood for sale were trundled into the alley off San Francisco Street to stand patiently. It was the place to go in Old Santa Fe when the first chill of autumn brightened the air. It was where you could find warmth, a little rest and drink, and perhaps a touch of decadence in the days when a brothel or two also called the alley home. With the newly reopened Burro Alley Café, this charming downtown alleyway is once again a spot for replenishing the spirit and comforting the soul with food and drink—now in Santa Fe–European bistro style. All spring and summer and into Northern New Mexico’s gorgeous fall, Burro Alley Café’s outdoor tables create an amiable setting for breakfast—till noon every day—lunch and dinner, cocktails, or simply exquisite pastries and fresh coffee or tea. Inside, the cozy venue is welcoming and warm like Old Santa Fe itself, yet with a refined delivery and culinary quality reflecting the global destination Santa Fe has become. Burro Alley’s menu mirrors its easy ambience: down-to-earth and comfortable, with a nod to both Old and New Worlds. Among Burro favorites from the French bistro side of the mix: steak frites, an eightounce grass-fed sirloin with peppered demi-glace and hand-cut fries. Southwest-inspired dishes include enchiladas made with organic chicken and a choice of red or green chile with pinto beans and cilantro rice; or steak fillet tacos with caramelized onions served with cilantro rice, housemade guacamole, salsa, and sour cream. Sandwiches range from the ever-popular Reuben on rye to the sweettart salmon banh mi with spicy slaw, pickled onions, and Sriracha mayo on a fresh baguette. Look for seasonal specials as summer slips away and harvest time brings bountiful inspiration for cool-weather fare. Yet even on Burro Alley, some things stay the same. Year-round, such starters as truffle fries—hand-cut russets, Parmesan, savory herbs, and truffle oil—get a meal going right. For a warm-cool combination, fennel fritti pairs tempura-fried fennel with yogurt mint sauce. In another nod to its Burro Alley roots, the Café now includes a lounge with full liquor license and a special menu, as well as signature
207 W. San Francisco Street, Santa Fe 505.982.0601 | burroalleycafe.com
cocktails such as the Mexican Geisha—an inspired mix of tequila reposado, TY KU citrus liqueur, pineapple juice, and fresh-squeezed lime juice layered with pricklypear purée. Another original, the Bundinha, is a twist on both the Caipirinha and mojito: fresh lime and mint muddled with a sugar cube and shaken with Cachaça, absinthe, and ice. Service at Burro Alley Café is friendly and attentive, harking back to a time when travelers and town residents alike were drawn to the narrow lane for sustenance and welcoming smiles, not to mention firewood for the hearth. Visitors and locals still come. They sit outside when the weather is gracious or dine and drink companionably inside. Either way, the sign of the little donkey still promises—and delivers— a memorable time. Open for breakfast, lunch, and dinner 170
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The Mezze plate comes with hummus, falafel, olives, pita bread, and a Greek salad. Opposite: Happy customers enjoy such tantalizing mixed drinks as the Mexican Geisha, shown in photo top left.
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Dr. Field Goods Kitchen to control the quality and variation of his cuts of meat. In fact, plans are in the works to open a custom butchery, as well as a bakery and Jewish-style deli. The Doctor’s standouts include woodfired pizzas that can rival those of southern Italy and a steak au poivre sandwich with roasted broccoli, horseradish cream, and a brandied green peppercorn dipping sauce. A more unusual selection, the Goat Torta Sandwich, consists of barbacoa with refried beans, fresh apple cabbage, and a habanero hot sauce, topped with a homemade goat cheese spread. Gerwin’s food philosophy extends to his liquid offerings as well. Beverages are fresh, custom-crafted, and attended to with the same love and passion Josh
extends to his cuisine. Instead of Sprite, sample a Funaro soda: fresh orange juice, simple syrup, muddled ginger, and soda water. Or to take the edge off, try the Red Dawn sake cocktail of muddled Amarena cherries (preserved with real sugar), lemon, and sake. Unusual beer and wine options are also available. For a healthy lunch or dinner, Dr. Field Goods delivers the ingredients, techniques, and flare that create a lasting impression. Daily 11 a.m. to 9 p.m. 2860 Cerrillos Road, Suite A1 505-471-0043 | drfieldgoods.com
J
osh Gerwin, owner/chef of Dr. Field Goods Kitchen, has a certain savoir faire for food. His first restaurant job working the deli counter at a local Blimpie as a teen ignited what would become a full-blown passion. He began his training at the New England Culinary Academy, interned in renowned Napa Valley restaurants, and cheffed at Casa Vieja in Corrales. This April, Gerwin came full circle and opened the doors to Dr. Field Goods Kitchen in the very spot that once housed the Blimpie at which he worked 20 years ago. In just a short time, this 50-seat “New Mexico fusion” restaurant has garnered a steady word of mouth following; it stays consistently busy, sometimes serving 250 meals a day. Gerwin is committed to local and sustainable practices, offering healthy, farmto-table items with all proteins and most produce sourced from New Mexican providers. He has even brought in whole animals and performed his own butchery in-house, a practice that allows him 172
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Pizza Margherita topped with Khalsa greenhouse tomatoes and homemade mozzarella fresh from the wood-burning oven. Top left: Chef Josh Gerwin.
LaMont’s Wild West Buffalo burger with green chile, bacon, mushrooms, and cheese on homemade potato bread, with a side salad of local greens and vegetables.
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Now the taste of authentic Casa Chimayo cuisine is steps away from the Santa Fe Plaza. Smell the aroma entice your senses as you enter our Casa. Recently featured on the Food Network’s “Diner’s, Drive-In’s, and Dives”
Open 7 days a week, closed for lunch on Tuesday 409 West Water Street | (505) 428-0391 | casachimayosantafe.com trendmagazineglobal.com
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Mangiamo Pronto!
M
angiamo Pronto! is one of the most authentic Italian experiences in Santa Fe. Located on the corner of Old Santa Fe Trail and Alameda Street, across from the Inn at Loretto, the café is the spitting image of an Italian espresso bar, and its shady front patio is reminiscent of European sidewalk cafés. There’s even a gelateria. Owned and operated by the Holland family, who also runs a Mangiamo Pronto! (“let’s eat now!”) in Downtown Denver, food at both restaurants reflects the menu established by the restaurant’s original chef, the awardwinning Enrique Guerrero, a veteran of La Casa Sena and the world-renowned Galisteo Inn. Offering breakfast, lunch, and dinner daily, a few choice items include frittatas for breakfast, the spectrum of panini-pasta-pizza at lunch and dinner, and the Tuscan meatloaf. The best-kept secret at Mangiamo is the bruschetta and wine deal ($6.50). “I believe in the bruschetta, and we offer a variety,” says owner-founder Fritz Holland. Selections range from anchovy with fresh mozzarella and tomato, to salmon or sardine with Boursin cheese, red onions, sun-dried tomatoes, and capers. All are best enjoyed with a glass of vino and a relaxing chair on the patio—the happiest of hours. For a fully immersive experience, Holland’s wife, Kathy, who is fluent in Italian, organizes frequent conversational get-togethers for guests to practice their Italian. And if you feel a little footsore from your downtown peregrinations, Fritz will be happy to rent you an Italian-style scooter to continue your journey!
Italian sausage lasagna with homemade Italian sausage, mushrooms, ricotta, smoked mozzarella, and classic red sauce
Daily 7:30 a.m. to closing. Sunday till 6 p.m.
228 Old Santa Fe Trail, Santa Fe 505-989-1904 | mangiamopronto.com
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Santa Fe School of Cooking S
tudents arrive from around the world to attend classes at the Santa Fe School of Cooking & Market. “I’d say our students are 90 percent tourists,” says director Nicole Curtis Ammerman of the city’s premier culinary school. Despite its global reach, the school’s famed curricula, founded on the culinary expertise of its lauded slate of chef-instructors, are firmly rooted in the traditions of its hometown. “We celebrate the culture of Santa Fe and the Southwest through its food,” says school founder Susan Curtis. “Our whole objective is to mirror what’s going on in Santa Fe, past and present.” In food terms? “There’s chile in just about everything we do,” she acknowledges. The school’s classes are ranked No. 3 among 64 Santa Fe activities by the online website TripAdvisor.com. But here’s something many travelers don’t know: the Santa Fe School of Cooking is an increasingly favored spot for fine dining—at private events. In the last year, the 24-year-old school moved into a stunningly remodeled building that was originally a downtown 176
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Chef Tracy Ritter’s goat cheese, piñon, and pear tamale Opposite: Guests participate in a hands-on salsa-making class. Nicole Curtis Ammerman, director, and Susan Curtis, founder. The mother-daughter team run the Santa Fe School of Cooking.
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Santa Fe School of Cooking Packard dealership. Anchored by a high-tech demonstration kitchen that flows into a modern and elegant dining area, the building also includes a professional preparation kitchen flanked by a customdesigned, four-umbrella patio, and a brick-floored “market” store with in-house products, books, kitchen tools, and New Mexico–made table arts and crafts. When we moved into this building, our private events just skyrocketed,” Ammerman says. “We’re doing as many as ten a month now. We love this place and it loves us.” Santa Fe School of Cooking was locavore before locavore was trendy. Curtis and Ammerman are a mother-daughter team that insists on sourcing ingredients locally, and even encourages staffers to grow vegetable gardens. Classes are organized around Southwestern, traditional New Mexican, and Mexican specialties. The three-day intensives called Southwest Boot Camps sell out within days—the November 2013 class is gone, but you can still register for one of the ten spots in the January 27–29, 2014 boot camp. Private events can be anything from a splashy anniversary to a corporate retreat. Whether you want to include any instruction along with your meal is up to you. “We have a group coming in soon from Johns Hopkins University and they are very academic,” Ammerman continues. “I arranged for Chef Lois Ellen Frank, who has a PhD in cultural anthropology, to give them a class in Native American cuisine, followed by a wonderful dinner.” Depending on the interests of your group—or their competitive spirit—Ammerman may recommend starting with wine on the patio, moving into the demo kitchen for a hands-on salsa contest (Team Mango, Team Tomatillo, Team Black Bean), and segueing into a contemporary Southwestern-style meal of smooth, spicy tortilla soup, grilled adobo-marinated flank steak, cascabel steak sauce, green chile mac ‘n’ cheese, mojo-marinated vegetables, and coconut flan with salted caramel. “Fun and delicious,” says Nicole. “What more do you want?” 178
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Chef Lois Ellen Frank instructing a student. Grilled chipotle flank steak with cascabel chile steak sauce and green chile mac ‘n’ cheese. Top: Guests at a private dinner event enjoy the meal they helped cook. Opposite: Preparing for a salsa class.
125 North Guadalupe 800.982.4688 or 505.983.4511 | santafeschoolofcooking.com
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The Grape Escape Where to enjoy fine wine in the Land of Enchantment
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By Toby Jones
seminars, cooking demonstrations, guest chef luncheons and tours, and tastings. The Santa Fe Wine Festival takes place in early July at the historic Rancho de las Golondrinas, a working ranch and living museum. In addition to tastings from local wineries, you’ll find live music, food, traditional agricultural products, and handmade arts and crafts for sale. The Taos Winter Wine Festival warms things up in late January with tasting galas, seminars, dinners, après-ski tastings, and art exhibits in town and at the Taos Ski Valley.
As befits New Mexico’s status as the oldest commercial wine-producing region in the country, there’s an abundance of local wineries and vineyards to visit, some of them in unexpected places. From the renowned Gruet Winery in Albuquerque to Madison Vineyards and Winery in the tiny village of El Barranco bordering the Pecos River, you’ll enjoy a congenial atmosphere for expanding your wine horizons. Make it a leisurely day trip to take in several, or incorporate a stop into your itinerary along the High Road to Taos or south along the Rio Grande. Local purveyors of fine wines and spirits provide exceptional service for the impassioned wine drinker. You can learn to identify the fine distinctions among great champagnes, find out which characteristics distinguish New World from Old World wines, or obtain expert suggestions on what to serve with tonight’s dinner. Broad selections are available at Susan’s Fine Wine and Spirits and Arroyo Vino in Santa Fe, Kokoman Fine Wine and Liquor in the Pojoaque Valley, and the Old Blinking Light in El Prado, just north of Taos. In Albuquerque you’ll find family-owned shops like Jubilation Wine and Spirits, Quarters BBQ and Package Store, and the renowned Kelly Liquors. Many of these offer weekly wine tastings as well. Go ahead and indulge. After all, it’s healthy! For a comprehensive list of New Mexico’s wineries, log onto: nmwine.com/wineries/wineries-map/
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stephen Lang
Historians are unclear about when humankind first started cultivating the grape for the purpose of making wine, but most believe production began in the Caucasus as early as 7000 BCE, along with other major agricultural developments. Ever since, food and wine have been inextricably linked. Spanning myriad cultures and cuisines, wine has served as a digestive aid and heart strengthener for centuries. But perhaps its greatest contribution to civilized society has been its ability to foster conviviality and the bonds it ultimately creates between people who sit down to break bread together. With local restaurants now featuring wine lists that include vintages from regions as far-flung as Australia, Argentina, and South Africa, the choices are greater but the decisions less clear-cut. Even if you’ve long since broken out of the “white with fish and chicken, red with meat” box, the wider availability of unfamiliar labels makes it possible—but a little intimidating— to branch out from your tried and true favorites. If you’d rather not use the fun but expensive trial and error method, there are a number of ways to go. One option is to engage the sommeliers at local restaurants to advise you, as they not only know about wine generally but can also suggest the perfect pairings for the menu at hand. Another is to attend any of the state’s many wine festivials. At the Santa Fe Wine and Chile Fiesta, held in late September at the Santa Fe Opera, the focus is on fine cuisine and the wines that enhance it. Events include wine
KATE RUSSELL
315 not only offers a broad selection of wines by the glass it also offers over 400 wines by the bottle. Serving in the right-sized glass makes all the difference in enjoying the wine and your meal. Opposite: Pouring Gruet champagne at Geronimo’s bar
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Albuquerque ECLECTIC Exploring art, design, and dining in the Duke City
robert reck
by heidi utz
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The Roessler family and Chef Chris Pope (2nd from left) relax at Zinc's zinc-topped bar in Nob Hill.
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inset: stephen lang
n 1939 my New Jersey family packed all their possessions into a Joad-like truck and headed toward Southern California to start a new life. Shortly before the a/c broke down in the Mojave Desert, they spent the night in a motel along Route 66, a few blocks from my current Nob Hill home. Into his 90s, my uncle would wax nostalgic about that evening in Albuquerque—about the way the clouds looked at sunset, the vivid blue of the sky. And the gaudy neon, visible from miles away as you motored past the trinket stores on Central Avenue. In the decades since, many families have followed suit, pausing on their way to a new life for a moment in the desert, where the sun seems to cast light everywhere in the huge, open sky, and the mesas and rocky, mile-high landscape give you a chance to step out of the mainstream, catch your breath, and reflect from a different vantage point. The city has carried forth its Route 66 heritage into current-day Nob Hill, beloved for its quirk and funk. After decades of gentrification, it now draws crowds each weekend to its bustling enclave of eclectic bars, shops, and restaurants. As one of the city’s most vibrant neighborhoods, Nob Hill supports a lively GLBT community, and hosts a range of unique businesses like Masks y Mas, Peacecraft, and the Birdland hippie store alongside the husks of old motels, orphaned signs, antiques
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Top: francesca Yorke (2); bottom: Heidi utz
shops, colorful murals, and historic buildings. And further west on Central, the Downtown strip continues the revelry. In addition to the usual slate of entertainment options—stores, restaurants, a movie theater, nightclubs, and bars—here you might also encounter a mariachi showcase or a block party for an international symposium on electronic art. Amid a throng of students and newcomers, we often forget that many families have lived in the Duke City for centuries, some rooted in Barelas or the South Valley, where traditions include such festive events as the Día de los Muertos parade. The surrounding Indian pueblos have their own cultural practices, and visiting on feast days to see the dances is a memorable experience. Indeed, with more than 70 different ethnicities represented throughout the city, few places offer such a heady blend of culture. Sunny skies 300-plus days each year encourage plenty of outdoor exploits. Whether you’re skiing local trails, biking and hiking in the Sandia or Manzano foothills, or taking long walks along the Rio Grande bosque, Albuquerque offers many opportunities to enjoy nature. And after a full day of adventuring, you can recharge with lots of healthy food options, including neighborhood farmer’s markets, two co-ops, and even a couple farm-to-table restaurants. Perhaps the definitive New Mexican event rolls around each September, when the state fair hosts the classic Southwest immersion experience—everything from prize-winning Navajo Churro sheep exhibitions to low-rider shows to flash-fried green chile. For these two weeks, cowboys in Stetsons rub elbows with dreadlocked reggae bands, kids shoot baskets to win big pink bears, and everyone rodeos. Once an isolated, 18th-century Spanish cultural outpost and farming community, Albuquerque has evolved into a popular place to live a bit off the mainstream. Its free-spirited, casual lifestyle continues Each fall the South Valley’s Marigold Parade packs Isleta Boulevard with thousands to attract creative, outdoorsy individualists. Here we don’t care how of revelers for its Días de los Muertos celebration. Top: Signage icons old and new. they do it in New York—we’re too busy running out the door to watch Left: Satellite Coffee, one of Nob Hill’s many stops for coffee achievers. Right: The another amazing sunset strewn with hot-air balloons and marching KiMo Theatre, Downtown’s Pueblo Deco picture palace, today presents a varied to the beat of our own particular drummers. R slate of entertainment.
robert reck
Part of Albuquerque’s diverse architectural landscape, Antoine Predock’s stunning Aperture Center forms the centerpiece of the Mesa del Sol community. The $11 million, LEED-certified town center building has retail shops and restaurants on the ground floor and offices above.
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Torinos’ @ Home
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ike its owners, Torinos’ @ Home has a fascinating pedigree, a unique combination of French and northern Italian influences that distinguishes the Southern European culture known as Occitania. While the Occitan language is nearly extinct, its cuisine remains lively, mingling bold Mediterranean flavors. Torinos’ veramente autentico cuisine is typical fare in the Piedmont, Savoy, and Liguria regions. “The Mediterranean is a very weird place,” owner/ chef Maxime Bouneou says. “Many cultures have passed through and left their input. They’ve all influenced each other.” Max grew up and attended culinary school in Nice, on the southeast coast of France near the Italian border. His wife, exuberant restaurant host Daniela, hails from Torino, in the northwest Italian Piedmont, less than three hours away. She brings her warm greeting and personal attention to diners, Maxime and Daniela Bouneou and also teaches cooking classes in the kind of meals her grandma made. Together the couple has developed a menu that can include such unconventional fare as baccalá, an appetizer of codfish and potatoes mashed with a sweet confit garlic cream, and braised beef cheek manicotti. “We try not to fall into the stereotype of Italian food,” Max says. “There’s no alfredo, and we don’t fill the menu with red sauces.” The seasonally changing dishes include pasta, meat entrees, seafood, classic Italian desserts, and panini at lunch. Some unusual (and delicious!) choices
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include duck confit and agnolotti, a ravioli-type pasta filled with wine-braised beef brisket, ricotta, and Parmesan cheese. Gluten-free diners will find numerous appealing options, such as a Niçoise salad and bell pepper tonnato. Max has a keen appreciation for fresh food, and uses as many local and organic ingredients as possible. Having worked on French boats, he understands the importance of very fresh fish. His NYC-based supplier ships him the catch of the day so quickly that he can serve it the day after it’s left the dock at Cape Cod. A proponent of the slowfood movement, Max says, “We like to show people how we live and feed ourselves in Italy.” He opened Torinos’ in late 2006, after serving as executive chef for Fuego restaurant at La Posada de Santa Fe. A 40-seat “pasta shack” in Santa Fe Village, the original Torino’s attracted a devoted clientele, many of whom have continued to dine at its Northeast Heights location since its 2010 move to Albuquerque. The restaurant’s cheerful yellow walls and plant-filled rooms do indeed confer a homey feel, and a large back patio creates room for 100. To enhance relaxation, Torinos’ offers a handpicked selection of regional Italian wines and Belgian and Canadian beers that pair especially well with its entrees. Whether at Torinos’ or Limonata, dining alfresco on the patio and enjoying good conversation, a caprese salad, and a cappuccino feels like a pleasant jaunt to Europe. Open Tuesdays through Saturdays 11 a.m. to 9 p.m.
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7600 Jefferson Street NE, Albuquerque 505.797.4491 | torinosfoods.com
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Clockwise from top: Chef Max Bouneou, antipasto and Barolo, fresh bread and extra-virgin olive oil, duck confit and roasted tomato
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Zinc Wine Bar & Bistro
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ap off an afternoon partaking of Nob Hill’s varied amusements with dinner or drinks at the trés cosmopolitan Zinc. Proprietors Keith and Kevin Roessler have retained the brick walls and high industrial ceilings of a historic building on Central Avenue, adding sheet-metal wall plates, Japanese lanterns, stained glass, and antique mirrors, with contemporary art accents. The restaurant hosts several pleasing experiences under one roof. On the main level, a zinc-topped bar welcomes those seeking an aperitif, while a mezzanine offers general seating with a view of the exhibition kitchen or space for private parties. And for popping a cold one at happy hour or grabbing a casual bite after Popejoy, the Cellar bar provides an intimate space to enjoy thrice-weekly local and nationally touring musicians. Using many locally sourced ingredients, chef/partner Chris Pope creates exceptional contemporary American dishes with a French flair. Standout appetizers include the smoked trout and potato pancakes, duck confit eggrolls, and steamed black mussels. For the main course, try the beef tenderloin or the Talus Wind Ranch lamb strip loin. In addition to its fine dining, Zinc is also known for its liquid temptations, boasting a voluminous wine list of 200 bottles and 20 by the glass, with wine flights available. After dinner, another drink menu awaits, with a similarly broad variety of postprandial choices. Craving an upscale brunch? Zinc serves a slate of such favorites as French toast, eggs Benedict, and fried chicken and waffles to accompany that Bellini. A solo acoustic guitarist plays mellow tunes on Sundays. “The Nob Hill neighborhood is a big part of our identity—it has a lot of character and has significantly expanded over the past several years,” general manager Kaleene Keeley notes. “We try to stay on point with trends by changing elements of the menu, our aesthetics, even the genres of music we host. We like to keep evolving, keep it interesting.”
Dinner daily. Brunch Saturdays and Sundays 11 a.m. to 2:30 p.m. 3009 Central Avenue NE, Albuquerque 505-254-9462 | zincabq.com 188
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Roasted stuffed quail and sunny-side egg. Top left: Shetland salmon with marble potatoes and spaghetti squash.
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Savoy Bar & Grill Left: Owners Catharina and Kevin Roessler. Right: Heirloom tomato caprese, with organic arugula, house-pulled mozzarella, garden basil, extra virgin olive oil, and balsamic gelée. Bottom: Manchego-crusted eggplant, with warm tomatoes, Old Windmill Dairy chévre, toasted almonds, baby spinach, and parsley puree.
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s you enter the dramatic foyer of Savoy Bar & Grill, the earthy scent of a wood-fired oven confirms that Chef Myles Lucero has some slow-cooked comfort food on the way. Stroll into the large dining room, with its hint of Art Deco style, black leather chairs, and crisp white linens, and you immediately experience Savoy’s tasteful elegance. Since 2006, this classy restaurant and wine bar has been serving fare you’d find in a California Wine Country bistro—seafood, meat, and salads with the perfect vino to match. Lucero creates diverse menus of fresh, high-quality ingredients that change seasonally. Watch him and his cooks hard at work in the exhibition kitchen near the main dining room. With a wine list encompassing 300 bottles and 22 glass options, Savoy covers every major region. A glassed-in storage area near the main room showcases many of the reds. Owner/wine manager Kevin Roessler deems his list “approachable, diverse, and value-oriented, mixing unique boutique wines with more familiar labels.” Savoy hosts popular twice-a-month Saturday tastings organized around themes such as a particular varietal or region. Food recommendations? Managing partner Catharina Roessler suggests the prosciutto-wrapped goat cheese appetizer, the ahi tuna seared rare, and the prime rib. The restaurant’s wood-fired flatbreads are also considered some of the best in the city. Savoy strives to serve as many healthy, local ingredients as possible, and vegan and glutenfree menu items are available. At happy hour, winding down comes easily at Savoy’s lounge bar and patio, an inviting space with candles on each table, colorful bulbs strung overhead, and three TVs. The patio itself is an enticing spot, with two firepits and several heat lamps within its vine-covered walls. Sure to impress a date or a client, Savoy offers an unpretentious but sophisticated place to enjoy a gourmet entrèe expertly paired with the fruit of the vine. Lunch Mondays through Fridays, 11 a.m. to 2 p.m. Dinner daily at 5 p.m. Lounge and patio daily at 3 p.m.
10601 Montgomery Boulevard NE, Albuquerque 505-294-9463 | savoyabq.com Fall 2013–Spring 2014 Trend 189
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Seasons Rotisserie & Grill W hen Keith, Lynn, Catharina, and Kevin Roessler took over Seasons Rotisserie & Grill from their uncle, they had a mission: to create a community-friendly place in which patrons can enjoy farm-to-table options that change seasonally. Four restaurants later, they have accomplished just that, all the while maintaining many of their original employees, a rare feat in the dining industry. Located right outside Old Town, Seasons—which just celebrated its 18th anniversary—continues to wow diners with savvy contemporary American cuisine that emphasizes fresh, locally sourced seasonal ingredients. If you miss, for instance, this fall’s house-made pumpkin and four cheese ravioli with baby spinach and shiitake mushrooms, toasted hazelnuts, shaved smoked gouda, and maple-sage cream sauce, winter and spring will feature items just as mouth-watering. “There is virtually nothing Chef Paul Mandigo can’t do,” Keith notes. Mandigo, who specializes in serving up rotisserie-style meats and a first-rate prime rib, has been creating award-winning dishes for Seasons for more than eight years. Fresh fish is available and oysters make a weekly guest appearance. Those who prefer lighter dishes can enjoy inspiring vegetarian cuisine or simply settle on a beautifully presented artisanal cheese plate paired with the perfect glass of wine. Keith and Kevin’s father, a winemaker for more than 40 years, currently owns a winery in Sonoma, California, so the extensive wine list is heavily weighted with California varieties. And Seasons’ pastry chef, James Beard award–winner Eric Mosier,
not only bakes all breads in-house, but also specializes in desserts. In addition to the elegant downstairs dining area with its cheerful marigold-colored walls and modern landscapes by local artist Kevin
Tolman, Seasons includes a full upstairs bar with a patio lounge featuring live music from March to October. With exciting organic concoctions like the Angry Bee, a green chile–infused cocktail that boasts Espolón tequila, Cointreau, and local honey, it’s no surprise that Seasons is a popular destination for happy hour as well.
Lunch Mondays through Fridays, 11:30 a.m. to 2 p.m. Dinner daily at 5 p.m. Rooftop restaurant and patio daily at 4 p.m. 2031 Mountain Road NW, Albuquerque 505-766-5100 | seasonsabq.com
Left: Pan-seared jumbo sea scallops, with baked double corn polenta, heirloom tomatoes, and arugula salad, and peach lemon butter sauce. Right: Flourless chocolate torte and crème brûlée duo with vanilla tuile cookie and chocolate sauce. Top: Owners Keith and Lynn Roessler enjoy a glass of wine. 190
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Limonata
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orinos’ @ Home has recently expanded its reach by opening a Nob Hill deli/coffee shop, Limonata. In this laid-back neighborhood cafe, local residents can enjoy food cooked at Torinos’ kitchen, including a variety of handheld Italian street foods. A unique specialty is a burrito filled with homemade sausage and grilled on a panini press. “It’s an Italian coffee-shop version that’s very popular,” owner Maxime Bouneou says. Manager Karen Tyne is passionate about coffee, serving only flavorful Allegro brews, as well as juices and Italian sodas. Limonata also sells sauces and handmade pasta from Italy. Whether at Torinos’ or Limonata, dining alfresco on the patio and enjoying good conversation, a Caprese salad, and a cappuccino feels like a pleasant jaunt to Europe. Mondays through Fridays, 7 a.m. to 5 p.m. Weekends, 8 a.m. to 5 p.m. Breakfast and lunch all day
3222 Silver Ave SE, Albuquerque 505-266-0607 | freshcitrus.us
A quiche served with an organic mixed baby greens salad, macarons, and fresh lavender lemonade. Top: Imported Italian sauces and pasta for sale.
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Sustainable DESIGN
By kimber lopez | photos by robert reck
Building Conservatively
A new home in the Galisteo Basin Preserve models sound sustainability
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Man With Object at Mouth (1992/1994), gelatin silver print Man With Object at Mouth (1992/1994), gelatin silver The home’s entry print courtyard. The long horizontal windows open up the space and add visual interest by providing glimpses into the kitchen.
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ifteen miles south of Santa Fe lies a vast frontier unbridled by urban development. Exquisite, limitless skies are punctuated by panoramic mountain views—the Sangre de Cristos to the northeast, the Ortiz to the southwest, the Jemez Mountains to the northwest, and the Cerrillos hills to the west. Pronghorn antelope, elks, bears, bobcats, and mountain lions roam the 470,000-acre basin at their leisure, treading on ancient territory that shelters artifacts dating back almost 10,000 years. Understandably, humans also want to live amid this beauty. Private landowners, including fashion designer Tom Ford, rancher Bill Sanders, and the Singleton family, occupy most of the land within the basin’s visible boundaries, with the remaining 18,000 acres held by the New Mexico State Land Office and Bureau of Land Management. However, about ten years ago, its northern rim, a 13,200-acre spread previously known as Thornton Ranch, risked being split into 40-acre homesteads that would fragment wildlife corridors, prevent public recreation, and endanger cultural resources. To avoid following the standard real estate route while preserving this ecologically and culturally rich landscape, conservationist Ted Harrison, who worked for 17 years for the Trust for Public Land in various capacities, established the Commonweal Conservancy in 2003. This nonprofit conservation stewardship development created a multiphased, multiyear contract to acquire the Galisteo Basin Preserve. According to Conservancy president Harrison, who also chairs Commonweal Communities, a for-profit subsidiary that develops the properties, “We began work to create a model for respectful real estate development within the context of a very fragile, resource-based terrain. This was an attempt to look at development rights, aggregate them into a concentrated set of footsteps, and allow the vast majority of the land to be protected.” Ultimately, less than 4 percent will be developed, while 96 percent will be protected open space for both privately held properties and the general public. Property sales will support the acquisition, protection, and stewardship of the preserve, while also funding a much anticipated Fall 2013–Spring 2014 Trend 193
Sustainable DESIGN
Top: Ornamental grasses and blue river rock at the entrance are part of the home’s xeric landscaping scheme. Bottom: A hot tub is built into a small patio just off the master bedroom. The master shower corner window is shown at right. The living room’s louvered roof portal is shown at far left. Opposite: Architect Jon Dick created a home that is “like a large shadow within the landscape,” one that harmonizes with its surroundings rather than competing with them. A deep arroyo snakes its way across the front of the property, while the Sangre de Christo Mountains hover in the distance.
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chris corrie
low-impact, 300-acre sustainable village development called Trenza, which will accommodate mixed-income residential and community-serving land uses. Charles and Marilyn Hertz own one such conservation parcel on the eastern side of the preserve. The couple is limited to a set of covenants for the three-acre building envelope within their 160-acre property. The scope includes an aggressive water and energy conservation program, limited nighttime lighting, prohibition of nonnative species, use of nonreflective windows, and camouflage requirements that restrict building size and color. According to Harrison,
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the Hertz home development abides by the Commonweal Conservancy’s building philosophy. “This is not a castle on the hill concept,” he says. “The appearance is more like a large shadow within the landscape.” With these guiding principles in mind, in 2010 the Hertzes sought out Michael Hurlocker as a consultant and contractor to develop their dream home. Hurlocker suggested they invite a group of first-rate contemporary architects to submit proposals. Aside from their individual needs, set amenities, and budget guidelines, the couple was open to all suggestions. “They didn’t have an exact strategy for the home,”
Hurlocker notes, “but Charles did mention that he wanted a design that would absolutely ‘knock his socks off.’” With that parameter duly noted, Hurlocker, Charles, and Marilyn conducted extensive research that narrowed the pool to ten outstanding participants. They interviewed four candidates twice and requested a tour of their previously completed projects. Enchanted by the homes of Archaeo Architects, they awarded the project to principal Jon Dick. “I like clean, geometric shapes,” Dick explains. “I don’t adhere to any particular style; I simply access the site with the clients in mind, and the ideas flow.” > Fall 2013–Spring 2014 Trend 195
Sustainable DESIGN
The result is confident ingenuity at its best. Entering the 8,000-square-foot home through an intimate courtyard space, one’s attention is immediately drawn to the vast vistas that surround it. Large windows punctuate nearly every wall, establishing a constant relationship between indoors and out. The adjoining portal is equipped with a state-of-the-art motorized louvered tin roof that can be angled to allow more or less light. The panels can be manually shifted to fill the room with sunlight during winter and provide shade during summer. Between the living room and kitchen, a stone fireplace anchors the home’s geometrical design. Communal space establishes the foundational center of the home, which then branches out to each of the private wings aligned with the four cardinal directions: master bedroom, 196
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guest room, studio, and garage/utility space. Dick drew inspiration from architect Louis Kahn, who championed the use of light to define space by casting shadows or delineating form. He notes, “Kahn once said that architecture appears for the first time when sunlight hits a wall. Using this philosophy, I designed the pinwheel shape of the building with exaggerated extended walls to use light as a form-defining element.” With its dramatic geometry, the Hertz home provides not only sanctuary but also a sense of order within the expansive landscape. Innovative use of natural light and materials to accentuate spaces is a common theme throughout the home. Incoming light from windows that circle the master bedroom illuminates the space and can be increased by massive sliding glass doors leading to a private portal and endless
views of the basin. Interior and exterior align and blend together in continuous harmony throughout the home. A workout facility is enclosed for privacy with frosted windows and dampened lighting. Hallways with offset skylights and strategically placed windows add texture and bathe the interior in soft sunlit ambience. A studio wing encompasses a therapeutic continuous current pool, fireplace, private kitchen for Marilyn’s silk dying and painting, and space to house the couple’s cats. The wing’s cantilevered portal accentuates views of the Ortiz and Sandia Mountains in the distance and draws attention to the adjacent man-made waterfall and koi pond. Because the waterfall possesses the only running water in a ten-mile radius, a variety of wildlife flock to the area, including an eclectic array of birds and a mountain lion.
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The home’s underlying sustainable features also impress. Not only does the building boast one of the largest residential photovoltaic arrays in the state, it also uses a 10,000-gallon water collection system to irrigate all outdoor landscaping. Given the home’s size, it is astonishing that neither a boiler nor air-conditioning condenser is necessary to regulate temperature. Instead, twenty 200-foot-deep vertical bore holes concealed beneath the driveway provide geothermal energy for all heating and cooling. Two ground-source heat pumps utilize the constant temperature of the earth as the exchange medium. The buried loop circulates water below ground and up into the home, exchanging heat in the process. Since ground temperature is warmer than the air during winter and cooler in summer, heat is drawn from the ground during winter and from the warm indoor
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air during summer and exchanged to accommodate the needs of the home. This geothermal system takes a considerable amount of energy to run. While propane is the prevailing energy source in the Galisteo Basin, it is also one of the most expensive options. To cut costs, the client chose solar power as the preferred alternative. Hurlocker took on the challenge of establishing the photovoltaic system. “It was the first solar system we had ever installed, and it ended up being one of the largest arrays in the state,” he says, laughing. “It’s all a part of the creative process. I love learning new skills when given the opportunity, but I remain honest about my abilities. The fact that we designed the system ourselves enabled us to align the array with the home both functionally and aesthetically.” The Hertz home embodies meticulous
The living room with its massive stone fireplace and polished concrete floors opens up to a portal at the south of the house. Its louvered roof can be angled to adjust the level of light. Opposite: Located just off the living room and divided by the fireplace, the kitchen features an ergonomic design and the best in energy-efficient appliances.
design for a luxurious lifestyle entwined with large-scale sustainable initiatives. The Galisteo Basin Preserve concept reflects a new model for human impact and development, allowing multimillion-dollar homes with innovative features and a net-zero footprint to exist within a conservation easement that funds a broader vision of land preservation. The Commonweal Conservancy will give future homeowners a chance to be environmental stewards in a community focused on protecting the natural beauty that will surround us for generations to come. R Fall 2013–Spring 2014 Trend 197
“I am so clever that sometimes I don’t understand a single word I’m saying.” ~Oscar Wilde
Who’s writing your social media content? #wordsmatter Contact Kathy Walsh kathy@knockknocksocial.com (203) 788-1993
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Artist PROFILE
By heidi utz | portrait by karen kuehn
Between Pain and Paradise The Dreamscapes of Robert Stivers
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raith-like figures dissolve into matte black backgrounds. Bodies seek liberation from earthbound realms. Existential questions beg resolution. Primordial chasms morph into creatures and madmen. This is the milieu of Santa Fe resident Robert Stivers, whose lyrical, darkly romantic images infused with a certain mystery have made him one of our foremost contemporary photographers. Born in Palo Alto, California, in 1953, Stivers has taken three distinct paths in his life. He began his career as a ballet dancer with the Joffrey Ballet in New York but sustained a back injury that abruptly ended his career. In an attempt to be practical and conform to his family’s career preferences, in his mid-20s he molded himself into a stockbroker and insurance agent. When that career began to wear on him at age 37, he returned to creative expression via photography, teaching himself techniques and darkroom skills as he went along. His return to the creative realm felt like a rebirth, he says. His earliest images, produced in the mid-1990s and published in Robert Stivers: Photos (Arena, 1997), show a person working through trauma, often putting himself directly in harm’s way and filming the evidence. Various self-portraits depict Stivers with a noose around his neck, wrapped in a shroud, lying on beds of nails, or drowning in the ocean in a straitjacket. “Suffocating and strangulation seem to be my leitmotif at present,” he chronicled in his journal at the time. In the portrait Man With Object at Mouth, bones and flesh burst out of an
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ebony background, with arms fading into shadow and the mere suggestion of a leg lending the appearance of a broken marble statue. A web drapes over the subject’s nose and eyes, and flames shoot from his open mouth. The self-portraits were about purging. “After I couldn’t dance anymore,” Stivers notes, “they were like mini-performances, mini-suicides. I found them very liberating.” The book also contains a series of charcoal-like nudes in tormented postures, filled with angst, sometimes crying out. These bodies appear as if they are wrestling demons or negotiating the fallout of a devil’s pact. Details are cloudy—viewers must find their own narratives. “What makes these images so haunting and mysterious is that Stivers attempts to render visually the process of selftransformation,” observes critic John Stauffer in Stivers’ second book, Listening to Cement (Arena, 2000). “He shows through his aesthetics the death and rebirth of the self and the void of disorientation that accompanies this evolution.” Stivers’ newest show, held at James Kelly Contemporary in Santa Fe in December 2013, displays a more playful body of work from the 1990s that he’s recently created in bold, saturated color. Many of these surprising images are exotic animals, rendered in heavily saturated colors as digital Type-C super-glossy prints, which he hopes to mount on Dibond encased by Plexiglass. The large pieces range from a green ostrich to blue stingrays that resemble UFOs to a fuchsia-and-green ram—flamboyant, technicolor images Stivers enjoys printing as a counterweight to his more serious work. Their inspiration
came many years ago, when he saw a tongue-in-cheek painting of a buck in the lobby of the Ojo Caliente Mineral Springs Resort and Spa in Northern New Mexico. “He looked proud . . . with the perspective shot from below,” Stivers remembers. “I thought it would be nice to try to portray animals as looking somewhat heroic.” One of the images, Totem, presents an eerie, statue-like figure in dark sepia and walnut tones. Its primitive, almost canine face sits atop the body of a man, much like the Egyptian jackal-headed god Anubis. Through hollow eyes, the figure gazes directly at the viewer, though its shadowy mouth makes it difficult to discern expression or mood. It feels mysterious, impenetrable, ancient. For the primarily black-and-white photographer, the vivid colors represent a departure. “Black and white is closer to my heart, how I see the world and how it connects with my soul,” Stivers says. “Color is more like going on safari—it’s a big adventure, more playful and fun.” Concurrently with the show, Twin Palms Publishers will release a book of the previously unpublished bestiary images, with text by arts writer Eugenia Parry. One of the first things you notice when you view Stivers’ work is his clouded focus, a blurring that simulates motion and contributes to a dreamlike mood. This technique is particularly prominent in Listening to Cement. But this is not soft focus; instead, he shoots very sharp, then adjusts the focus in the darkroom. “I knock it out of focus to where it creates the most mystery—the place where the viewer will question his or her impressions. It throws you off, and you have to
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Courtesy of Robert Stivers
Man With Object at Mouth (1992/1994), gelatin silver print
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Artist PROFILE
“I can’t distinguish between dream and consciousness. I don’t know if it matters much.” —From a journal entry think about it a bit more. I want to pique the imagination, have the image work just well enough that someone will wonder what it’s about.” Stivers started experimenting with this technique in 1993, when he was trying to find a new way of seeing. “I felt stuck. I was looking at my pictures, and I just thought there must be another way to look at these images. I had a negative in the carrier, a portrait, and I started playing with the focus. The eyes of the subject turned hollow. I thought, ‘Oh my God, this is wonderful! All of a sudden this person looks like a ghost.’ And the image still works—it still holds integrity.” His passion for the craft of photography seems to demand a visceral engagement with its chemicals and paper. Indeed, film photography seems organically suited to his exquisite sensitivity to light and texture. Since he began shooting in 1987, Stivers has used Hasselblad mediumformat cameras, and today wields a 501c, 1980s’ vintage, with only an 80-mm lens. Though he occasionally expands and enhances his darkroom work with digital editing, he believes that the vast majority of his creative process occurs solely in the darkroom. Because photochemicals penetrate and profoundly alter his subjects, he has not been able to replicate his technique in Photoshop. As an undergraduate history major at the University of California, Irvine, Stivers studied under an inspirational professor from UC Berkeley who taught him art history ranging from ancient times to the early 20th century. The professor stimulated Stivers’s attraction to Classicism and the Renaissance period, which is evident in Listening to Cement and in photos he’s constructed in homage to the paintings of Delaroche, Ingres, and others. Particularly compelling is After Delaroche, which replicates the artist’s haunting image La Jeune Martyre, right down to its halo, floating 202
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Stivers holding a copy of one of his favorite images from his new body of work, a 2011 gelatin silver print of a plaster cast of his ex-wife’s hand.
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also be seen in the art scattered throughout his Santa Fe loft. Such talismans as a head on a stick, an African mask, and a tailor’s dummy with no arms or head seem to tie in with his photographic landscape, where figure often dissolves into ground, creating a sense of disembodiment or floating through space. “There’s an aesthetic and graphic quality to it I like,” Stivers notes. “A little bit of shock value. Maybe it’s the Tod Browning in me? There’s a part of me that just loves the grotesque.” R
courtesy of robert stivers (2); opposite: Karen kuehn
Robert Stivers’ work may be viewed at James Kelly Contemporary, 550 S. Guadalupe, Santa Fe, or at robertstivers.com
in the Tiber River. In some ways, Stivers’ beautifully toned image is more intimate, even seductive. Today his photos hang in the same institutions that have housed his favorite works, including the Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles, the Museum of Fine Arts in Boston, and several international museums. Stivers’ distinctive eye is also much in evidence in his elegant short art films, a few of which have garnered awards at the Santa Fe Film Festival. In the mid 1990s, he began playing around with an old Canon Super 8 and another video camera with a broken lens. He filmed dancers, then stitched together individual images, hoping to gain additional source material for his photography. The results recall early European avant-garde films, with lovely classical soundtracks that include music by Saint Hildegard of Bingen. He’s extracted stills from these films as some of his more cinematic images, including Blue Face and Baby. Considering how embodied the former dancer’s works can be, it’s intriguing how many of the photos’ subjects are missing limbs or body parts. This predilection can Top: After Delaroche (2001), gelatin silver print Bottom: Totem (1998), original Cibachrome, now a digital C-type, which will be part of a December 2013 show at James Kelly Contemporary
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Rabbit Peak No. 2 (2013), oil on wood panel. Opposite: Peter Burega in his studio.
Artist STUDIO
by Nancy Zimmerman | photos by kate russell
Chaos and Control in the Work of Peter Burega
Opposite, inset, courtesy of Hunter Kirkland Contemporary
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eter Burega is less an artist than a force of nature. Brilliant, restless, and abundantly creative, he hurls himself into his many endeavors with the dedication and focus one might expect from a brain surgeon or a head of state. Those are occupations he hasn’t yet tried, but he did take successful turns as a pianist, a corporate lawyer, and a television director before launching his career as a painter in 1998. This current incarnation, he says, is his most satisfying yet, as it combines the structure of the contained surfaces on which he works his magic with the unfettered freedom to let his imagination roam. And roam it does. Burega’s abstracted renderings of the natural world as it intersects with the built environment reflect the seething energy that fuels his need to examine truths both mundane and profound—and he approaches his work with an honesty and passion that are, to say the least, intense.
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“Truth is important to me, in my work and in my life,” he says. “It’s what people connect with when they view a work of art or listen to a piece of music. If the artist conveys some inner truth, it resonates and, hopefully, offers people a new way of looking at things.” Born and raised in Montreal, Burega left Canada to find his calling in the U.S., eventually settling in Los Angeles and, later, Palm Springs. Along the way he picked up a degree in liberal arts and industrial relations in his native Quebec, then a law degree from Whittier College in Los Angeles. After practicing corporate law, he became bored and switched to television production, directing features for HBO and USA Network as well as producing commercials. It was then that his painting morphed from occasional hobby to full-time endeavor. “I had always enjoyed painting,” he says, “but it was something I did just for myself. It helped me come down from the
stress of working in the corporate world.” One day, when the headquarters of the television production company where he worked were being renovated, the interior designer came into his office. “He was basically jettisoning all the art because it was so bland and generic, but when he saw a painting of mine on the wall, he asked who painted it and how he could get in touch with the artist. He wanted to commission more of them. He was blown away when I told him I had done it, and he bought a painting from me for his own personal collection.” A gallery owner saw that painting and immediately offered Burega a show. That moment changed his life, he says. “I accepted the offer, pretending I already had a body of work, then quit my job immediately so I could paint full time to actually create one. The show sold out, and I never looked back.” Burega came to Santa Fe in 2000 with his architect husband, David Cofrances, Fall 2013–Spring 2014 Trend 205
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and settled in to paint. The life of an artist may be more fulfilling than his previous endeavors, but he still has to find ways to rein in his runaway energy in order to create coherence and resolution in his art. Working in oils on wood panels, he begins by deeply scoring his surfaces to establish a kind of order and structure. He then uses that framework to impose control as he unleashes his more chaotic, creative side, juxtaposing stillness and movement, light and color. He eschews brushes, instead using a scraper to add layer upon layer of paint, then digs back through these layers, removing paint a bit at a time to allow his images to reemerge spontaneously. “My process is more subtractive than additive,” he explains, “which allows me to bridge Minimalism and traditional landscape painting. You don’t see the landscape in the abstraction, but it’s there. There’s always a small piece that, if you were to blow it up, would be a landscape.” Burega travels frequently throughout the 206
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world with David and their eight-year-old daughter, Sofia. He takes thousands of photographs, which he later uses to spark his imagination. “I don’t copy photos when I paint, but I select up to a hundred of my images, which I hang on the wall in my studio in a kind of a grid. The photos elicit a sort of subconscious memory, an emotional response, which is manifested in my work. Since I don’t draw or sketch, photography is my way of taking notes, and what’s on my wall determines my inspiration, my palette. I then use the grid to layer multiple images, abstracting, superimposing, and distilling them into a single piece.” For example, he might meld a neon-lit urban scene with the natural light of a landscape, like sunlight reflecting off water or shining through clouds. He takes shots of his family, of landscapes, of bridges, of buildings—anything that catches his eye. “I’m particularly interested in the contrast between the natural world and the humanbuilt environment, and the way these come together and coexist,” he says. “Because I’m
a self-taught artist, my work is experiential rather than a schooled notion of process.” Schooled or not, Burega wields his tools and materials with confidence, and his roomy studio on Upper Canyon Road, tucked away in a storied compound that recalls the glory days of Old Santa Fe, evinces the same kind of controlled chaos that he translates into his paintings. His rambunctious dogs—Luke, a Rhodesian ridgeback, and Lola, an imperious cocker spaniel— roam freely when they’re not sprawled on the comfy sofa, competing with visitors for the prime seats. In a corner sits a miniature easel where his precocious daughter works seriously at her own art. The place is usually messy, sometimes noisy, and always charged with energy—but in Burega’s ongoing battle with issues of chaos and control, creativity invariably wins. R Peter Burega’s work can be viewed at Hunter Kirkland Contemporary, 200-B Canyon Road, Santa Fe, or online at hunterkirkland contemporary.com
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left: courtesy of hunter kirkland contemporary
Left: French Cul De Sac (2013), oil on wood panel. Right: Burega enjoys some family time with his daughter, Sofia, and their dogs, Luke (left) and Lola.
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TUNES
Joe West and the Santa Fe Revue have been described as a “psychedelic country band” that’s equally at home in a hard-drinkin’ honky-tonk as in Radio City Music Hall.
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TUNES
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ooking like a cowboy from outer space, in a big white hat and oversized sunglasses vaguely reminiscent of a pair of miniature flying saucers, musician Joe West rounds up the posse of a dozen or so fans and friends who have signed on for his “abduction bus” to Roswell, New Mexico. Blue eyes gleaming, West greets each new arrival at the rendezvous site on Cerrillos Road in Santa Fe with the kind of exaggerated hello you might expect from the host of a children’s television show. Clipboard in hand, he checks off names on a handwritten list. “Listen up!” he tells the “abductees” gathering in the parking lot. “This is going to be exciting!” His followers need no convincing. The well-beloved singer-songwriter is known equally for his craft and his camp, giving him a rather unique folk-hero status in the region. So when he sent out the invitation to caravan down to the annual UFO festival, where he would provide the entertainment for Saturday night on July 4th weekend, longtime fans like Judy Henry quickly signed up. “I think this is the zaniest thing Joe’s come up with yet,” she says, taking a seat on the fan van. That West is an especially good choice for Roswell’s cash cow commemoration of the mysterious crash of a flying object in early July 1947 on a nearby ranch quickly becomes apparent when he and his band, the Santa Fe Revue, take the stage several
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by april Reese | photos by Tara GibbEns
hours later in downtown Roswell. “We never got to see a UFO,” West sings, as he launches into “Trip to Roswell, New Mexico,” inspired by his first visit to the southeastern New Mexico city in 1997, “but that night in the back of my car, you kissed me and I saw stars.” As the band deftly navigates the song’s midtempo whirl, West looks out on alien-green glow necklaces, antennae head gear, and tinfoil hats bobbing in the bleachers across from the stage. A few silver-bedecked robots— some of West’s own Santa Fe abductees in disguise—dance down in front.
As darkness falls and the neon UFO signs along Main Street’s storefronts flicker to life, West and his band rock, twang, stomp, and waltz their way through a quirky set that even an alien would love, including the West-penned “Robots of Rayleen” and, of course, David Bowie’s “Starman.” But West’s bighearted tenderness comes through, too, especially in renditions of standards like “I’ll Fly Away” and “Tennessee Waltz.” A Joe West show is “as much an anthropological experience as a musical experience,” says Ben Wright, who plays guitar in West’s band and helped produce his new album, Blood Red Velvet. Indeed, references to otherworldly phenomena abound in West’s lyrics. The new record includes songs such as “Frank’s Time Travel Experiment,” based on the pastime of an eccentric family friend, and the title track, a plaintively poignant love song about alien abduction. While his sci-fi themes and oddball Northern New Mexico characters may be unusual in either the alt-country or Americana realms, West claims that it all comes naturally to him. As a youngster, he idolized David Bowie, most specifically his Ziggy Stardust incarnation, and when he Left: West rounds up his posse for the alien abduction bus. Right: hanging out at Roswell’s National 9 Inn before the show. In spite of West’s campy humor, girlfriend Tara Gibbens says he is also inspired by those who live at the margins of society. “He has a love of misfits and a real compassion in him.”
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Aliens and robots of every generation danced the night away, apparently unhampered by their hardware. The weekend also included tours of the UFO Museum; poster signings by Travis Walton, author of the abduction tale Fire in the Sky; and a talk by former Baywatch makeup artist Kim Carlsberg, who claims to have been abducted repeatedly over eight years and forced to birth seven “hybrid” children.
was in junior high, his father, Jerry West, took him to see Bowie’s sci-fi film, The Man Who Fell to Earth. Later, that film and The Rise and Fall of Ziggy Stardust and the Spiders from Mars album inspired him to create a rock opera starring West’s own glam-rock alter ego, Xoe Fitzgerald, whom he describes as a time-traveling transvestite and misunderstood union organizer spawned by Bowie and a local New Mexico woman. Despite the offbeat theatrics, West manages to make it all seem believable. The Santa Fe native began his career in the arts as an actor and playwright in New York City. Like every good performer, he girds even his most outlandish tales with an emotional honesty that more traditional songwriters would be hard-pressed to match. As West sings on “Paradise”: You sip your whiskey in the air-conditioned bar, As the crayons melt on the dashboard of your car, Cuz you know pleasure comes with a price. His musical chops have led him to a wide variety of projects outside of New Mexico. In addition to touring extensively throughout the U.S. and in Europe, he’s shared
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stages with Arlo Guthrie and the Violent Femmes. He’s produced an original children’s CD, written and produced a full-length rock opera, made music for film and television (including the Emmy-winning documentary Split Estate), and created a conceptual radio show, The Intergalactic Honky Tonk Machine. “Playing with Joe is really inspiring,” says Lori Ottino, who sings and plays melodica in West’s band. “I can go from laughter to tears in one song. He has an ability to really touch people. He can take a broken heart and light it up again.” Fiddle player Karina Wilson agrees: “I think he writes the best love songs I’ve ever heard.” While some are overtly autobiographical, such as “Tara’s Song,” an homage to his longtime girlfriend and the mother of his young daughter, Clementine, West’s characters are also often amalgams of people he knows—or they incorporate parts of himself that he finds easiest to express behind the veil of a song. But almost all of West’s songs tell a story of some kind. A third-generation New Mexican born in Santa Fe, West comes from a long line of artists. His father, Jerry, is a painter and last year completed a one-year residency at Roswell’s Anderson Museum
of Contemporary Art. Jerry’s younger brother Archie is a musician, and their father, Hal, West’s fraternal grandfather, was also a painter who was supported for a time by the WPA Federal Art Project. Hal came to Santa Fe in 1925 at the insistence of his sister, Etna, who was drawn to the art community that was forming there. And it was the pull of family and of the magic of Northern New Mexico that brought West home more than a decade ago, after a stint in Austin, Texas. He lives with Tara and Clementine in his grandmother’s adobe house in Lone Butte, between Santa Fe and Madrid. West is already at work on songs for his next album, which he envisions will be “very sparse.” As for live performances, West says he’s looking forward to playing a bluegrass festival in October. But above all, he wants to stage more theatrical productions like the two revues he’s done in the past couple years, which blend theater with live music and storytelling. “My big thrill is in creating bigger things. I don’t feel like I’m in my life’s work yet, but I’m not far from it.” R joewestmusic.com Fall 2013–Spring 2014 Trend 209
Trendsource
Robert Reck
The explosion of new technology in the past few years is changing the world of design in exciting ways, at a pace that’s nothing short of breathtaking. Expanding capabilities in materials and machinery have opened up new ways of thinking and creating, taking us to uncharted territories of imagination and innovation. Cross-pollination among previously unrelated disciplines is adding to the excitement, with new relationships forming and new kinds of insights and collaborations emerging. It’s a fertile, creative time to be part of the design milieu, one that will likely be looked back on decades hence as an important, revolutionary step forward. In the following pages, we catch you up on where the journey’s led us so far.
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Designing and Making in the Postmechanical Age Technological advances open up new realms of creativity in art, design, and architecture
courtesy of Tod Williams Billie Tsien ARchitects
By Gussie Fauntleroy
How does a thought become an object, or a question turn into an edifice? How are emotions converted into creative building blocks for the design and making of a chair? Artists, artisans, architects, and designers have always had methods for moving from the abstract and emotive realm into the visual and material, whether in two dimensions or three. For centuries the primary conversion tools have been the imaginative mind and the skilled hand, with machines and mechanical implements adding efficiency and ever-greater design potential along the way. Now the doors of possibility have been blown open by the exponential blast of digital technology, from Grasshopper to 3-D printers, radically impacting every discipline in the design-build world. With these changes come questions—pondered by some, low-priority for others—about such issues as speed and efficiency versus time and reflection in the creative
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“One rapidly expanding frontier in architecture is the emergence of structures in shapes that previously were imagined only in science fiction.” supreme importance of the human imagination, communication, and tapping into intuitive inner resources, regardless of the outer tools. “Speed, accessibility, less waste, and lower costs are the main advantages of this development,” notes interior/furniture designer Thomas Lehn, who owns Thomas Lehn Designs in Santa Fe and chairs Design Santa Fe 2013. “It provides designers with the ability to make immediate changes to their designs. These systems allow one to 214
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studies as part of the source material for designs. Using diffusion spectrum magnetic resonance imaging (DSI) of the brain and TrackVis software developed at Harvard University, Cook translates the fiber connections produced by communication between parts of the brain into actual fiber connections in an image. Tapestry weaving, with its structural and repetitive format and process, is probably among the applications most suited to digital design, McQuaid notes. As far back as the late 18th century, French weaver Joseph Marie Jacquard invented an automated weaving machine. And while the human imagination and hand will always be integral in textile arts, McQuaid points out that today’s cutting-edge technologies allow for more experimentation and shorter preparation time, reducing the need for testing design possibilities on a handloom. This is especially critical in the hightech world of engineered fabrics in such fields as medicine, industry, transportation, architecture, sports apparel, aerospace, and environmental technology. In reconstructive medicine, digital tools provide for what McQuaid calls “mass customization.” For example, exquisitely small-scale embroidered polyester material is commercially produced yet can be completely customized as an implant to replace a ligament lost to surgery. In a similar way, quickly evolving tools such as 3-D printing, computer numerical control (CNC) milling machines, and rapid prototyping technology are opening up the unprecedented ability of designers and inventors—including small businesses and everyday folks with home-based equipment—to envision and make all kinds of objects on a customized or oneof-a-kind scale. “What’s most interesting about these capabilities, at the moment, is the many special custom surfaces and forms that can be printed for the designed environment,” remarks Susan S. Szenasy, longtime editor-in-chief of Metropolis, an award-winning New York City–based magazine devoted to architecture and design. In Los Angeles the design/invent/make
illustrations: Janine Lehmann
process, the impact of parameters and constraints embedded in digital systems, and how to preserve the mark of the artisan’s hand. These questions play out in various ways. Some designers and architects continue to retain useful aspects of handrendering and hand-building models and prototypes, while others have plunged headfirst into the fast waters of digital change. Either way, thoughtful observers and practitioners acknowledge the
quickly visualize in scale what a design will look like before it is built. There’s a sense of play with this new precision. It’s all good—it just needs to be monitored so it’s not an imbalanced process.” Lehn, whose undergraduate education was in fine arts, began his design-build career in 1975. In keeping with his “old school” training, he draws all his designs and creates furniture prototypes by hand, then works with highly skilled colleagues who translate his drawings into computerized documents. For Lehn and others like him, the time required to flesh out an idea and produce drawings is an essential element in the process itself, allowing for reflection and self-critique. “I like to come to the threshold of understanding what I’m trying to create, through the time the process takes,” he says. “For me it feels less encumbered by the commands of computer actions. There are fewer veils between me and the ideation process.” The preference for hand-rendering or computer-aided design is largely a generational issue. Yet regardless of age, Lehn and others point to designers, artists, and architects whose digital skills are so second nature that the full force of creativity is not only unhindered but expanded by technological means. Danish textile artist Grethe Sørensen and American Lia Cook are examples of this pioneering spirit. “They’re both unstoppable and fearless when it comes to understanding where technology can take them. They know how to challenge the parameters and take it a step further,” says Matilda McQuaid, deputy curatorial director and head of the Textiles Department at the CooperHewitt, National Design Museum in New York, part of the Smithsonian Institution. Sørensen starts with video clips of night cityscapes, filmed by her husband, and magnifies and re-creates them in pixelated form in large tapestries. “The images are still, but they seem to be moving. They’re extraordinary,” McQuaid says. Cook creates large, striking tapestry portraits, often of children, dolls, or other imagery related to memory and childhood. Her newest work employs data produced by neurological
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team of Steven Joyner and Jason Pilarski, known as MachineHistories, is running full speed with this concept. The two met in 2001 at the Art Center College of Design in Pasadena, where Joyner was an environmental design student and Pilarski was a young instructor. Then, as now, their collaborative explorations were propelled by stimulating, unpredictable conversations and disagreements, coupled with the endless potential of both mechanical and digital tools. In fact, the MachineHistories duo describes the current era as “paramechanical,” since the design-build space has expanded to incorporate the integrative use of both sets of tools. At this extreme edge of the creative spectrum, Joyner and Pilarski say, “You begin to compute with these tools instead of simply using them. This means you can think through them and design with them. Before, there was distinction between mechanical and digital methods, but now we can think digitally with anything—even a belt sander or a drill press. To do this you must first recognize the constraints and then get creative. Once you’ve defined the parameters at play, then you can design variation by manipulating the values.” Pilarski and Joyner go so far as to see digital data from any source as fodder for the design of such diverse objects as furniture, architectural elements, lighting, and tableware. And as with Cook’s neuroscience-inspired tapestries, such seemingly disparate realms as shape, emotion, and motion can contain the shared element of numerical value, which can be translated into design and form. Among MachineHistories’ recent commissions were bookshelves and sound baffles for an investment firm office. “We spoke about how the firm functions in terms of their work and tried to visualize this into form. We tracked stocks and used the resulting data to feed into the design of the piece,” Pilarski relates. The on-screen result was a shape similar to the curved graph line produced by ticker tape. The designers projected this curving shape across a digital
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rendering of the entire space where the furniture would go. Then they sliced it into sections, which became the design motifs for singular objects—bookshelves and sound baffles. Some claim that a potential downside to computer-aided, industrially produced objects is the absence of anomaly. Mistakes imply the intrinsic history of the making process; they show the maker’s hand. Yet a deep understanding of process and digital capabilities can counteract
“I see what everyone is hoping for: a renewal of the unique, the personal, away from the blandness and correctness of Late Modernism. . .” —Susan Szenasy
a machine’s natural tendency to overuniformity. MachineHistories’ name, in fact, derives from Pilarski and Joyner’s deliberate efforts to incorporate anomaly into finished works. With a series of 3-D-printed 14-karat rings, for instance, they preserved the rings’ 3-D-printed supports, which are often laboriously removed, as a design element. Such an approach is exciting to Szenasy and others with a finger on the pulse of the design world. “Sometimes I mourn the disappearance of craft, beautifully rendered and inventive craft that records the presence of a skillful human hand and enlightened mind,” she reflects. “But right now the most versatile people who do 3-D printing, for instance, have a strong craft bent. Their work, much of it a result of coding, shows us evidence of
the creative and inventive mind—a very rewarding thing to see.” In architecture, a different set of issues arises in discussions of hand-drawn and digitally aided design. Among the most revolutionary developments, of course, has been the emergence of software for computer-aided design and drafting (CAD), with the best-known applications being Sketchpad, Autodesk AutoCAD, and SketchUp. Suddenly the time-consuming, labor-intensive process of hand-drafting designs and renderings can be achieved—and infinitely modified and manipulated—virtually instantly on the computer screen. The clear benefit is enormous time and cost savings. Greater real-time collaboration and communication are also possible, as various members of the designconstruction team can view and contribute to layers of architectural and engineering plans simultaneously for the same project. Using Autodesk Revit software, for example, a mechanical consultant or plumber can view a building’s plans and “drop in” all the ductwork or plumbing lines. “The 3-D drawings show all of that, so you can foresee problems—for example, a plumbing line cutting through where structure needs to be,” explains New York City–based architect Billie Tsien, of Tod Williams Billie Tsien Architects. One rapidly expanding frontier in architecture is the emergence of structures in shapes that previously were imagined only in science fiction. World-renowned architects, including London-based Zaha Hadid and Thom Mayne of Los Angeles, have made their mark with edifices whose spectacular angles, curves, and biomorphic shapes might never have been attempted, much less successfully built, without the assistance of high-tech tools. Williams and Tsien, on the other hand, are among a cadre of architects who place greater value on the experience of a building’s interior space than the shape of its envelope. The two began working together in the late 1970s and now head a 27-person firm. While they take full advantage of technology, for many years Fall 2013–Spring 2014 Trend 215
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“On a computer you’re drawing lines, and you may not be completely aware of dimensions. So you can drop in a table and it looks like it fits,” she says. “In fact, the proportionally scaled table could end up being twenty feet long and five feet wide. For us, everything starts with the human being, and that means a relationship with another person sitting across from you at a table.” Keeping that human scale in mind is key, Tsien believes. Similarly, because computer-generated architectural renderings inherently generalize and abstract, clients may have unrealistic expectations of what a space will look and feel like. A wood f loor may be digitally represented with smooth, perfect color and grain, whereas actual
materials don’t necessarily produce the same effect. “Renderings promise perfection. Reality doesn’t deliver perfection, but sometimes it delivers something better,” Tsien observes. Likewise, simple modeling software such as SketchUp, and the more sophisticated Rhino 5, allows architects to twist, turn, and otherwise instantly change the shape and size of a building or room. But Tsien continues to find value in old-fashioned physical models “because they essentially stand still,” she says, “and that tells me what it is to be human in that space.” On a broader sociological and economic level, the revolutionary impact of high-tech tools in design and production has farreaching implications that have only just
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Left: Matt Flynn; Top: Nic lehoux; right: MachineHistories
they combined and appreciated both hand and digital tools. Tsien paraphrases Irish poet Seamus Heaney, who had spoken of himself as “a verb, becoming a noun.” A fancifully shaped building, she believes, is perceived and celebrated as an object, or “noun,” whereas her firm’s approach envisions a building more as an active verb, reflecting the physical and emotional human experience of living or working within that space. Tsien, who teaches architecture with Williams at Yale University, notes that students using CAD technology can be challenged by a lag in understanding of scale. For example, a student asked to draw a room in the past would have measured and drawn the walls by hand.
MachineHistories’ 14-karat gold ring (left) was created with a 3-D printer. The printer supports, which are usually removed, are left in to serve as a design element. Above: The David Rubenstein Atrium at Lincoln Center, designed by Tod Williams and Billie Tsien, features a 97-foot felt wall art installation by Dutch textile artist Claudy Jongstra, along with movable seating, a 30-foot-high plant wall to cleanse and moisturize the air, and a fountain trickling water from the ceiling.
nic lehoux (2); illustration: Janine Lehmann
Far left: Lia Cook uses Diffusion Spectrum magnetic resonance imaging and TrackVis software to transform images of the fiber connection between parts of the brain into actual fibers. Her tapestry portraits are striking both as stand-alone artworks and examples of the merging of art and technology.
begun to become part of the cultural conversation. On one hand, notes Szenasy, are essential moral questions about the ability of 3-D printers to produce such objects as functional guns, and the effects of printing with toxic materials. Also of concern is the reluctance of large, well-resourced, vested industries to embrace and support some of these changes. “This reticence slows things down,” she remarks. “The movement needs investment; it can run on youthful enthusiasm only so far.” Still, it’s hard to dismiss the millionwatt creative energy of individuals and groups of all ages around the world who are leading and flowing with these powerful streams of change. “They innovate, teach, learn from teaching, and involve
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the students in designing things that can be tested quickly and efficiently in terms of performance, aesthetics, viability—the discourse is very rich at the moment,” Szenasy says. “I see what everyone is hoping for: a renewal of the unique, the personal, away from the blandness and correctness of Late Modernism, which is now exhausted. I think when we fully grasp what it means to be local in a global world and act on it—in terms of our unique cultures, customs, abilities, and aspirations—we will begin to have a deeper understanding of our resources and our humanity. When we understand the value of our unique contribution to the whole system, the world will regain some of its special flavor, redefine that
spicy gumbo that we threw out when we bought into Industrial Modernism.” R Susan Szenasy will moderate a panel discussion, “Making Things in a Digital Age: Craft and Technology, Process and Product,” on Nov. 2 at 9:30 a.m. in the New Mexico History Museum auditorium, as part of Design Santa Fe 2013. Panel participants include Billie Tsien, Matilda McQuaid, Steven Joyner, and Jason Pilarski.
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1. David Richard Gallery 544 S. Guadalupe St. 505-983-9555
5. Zane Bennett Gallery 435 S. Guadalupe St. 505-982-8111
2. Samuel Design Group 428 Sandoval St., Suite B 505-820-0239
6. Molecule 1226 Flagman Way 505-989-9806
3. Plaza Rosina 1925 Rosina Street
7. Pacheco Park 1512 Pacheco Street
Counter Intelligence H & S Craftsmen 1925 Rosina St., # G 505-988-4007 Fabu-WALL-ous Solutions, LLC 1925 Rosina St., Suite B 505-982-9699 4. Builder’s Source 1608 Pacheco St. 505-982-5563
7. Pacheco Park (cont’d) 1512 Pacheco Street Floorscapes United Stoneworks Suite C201 505-471-4848 FOUR Suite C203 505-780-8911
Tierra Concepts Suite D206 505-989-8484
Santa Fe By Design Suite D101 505-988-4111
Form & Function Suite C202 505-820-7872
D. Maahs Construction Suite A206 505-992-8382
Southwest Spanish Craftsmen Taos Furniture of Santa Fe Suite A103 505-988-1229
8. Allbright & Lockwood 621 Old Santa Fe Trail #5 505-986-1715
9. The Firebird 1808 Espinacitas St. 505-983-5264 10. Arrediamo 214 Galisteo St. 505-820-2231 11. Mediterrania Antiques 401 W. San Francisco St. 505-989-7948 12. Liquid Light Glass, Inc. 926 Baca St. #3 505-820-2222 13. Baglione Custom Woodworks 8 Forest Lane, Unit B1 505-988-7326
Trendsource
elegance with a purpose
BY Stephanie Pearson
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Trendsource
efore the early 1940s, when Charles and Ray Eames designed their “potato chip” chair and helped spark a revolutionary paradigm shift in the design world, art was still the esoteric province of the elite; it was not meant to be sat upon, stepped on, used to pour coffee, or function
in any practical way. Fast-forward to the present and the trend has shifted to the other extreme: the masses can now toast bread or brew tea with stripped-down products designed by big names and sold at Target. Today’s most innovative designers, however, are taking back the initiative and finding that space between, blurring the boundaries of form versus function and walking that fine line of maintaining artistic values while creating sustainable, innovative, and user-friendly products. Some choose to do it by hand; others continuously experiment with a vast array of evolving technologies.
“As a furniture designer and artist, I’ve always wanted to have an equal relationship with both camps,” says Thomas Lehn, founder of Santa Fe’s Thomas Lehn
Everyday objects undergo artistic transformations at the hands of designers who fuse form and function in innovative ways
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Designs and chairman of Design Santa Fe 2013. “People who were minimalist artists had a craft and an understanding of how to create the most out of the simplest gestures, but that was co-opted by developers’ desire to make everything simple, cheap, and direct. That’s the fight we’re in as consumer designers right now,” he says. “The whole reason I’m in this business is to awaken people’s sensibilities and create opportunities for new invention that have a deep, rich foundation. The poetry of the form doesn’t have to be stripped away.” As co-curator with David Eichholtz of the exhibition Life Support: Art <—> Design, Sustenance, held at Eichholtz’s David Richard Gallery in Santa Fe November 1–30, 2013, Lehn brought 222
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together more than a dozen artists and designers who use diverse methodologies to create pieces that “merge innovative artistic visions with 21st-century tools for living.” They range from Nancy VanDevender, an Atlanta artist who designs wallpaper based on human tattoos, to architect-designers Ronald Rael and Virginia San Fratello of Oakland, California, who print exclusively with 3-D technology, often using salt as a construction material. “I wanted to gather a collection of artists and designers who are engaged in the practical and prose,” says Lehn. “This was really an exploration of new thinking on how design relates to an environment and becomes its own identity. Everything
in the show plays two roles: it has sculptural identity and it has function as well. Not all products in this show are made digitally,” he adds. “Some are made by hand. Some are whimsical and some are very scientific.” Some are all of the above. Awardwinning designer Michael McCoy partnered with Peter Stathis to design their now iconic Horizon Lamp based on one preliminary thought: “There’s got to be a better way.” “In a lot of my work I try to start out with something that really annoys me, some product type that is really irritating,” says McCoy. In this case it was LED lighting. “With LED lights, there’s a glare, and it tends to be a fairly cold light,” he says.
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Michael McCoy and Peter Stathis designed the award-winning H1 LED light. Previous pages: Thomas Lehn’s Shadow Table.
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Left: mccoy collection; right: E.G. Shempf, Kansas City
McCoy’s Door Chair merges furniture and architecture in timeless style. Right: Lehn’s Nucleus sconce light in fiberglass and metal won a National Lighting Design competition.
Instead of going to the lighting industry to look for answers, McCoy, a principal in Denver’s McCoy & McCoy Inc. and former co-chair of the Design Department at Cranbrook Academy of Art in Bloomfield Hills, Michigan, took his quest to the consumer electronics industry. “We looked to iPads and the nanofilm technologies they used to give us wonderful light quality. Then we asked, How can we float this glowing pane of light in the most minimal way possible?” The result is a beautifully simple desk lamp with three elements: a slim rectangular head fitted with a new technology called Thin-Film LED, a support shaft with a ball joint on the top and bottom, and a circular base. Made largely from recycled
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aluminum, easily disassembled, and using a bulb with a 25-year lifespan, the Horizon Light, now part of the New York Museum of Modern Art’s permanent collection, is designed to never break or be thrown away. “People throw things away for two reasons: they are tired of it or it doesn’t work. We’re trying to solve both those problems, says McCoy. “Hopefully it’s a simple and elegant form so that people don’t get tired of it.” Nancy VanDevender, an artist who teaches at Clark Atlanta University and Oxford College of Emory University, uses wallpaper as her medium to explore a more intimate facet of design: “What I’m really interested in is how the decorative
enters into interiors and what people say about themselves by what they put on their walls,” she says. To add a layer of complexity, VanDevender designed “Tattoo Parlour,” a wallpaper featuring a composite of tattoos from people she’d met over the course of a few years. “It’s really dealing with not only what people choose to expose about themselves through their tattoos, but also how we read them,” says VanDevender, who incidentally has no tattoos of her own. “There’s a lot that’s not understood when we read tattoos for the first time. Sometimes they are biographical, but sometimes they are more about what people want to become, what their aspirations are.” When VanDevender first started making Fall 2013–Spring 2014 Trend 223
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courtesy of baumgartner + Uriu
Baumgartner + Uriu’s coral lamp is hand-assembled from 3-D-printed parts. Opposite: Rael San Fratello Architects’ 3-D-printed salt bowls and “Slug Seat” are examples of ways that digital modeling software is ushering in a new era of durable, sustainable building materials.
wallpaper, she would include three-dimensional objects like ruffles. “The object itself was really important to my practice,” she says. “But what happened with digital is that I realized the space could be flattened out and layered, and I could get the same meaning through technology.” Now VanDevender photographs the objects she intends to use in her wallpaper, scans them into the computer, then redraws, layers, takes apart, and finally brings them together. “The organization became the prose,” she says. “It’s not that technology has made
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the process easier, it’s that it allows more options. My process is still very labor intensive and has a lot of hand elements to it.” Jason Pilarski and Steve Joyner of MachineHistories, a Los Angeles design cooperative with a client list that includes Frank Gehry, Rios Clementi Hale, and Geoff McFetridge, have developed software that allows them to design pieces that look randomly organic, as if they’ve been made by hand. (For more on Machine Histories, see “Designing and Making in the Postmechanical Age,” page 213.)
“The more complex these tools get, the more you start to realize there’s nothing that isn’t organic,” says Pilarski. For a client in Miami, he used the software to design a carved, anodized-aluminum wall-covering tile system. It allows for anomalies, like marks craftspeople might make if they were creating them by hand. “In making it digital, we want to make sure there’s not just a variation of one step but a visual variation,” Pilarski explains, “so that when all the rules are put together, it’s very emergent Fall 2013–Spring 2014 Trend 225
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and gives us a rich look. The results don’t look hand-chiseled, but they are definitely inspired by that.” Textile artist Piper Shepard works from the opposite end of the spectrum. For her piece called “Screen,” she drew intricate lacelike patterns on a piece of muslin cloth. She then gessoed it, used an X-ACTO knife to cut out the filigree patterns, and coated it with graphite. “I think about the patterns as a drawing in space,” the Baltimore-based artist explains. “When cutting the cloth, what I’m leaving behind is the maker’s hand.” The result is a ten-foot screen that hangs 226
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from a steel armature draped in space. “I had been traveling through India and became interested in how pattern and ornament intersect with architecture,” she says. “We think that textiles and architecture might be antithetical, but they have similarities. Textiles provide shelter and define space, like architecture does. To construct cloth line by line is similar to creating a structure brick by brick.” McCoy’s Door Chair, a limited edition piece he designed in 1981, illustrates how furniture can also be viewed as architecture. The sleek black chair has a red seat that unclips and folds down flat, like a closing
door. “It’s a commentary on the relationship of furniture to architecture. Furniture can be small architecture,” he says. “In this case it’s taking the element of a door and shrinking the scale to chair scale.” Lehn points out that you don’t have to be chained by the poverty and efficiency of putting things together in boxed construction, that good design can perform utilitarian functions without sacrificing artistry and aesthetics. “Along with that comes a sense of joyfulness, organic-ness, and playfulness. We so often put ourselves into these limited boxes, but I don’t think we have to be there anymore.” R
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courtesy of nancy vandevender
Nancy VanDevender’s “Tattoo Parlour” wallpaper design “King of Dreams, Queen of Hearts” was inspired by body tattoos. She photographed them, then scanned, redrew, layered, and took them apart before reintegrating them in a unique design.
Introducing the Orchard Gardens, a collection of plants carefully selected for their beauty and adaptation to our Northern New Mexico climate. Amid a backdrop of stone and steel, the Garden delights visitors with a seasonally changing display. Come and enjoy the diversity presented in our meadow, the mixed fruit tree orchard, and the Rose and Lavender Walk. See New Mexico native plants as you’ve never seen them before, artistically contributing to a garden that reflects this rich and wonderful landscape.
EXPERIENCE THE NEW SANTA FE BOTANICAL GARDEN AT MUSEUM HILL!
Linger under the shade of a grape vine or rose-covered arbor. Experience the beauty of the Dry Garden, a courtyard planted with some well-loved and some rare and unusual succulents, agaves and cacti. Learn how to identify a tree you may not have seen before. Appreciate a subtle yet stunning combination of grasses and perennials.
Remember how much you love Santa Fe and its natural splendor.
Located at 715 Camino Lejo Open 7 days a week 9am–5pm through October November–March open Tuesday–Sunday, 10am–4pm Guided tours & venue rental
More information: santafebotanicalgarden.org 505·471·9103
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Who’s the Boss?
When architects, builders, and designers get in each other’s way, it’s the homeowner who loses. A new spirit of cooperation is changing that
Text by Nancy Zimmerman | photos by kerry gallagher
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uilding or remodeling a home or commercial space is always a huge undertaking, and the project’s success can depend not only on which architect, builder, and interior designer you hire but also on how they interact with one another. In an ideal world, these parties work together, each respecting the others’ expertise and all operating within a well-understood division of labor and spirit of collaboration. In the real world, things tend to get a bit more complicated. Historically, architects used to do it all—land development, building design, materials specification, oversight of the building process—before handing over a finished building to decorators to furnish the interiors. “But the whole architecture profession has changed drastically in the last hundred years,” says Santa Fe architect and designer Barbara Felix of Barbara Felix Architecture + Design. These days, she says, you’re as likely to hear a project referred to by the name of the developer as of the architect—people talk about “the Tisch Building” or the “Trump Tower.” “Somehow the master builder role has been ceded,” says Felix. “That’s partly because buildings, both residential and commercial, are more technologically complex now,” she explains. “For example, for our recent renovation of La Fonda in Santa Fe, we reviewed the original drawings from 1929, which covered about 55 pages for structural and mechanical specs. But today you have phone data, fire and electrical components, and other technologies that didn’t exist back then, all incorporated into the specs. So our drawings for La Fonda ran more than 200 pages, about four times
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the length of the original ones. With all that extra knowledge involved and extra work added to the scope of the project, and without an increase in fees in terms of percentages, the architect gets spread pretty thin. That’s good for other professions, because they can step into the void.” Architect Robert Zachry and designer Edy Keeler review plans for a new home. In the process of filling Keeler’s involvement in the early stages helps ensure a smooth operation. that void, however, problems can and do occur. Turf wars, scheduling conflicts, honest dis- While in the past the designer was brought agreements, and misunderstandings arise in to deal with the interior once the shell when more decision-makers are brought was created, today’s designers usually beinto the mix, and homeowners often come involved at a much earlier stage. find their costs increasing and timelines This can benefit the client both financially lengthening as a result. With the various and aesthetically, but it can also lead to participants in the process holding sway problems if the architect and builder don’t over their own portion of the project, lines see the designer as a key player. of authority can become blurred; it’s not alHeather Van Luchene and Stefany ways clear who, if anyone, has the authority Hollingsworth, licensed interior designers and responsibility to see that the interaction and partners in Santa Fe–based HVL Inteis smooth and the schedules are met. riors, agree that establishing a relationship “The circus leader is gone,” concedes early on with the builder and/or architect is Felix, “and the disparate acts are often essential. “The client shouldn’t have to meuncoordinated. For the good of the owner, diate between a bunch of finger-pointing someone needs to fill the role of coordina- principals,” says Van Luchene. “It doesn’t tor, and I’d personally like to see architects have to be difficult if you all keep in mind take back the umbrella. Not that they can the three main goals of the project: please do it all—you usually need a team to bring the client, communicate with one another, it all together—but someone needs to be and work as a team.” in charge, otherwise it gets too confusing.” How do they accomplish that? “The When architects and builders complain biggest problem I see is when there’s about “too many decision makers” involved too vague a delineation of scope,” says in the process, they’re usually complaining Hollingsworth. “Someone needs to take the about the role of the interior designer. reins, to establish good communication.
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“The homeowner shouldn't have to mediate between a bunch of finger-pointing principals.” —Heather Van Luchene
Architect Barbara Felix champions a collaborative approach to building and design.
They need to make sure that all parties are copied in on emails, so we all know what’s going on. And we love to be brought in at the planning stage, before permits have been pulled, so everyone can see things through our lens—aspects like furniture arrangements, placement of electrical outlets, the need to leave enough room for window coverings. The designers are the ones who tend to work most closely with the clients on these matters, so we can give input on how they live and what they need, and that should be incorporated into the initial design rather than treated as an interior design problem to be resolved at a later stage.” Another issue that sometimes arises is the lack of communication about allowances. “When we know the allowances we certainly work within them,” says Van Luchene. “But often we don’t get them, and
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the client might say, ‘Oh, I want marble floors in the bathroom,’ but it turns out the budget won’t accommodate that. If we know the allowances, we can guide them to another material or let them make the decision of whether to go over budget.” Timelines can be equally tricky. “We need to know what the builders need and when they need it, otherwise you end up with the contractor saying things like, ‘I need that grout color! My tiler is here and ready to go!’” adds Van Luchene. “It’s one of my pet peeves because that sort of thing leaves us all pressed for time. There are enough variables in the availability of subcontractors and materials without making more problems for ourselves and the client, who has to bear the extra expenses that result. We need time to order things and make plans, and without knowing the schedule, that’s not workable. It’s even
better if we can have input into the schedule, so we’re not faced with specifying and acquiring materials on an impossible timeline, while the installers sit around waiting for them.” Designer David Naylor, of David Naylor Interiors in Santa Fe, has learned, sometimes the hard way, how to insert himself into the process and initiate the kind of collaboration that ultimately benefits the homeowner. “I see homes like I see people,” he says. “Architects provide the bones, the builder supplies the muscles and organs, and designers contribute the skin and the personality. You need all of those. “Designers need to nurture the architectbuilder relationship with respect,” he continues. “The earlier the designer gets involved in the process, the better, but we have to find a way in that’s constructive. I got into the process because I’d only pitch good, solid ideas that were easy to execute. I’d draw great elevations for my ideas, so it would be immediately clear exactly how they needed to be executed. For example, if a plan called for a kiva or a shepherd’s fireplace, architecture terms that aren’t fleshed out, I’d create detailed drawings. I’d also take on areas that builders and architects don’t really want to deal with, like backsplashes in a kitchen. “Also, you need to show up for meetings and be on the job calling out details. I always try to work with the installers’ point of view, like how the backsplash intersects with the windowsill, elements like that. If you take the time to learn about their craft, the right answer always bubbles up. A framer or a tile setter always knows more than you about what they do. They have more pride of ownership if you accept their input, and their work will reflect that.” Santa Fe architect Robert Zachry acknowledges another touchy problem that many designers experience but are Fall 2013–Spring 2014 Trend 229
Trendsource reluctant to discuss: Women designers don’t always get the respect and cooperation that they deserve and need to do their jobs optimally. “Let’s face it, most architects and builders are men, and most designers are women. Historically there’s been a lot of sexism getting in the way of true collaboration. It’s unfortunate but true that male architects get more respect from the builders and vice versa. That said, builders have a lot more respect for designers than they used to,” he adds. “More designers are using CAD programs now, so they can produce built-ins, walls of shelves, things like that. They’re becoming more professional on a lot of levels.” Zachry frequently works with his partner, designer Edy Keeler of Core Value Interiors, and involves her as early in the process as possible. “The designer works
Bill Deuschle, left, and Ray Garcia of Fabu-WALL-ous Solutions work with a client on-site. Deushcle is leading the effort to foster better communication among architects, designers, and builders. 230
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the closest with the clients, and if she hears something she knows won’t work with their preferences, she can jump in. Also, it’s important for the architect to collaborate with the designer so the inside and outside—the flow, style, materials, and palette—can all work together.” When not collaborating with Zachry, Keeler starts a new project by asking the architect and builder what they want from the job and what they expect from the designer. “I ask them what makes it easier for them,” she says. “Also, a lot of problems come with supplying materials. Many designers supply their own, but there’s a markup involved, so you have to determine what the builder considers his turf.” Like the other designers, Keeler also stresses the importance of keeping the designer in the communication loop. “An
“Architects provide the bones, the builder supplies the muscles and organs, and designers contribute the skin and the personality.” —David Naylor architect might make changes to an elevation, for example, without letting us know,” she says. “It can be a problem if the designer has already ordered furniture or a piece of art and then the wall disappears! That will cost the client money.” Dealing directly with the client is yet another area where problems can arise. As Zachry and others point out, it’s usually the designer who works most closely with the homeowner, and that has both positive and not-so-positive effects on the working relationships. On the one hand, the designer takes on many tasks that the architect and builder would rather not have to, such as shopping trips for furniture, accessories, and appliances, as well as tile selection, color decisions, and other aesthetic details. But that can create tension as well, says Naylor. “What happens all too often is that clients tend to love us more vocally than they do the architect or builder, who can sometimes feel that we’re taking their credit. Let’s face it, no homeowner is ever going to say, ‘I love my wiring!’ The architect and builder need to understand that the client will naturally relate more closely to the designer, and not take it too personally. We’re all in this together.” Naylor cites one architect he worked with who accommodated a client’s desire for a storage-display wall in their wine room. “He created an impressive 12-foot wall,” he says, “but the owners were short, so I couldn’t put the storage higher than eight feet. That called for a design solution to deal with the remaining empty space, which ended up being a beautiful wrought-iron grille that bridged the space between the shelves and the ceiling. You can’t expect the builder or architect to pull out these kinds of design solutions, and of course the client gives the appreciation to the designer.” On the construction side of the equation, builders also suffer when there’s a gap in understanding among designers, builders,
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ToP: courtesy of David Naylor; Bottom: kate russell
Trendsource and architects. Bill Deuschle, managing member and founder of the construction company Fabu-WALL-ous Solutions and first vice-president of the Santa Fe Area Home Builders Association (SFAHBA), has worked with architects and builders for more than 30 years, both in Santa Fe and throughout the country. “In my experience, architects, builders, and designers tend to do their own thing, but eventually it all has to come together. Ideally, all parties should be involved from the very beginning. If you’re all able to work together as a team, the client is far better off.” Deuschle confesses that he’s harbored some resentments toward designers and architects over the years, primarily because of endless change orders resulting from a lack of knowledge of the building process, which end up costing clients a lot of money. “That doesn’t have to happen,” he insists, “especially if your team works as a cohesive unit that can represent the client’s best interest.” Toward that end, he says, the SFAHBA is spearheading an effort to bring everyone together to discuss the problems that can arise and to find solutions for them. The group’s first initiative was to invite a number of Santa Fe designers to one of their monthly luncheon meetings to open up a dialogue. “About 28 to 30 designers showed up, as well as several representatives from Santa Fe Community College’s design curriculum, and we were very excited by the enthusiastic response,” says Deuschle. “It was a great opportunity for us all to acknowledge the conf licts and to try to find ways to work together more. The meeting was very candid—there was no holding back—and that kind of honesty is a good start.” The association has held other such discussions and also has joined with Design Santa Fe to expand its annual Parade of Homes to embrace Design Santa Fe’s annual Home & Garden Tour, adding an interior design emphasis to the event’s traditional focus on architecture and construction. “Santa Fe is probably the first place in the nation to do something like this, to
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David Naylor’s detailed drawings of architectural details like fireplaces, columns, ceilings, and flooring help architects and builders bring it all together in the final product.
bring it all out in the open and find ways to improve the situation,” says Deuschle. “What better place than Santa Fe? We’re the ‘City Different,’ and we’re leaders in so many areas, so this is very compatible with who we are.” The idea is catching on: Deuschle has been invited to participate in a panel to address the topic at the American Institute of Architects’ convention next year in Chicago, and he’s looking to promote more cooperation among the professions. He also points out that the recent severe recession has driven home a general
awareness of the interconnectedness and interdependence of businesses, giving rise to a new atmosphere of collaboration. “We’re all trying to make a living,” he says. “Since 2008 the business climate has changed at every level, not just in home building and remodeling. The climate is right, more than it’s ever been, for all us to want to work together. People’s attitudes have changed, and the situation is ripe for better understanding and better collaboration. That’s great, because we’ll all enjoy our work more, and the clients will save money and have a better experience.” R Fall 2013–Spring 2014 Trend 231
, inc. Dr. Bobby O. Perea Chiropractic Physician
Dr. Bobby O. Perea, owner and founder of Alignment of Life, Inc. is serious about back pain. Offering unique, cutting edge, safe, and effective relief options, Dr. Perea creates a relaxing environment where he takes the time to listen to his patientâ&#x20AC;&#x2122;s needs with honesty and compassion. Voted Best Chiropractor in the Santa Fe Reporter 2013, Alignment of Life, Inc. is the only facility in New Mexico that offers Spinal Disc Decompression Therapy and Pain Relief Injections, both of which target herniated and degenerative discs. Dr. Perea specializes in non-Surgical Spinal Disc Decompression Therapy (SDDT), a revolutionary new technology used to treat disc injuries in the neck and low back. SDDT gently separates the vertebrae from each other, pulling the proteins, water, oxygen, Dr. Pereaâ&#x20AC;&#x2122;s minimally invasive Pain Relief Injections utilize homeopathic substances, offering relief to muscle spasms, nerve pain, trigger points, and sprain and strain injuries. As a leading healthcare provider in his community, Dr. Perea treats his patients with a whole body, holistic approach. Treatment plans are carefully explained and designed to assist the body to do what it does best--- to heal itself naturally from within.â&#x20AC;? In early November, look for Dr. Pereaâ&#x20AC;&#x2122;s new location where he will introduce a full service Medi-Spa in the elegantly renovated 2,500 sq ft. facility at 431-B St. Michaels Drive, in Santa Fe, NM.
431-B St. Michaels Drive, Santa Fe, NM | 505-982-6886
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MOLECULE
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courtesy of David Trubridge
ere’s an enlightened idea for transforming your home or office into a nexus of environmental awareness, social conscience, and innovative contemporary design. Coral Light, by New Zealand–based designer David Trubridge, is a polyhedron-inspired lighting option by a former boat designer whose furniture, lighting, and sculptural installations have garnered international awards. Made of bamboo plywood and nylon clips, each of Coral Light’s three size choices comes in a kitset, an eco-friendly approach that significantly reduces transport-related energy use. Trubridge is one of more than 80 international and American designer-manufacturers whose imaginative, playful, sustainably conceived furnishings and accessories are available through Molecule Design. With a complete online catalog and housed in a cool shipping-container showroom, “Molecule is committed to finding new approaches that redefine our view of contemporary lifestyles through the objects that surround us and in the ways we change and adapt,” notes founder and director Adriana Siso. The bottom line? “It’s gotta be fun!” she insists.
1226 Flagman Way, Santa Fe | 505.989.9806 | moleculedesign.net
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Samuel Design Group AND Kitchens by JeannÉ Residential Remodel | New Mexico
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hat more could an interior designer desire? When this Pueblo-style home’s total remodel was unveiled on Valentine’s Day, the homeowner cried tears of joy in every room. For good reason. The lovely 1980s-era Mike Morrow–built home achieved a dazzling update without losing its deep traditional roots. Designer Lisa Samuel created new coved ceilings in Venetian off-white plaster to replace honey pine–colored tongue-and-groove in the main living areas; the entire home received new plumbing fixtures and tile; and every room was graced with custom furniture designed by Samuel and built by local artisans. For example, a special hand-carved media center features contemporary Native-style symbolism that tells the story of the homeowners’ first journey to Santa Fe. Designer Jeanné Sei transformed the dark, cramped-feeling kitchen into a superbly functional space, while Samuel enhanced its beauty with finishes including Caesarstone countertops and Tabarka tile. With high craftsmanship and creative touches throughout the home, Samuel says, “It has a traditional feeling in a really modern, fresh way.”
Interior design: Samuel Design Group 428 Sandoval Street, Suite B Santa Fe 505.820.0239 samueldesigngroup.com Kitchen: Kitchens by Jeanné 631 Old Santa Fe Trail Santa Fe 505.988.4594 kitchensbyjeanne.com
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madera Builders counter intelligence H and s Craftsmen Private Residence/Model Home
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ndoor-outdoor living reaches new heights when a spacious open-concept living area expands outward to a deep, covered portal with outdoor kitchen, cozy fire pit, and gorgeous mountain views. In fact, all rooms in this Territorial-style Las Campanas home open onto the eminently livable portal. Gerry Barber of Madera Builders envisioned the house as his personal family residence, office, and model home. As the process went along, he was able to refine that vision and create an even more appealing space. Among the highlights: a private master wing with second access to the bath and walk-in closet, a feature that helped earn him the award for Best Master Suite in the 2013 Parade of Homes. Eluid Herrera, owner of Counter Intelligence and H and S Craftsmen, oversaw the installation of gorgeous stone countertops and custom cabinetry in the kitchen and elsewhere in the home. The residence also received a green nod for Best Water Efficiency for its water catchment and gray-water systems. Perfectly siting the home on a long lot with arroyos and hills took some work, Barber says, but adds that the project was fun. “It was a labor of love.”
Project Team Construction: Madera Builders, LLC 8 Deer Circle, Santa Fe 505.983.8417 or 505.412.0704 maderabuilders.com Countertops and cabinetry: Counter Intelligence and H and S Craftsmen 1925 Rosina Street, Santa Fe 505.988.4007 handscraftsmen.com Architect: Jon Dick of Archaeo Architects
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Contemporary Residence | New Mexico
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verything was lined up right. The homeowners had brought in Violante & Rochford Interiors during the building stage in this contemporary home, meaning subtle architectural features helped inform the choices in interior design. Michael Violante and Paul Rochford already knew the homeowners, so everyone involved was aligned with the vision of a space that was comfortable, sophisticated, clean, simple, functional, and fun. Together they went shopping. The result: such pitch-perfect choices as the classic beauty of Holly Hunt’s leather and wood dining chairs, and above the dining table, a hand-blown crystal chandelier created by a Los Angeles glass blower for Holly Hunt. A sense of ease with a touch of playfulness is reflected throughout the home in accents of purple and yellow against quiet neutral tones. And because the space was designed to spotlight the owners’ extensive art collection and interior aesthetic, Rochford notes, “every piece gets its place in the sun.”
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David Naylor Interiors
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avid Naylor design could be called a paradox: the coexistence of seemingly contradictory elements that together reveal an underlying truth—in this case, the truth that artfully chosen furnishings and accents from diverse periods, regions, and styles can merge with astonishing beauty and grace. This phenomenon is reflected in the firm’s inspiring Santa Fe showroom, where clients can experience such richly satisfying combinations as turquoise Indonesian hand-glazed vessels atop a table of reclaimed mahogany, highlighted by a timeless silk rug woven with threads re-spun from vintage silk saris. The painting is by a contemporary Mexican artist who portrays nuns prior to taking their vows. David Naylor Interiors (previously Visions Design Group) draws from trusted sources from around the world, while also creating custom-designed, carvedwood furniture and other items in its in-house woodworking shop. “We pride ourselves on providing our clients with affordable, high-quality, uniquely designed interiors and individualized furnishings, as well as excellent customer service,” Naylor notes.
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111 North Saint Francis Drive, Santa Fe 505.988.3170 | DavidNaylorInteriors.com
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alLbright & Lockwood Contemporary Private Residence
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6000-square-foot, very contemporary home on more than 150 unobstructed acres of Northern New Mexico beauty means room for the eye and the spirit to roam. Yet right up close in countless creatively chosen details, another kind of natural beauty infuses this home with a variety of texture-rich stone, glass, and porcelain tiles in nature-inspired hues, matched with a different style of lighting and hardware for each of the home’s seven baths. Decorative finishes vendor Allbright & Lockwood provided all the tile, lighting, fans, bath accessories, and door and cabinet hardware in this yearlong collaborative project, which also drew on the talents of architect Jon Dick of Archaeo Architects, contractor Michael Hurlocker, and designer Anna Lewis of Creative Interiors. As Allbright & Lockwood co-owners Arthur and Judith Reeder point out, “Being able to offer all the tile, lighting, fans, hardware, and bath accessories in one showroom helped facilitate decisions and create a vision for the project.”
chris corrie
621 Old Santa Fe Trail, Suite 5, Santa Fe 505.986.1715 allbrightlockwood.com
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woods design Builders Shane Woods Residence
kate russell
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hane Woods grew up alongside Woods Design Builders, the family business his parents established almost 35 years ago. Now a partner in the business and with a growing family of his own, Shane has discovered firsthand the satisfaction of living in a home beautifully transformed by the Woods team. On an exceptional one-acre, estate-like lot in the heart of Santa Fe, his existing Territorial-style home was too small and badly in need of renovation. While staying true to the home’s historic style, Woods moved interior walls, opening up the floor plan. All surfaces were replaced and window openings were expanded, flooding the home with natural light. Among numerous other improvements: new custom cabinetry by Santa Fe Custom Works and hand-trowelled diamond plaster walls. “I feel privileged to have experienced what our clients experience: attention to detail, craftsmanship, and the incredible dedication of the Woods team,” Shane says. “My family’s business, like my new home, exceeded all my expectations.”
302 Catron Street, Santa Fe | 505.988.2413 | woodsbuilders.com
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santa Fe by design
ith in-house product and specification expertise and the most comprehensive decorative plumbing and hardware showroom in New Mexico, Santa Fe by Design helps designers, builders, and homeowners create homes of their dreams—like this bright, functional, clean-lined bath for a contemporary Las Campanas home. A dual-ended freestanding acrylic tub by MTI, coordinating sinks, and stainless steel Ammara fixtures speak of sumptuous functionality and comfort at an affordable price range. Locally owned and operated, Santa Fe by Design is the exclusive New Mexico source for many luxury product lines, among them: Ammara, Sigma, Waterstone, Bravura, HydroFLOW, and Cote d’Azur. The award-winning Santa Fe showroom offers beautiful, environmentally friendly choices for bath, kitchen, and door hardware in the highest quality materials, finishes, and designs. “We are a company with vision,” notes co-owner Kathy Fennema. “Santa Fe by Design has a commitment to bring to the local market all we can that is new, unusual, and interesting in world-class design.”
kate russell
1512 Pacheco Street, D101, Santa Fe | 505.988.4111 | santafebydesign.com
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D MaaHs construction Residence | Santa Fe, New Mexico
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his classic early 1990s Eldorado home was perfectly in synch with a certain spirit of Santa Fe style when it was built. It echoed a Southwest high-desert feeling with its pinkish Saltillo tiles, ceiling beams and carved corbels in pickled (pale bleach-finished) pine, and kitchen cabinetry in pale pink pickled oak. But that was then. Now, thanks to a whole-house remodel led by D. Maahs Construction, the home is still classic, yet with a clean, contemporary twist. Overhead, the refined feeling of fine-grained wood encases once-heavy beams. Underfoot is earth-toned travertine tile. The home’s centerpiece, a redesigned kitchen-dining space, now has an expansive feel and shines with black quartz countertops, a hand-pieced black glass mosaic tile backsplash, and custom maple cabinetry, complete with pop-up appliance trays. As D. Maahs Construction owner Douglas Maahs puts it, “The home was completely refurbished in alignment with the more contemporary lifestyle the owners wanted to achieve.”
kate russell
Project team Design and construction: D. Maahs Construction, LLC 1512 Pacheco St., Suite A206, Santa Fe 505.992.8382 dmaahsconstruction.com Tile and lighting: Statements In Tile/Lighting/Kitchens/Flooring Countertops: Counter Intelligence Floor installation: Rivera Tile Works
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constellation home electronics
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215 N. Guadalupe, Santa Fe | 505.983.9988 | constellationsantafe.com 244 Fall 2013–Spring 2014 Trend
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kate russell
here’s magic in the stars with Constellation Home Electronics, and Constellation’s designers and engineers called on that magic for this home media room. Because the homeowner had very specific desires for this previously designed room, challenges included fitting in as much custom seating as possible; concealing all electronics; and retaining the room’s gracious Santa Fe feeling, including custom-carved beams and other high-end decorative details. Constellation’s creative solution featured a hidden projector and a state-of-the-art 4K ultra-HD video projection system with 120-inch screen revealed by a remote-controlled drape system. All electronics were installed in twin custom-built cabinets and operated by a Crestron control system with iPad interface. An arch joining the electronics cabinets created an alcove for additional couch and chair seating. The key to a magical solution for any home electronics challenge is the expertise Constellation brings to the collaborative team, notes Constellation founder and president Jason Suttle.
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la mesa of santa fe 225 Canyon Road, Santa Fe | 505-984-1688 | lamesaofsantafe.com
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Kate russell
hen this home’s owners wanted striking outdoor art for the entryway to their remodeled home, they commissioned artist Melissa Haid, whose work is represented by La Mesa of Santa Fe. Haid customdesigned and created this three-panel, fused-glass wall sculpture, with silver- and gold-tinted mica and glass beads in a leaf motif between layers of glass. Beneath it sits a contemporary custom bench in powder-coated steel and burned ash by La Mesa artist P.J. Rogers. With a focus on function and exceptional design, the Canyon Road gallery presents glass and ceramic wall art and tableware; Patricia Naylor’s clay wall sculpture; Hopi-inspired wooden figures and masks by Gregory Lomayesva; hand-forged iron furniture, lamps, and fireplace sets by Christopher Thomson; and colorful outdoor ceramic sculpture by Russ Vogt. As owner Mary Larson points out, La Mesa’s more than 60 artists, who specialize in quality handcrafted furnishings, accessories, and fine art, offer a treasure trove of ideas and inspiration for the home.
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xanadu
at jackalope
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ust as Santa Fe attracts and embraces a rich fusion of cultures, Xanadu at Jackalope presents a spectrum of art, jewelry, furnishings, and home accessories from many cultures in one inspiring, easily accessible shop. With a retail presence in Santa Fe since 1996, Xanadu now occupies 5000 square feet of showroom space in the must-visit Jackalope compound. Among its widely eclectic and always affordable offerings: Southwest-style upholstered furniture, customcrafted juniper tables, home accessories from around the world, ethnic and tribal jewelry, and the most extensive collection of Huichol Indian art in the country. Outdoors at Xanadu, 10,000 square feet of garden area showcases an array of custom-made fountains, ceramic and mineral-fossil sculptures, and other forms of garden and yard art. “Xanadu is pleased to be part of the Jackalope experience, which features fun things to do and more than five acres of shopping at incredible prices,” says Xanadu owner Alan Wreyford.
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kate russell
Xanadu at Jackalope (behind the Mercado) 2820 Cerrillos Road Santa Fe 505.424.3231 xanadusantafe.com
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Tierra concepts Las Campanas Residence | New Mexico
kate russell
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hat good are magnificent views unless a home welcomes them with open arms? Or in this case, with ten-foot-tall sliding glass pocket doors that unite expansive indoor and outdoor living areas by means of a disappearing glass wall. By Tierra Concepts, this Las Campanas home overlooks the golf course fairway and the Sangre de Cristo Mountains. The contemporary, open-concept home offers high-end features including walnut-stained white oak flooring, superb energy efficiency, Sub-Zero appliances, and gorgeous Caesarstone countertops in an inspiring, creatively conceived design. Thoughtful, functional touches include an ultra-private master suite and bedroom wing. But the showstopper is the great room—with elegant horizontal fireplace insert in an entertainment wall—which opens onto an equally grand outdoor living space. The portal’s soaring roofline lifts the spirit and further enhances the views. Tierra Concepts, founded in 1993 by Kurt and Eric Faust and Keith Gorges, is a five-time winner of the Grand Hacienda Award in the Haciendas Parade of Homes.
1512 Pacheco Street, Suite D206, Santa Fe | 505.780.1157 | tierraconceptssantafe.com
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Dahl electrical supply and showroom Sage Creek Gallery
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1000 Siler Park Lane, Suite A, Santa Fe | 505.471.7272 | dahllighting.com 248 Fall 2013–Spring 2014 Trend
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kate russell
hen interior lighting makes you sweat—literally, from the heat of outdated halogen bulbs—it’s time for a change. Sage Creek Gallery on Canyon Road teamed up with consultants from Dahl Electrical Supply and Showroom for an overhaul of the gallery’s lighting, with remarkable results. Replacing all halogen bulbs with LED achieved the same brightness and welcoming ambiance, yet the average wattage dropped from 80 to 13. “The energy savings was amazing,” notes gallery owner Gary Sievert. The change left the gallery cool and comfortable in summer and eliminated the risk of damage to delicate artwork from infrared and ultraviolet light. While LED lighting is available online and from building supply stores, Dahl carries only the highest-quality products, including specialty cove, nicho, and track lighting. Dahl also offers energy audits, and has accredited designers on staff. Adds Sievert, “Everyone at Dahl was so helpful, accommodating, and knowledgeable. They were really great to work with.”
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Statements in Tile/Lighting/Kitchens/Flooring Las Campanas Residence | New Mexico
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kate russell
t was a beautiful Jim Satzinger–designed Las Campanas home, but after more than a dozen years the owners craved color and change. A major remodel ushered the home into the modern world, creating a striking contemporary space that beautifully integrates the owners’ outstanding art collection. Among the highlights: a handsome yet traditional semi-rustic kitchen was transformed by black granite countertops, textured bluestone tile backsplash, and custom mahogany cabinetry. A curved, line-voltage T-Trak lighting system sweeps through the dining area, displaying shimmering glass pendants and providing a sense of sophistication, intimacy, and flow. Similarly, designer Victoria Price invoked a highly contemporary feel through an updated color palette, custom rugs, sectional seating, dining table, and other furnishings and accessories. “We really took the home into the 21st century,” notes Statements owner Kim White. “It’s exactly what the clients wanted.” Project Team Designer: Victoria Price, Victoria Price Art & Design Tile and lighting: Statements In Tile/Lighting/Kitchens/Flooring Cabinetry: Samora Woodworks Plumbing and hardware: Santa Fe By Design
1441 Paseo De Peralta, Santa Fe | 505.988.4440 | statementsinsantafe.com
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Clemens & Associates Inc.
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t started with a simple call about repairing water damage over the front entryway of a Las Campanas home. By the time Clemens & Associates had done their magic, the experience of approaching and entering the home was completely transformed. Before, no transition existed between the parking area and the front walkway, and the space felt stark and bare. Clemens’ landscape architecture firm reconfigured the space, creating a deeper, straight-edged portal with flagstone steps and room for outdoor seating. New curved and square courtyard walls featuring contrasting stucco colors echo the home’s contemporary lines and create privacy in an intimate enclosed area. A new front door became an architectural statement while allowing more light inside. Finally, the addition of a stone fountain and the planting of shrubs and perennials brought color, life, and softness to the space. As Catherine Clemens remarks, “It is a really nice house, and this shifted the property to a whole new level.” 1012 Marquez Place, Suite 201, Santa Fe | 505.982.4005 | clemensandassociates.com
from left: anne Wright; catherine clemens
Private Residence | Santa Fe
fabu-wall-ous Solutions Private Residence | Santa Fe
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1925 Rosina Street, Suite B, Santa Fe 505.982.9699 | fabuwallous.com
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kate russell
he homeowner’s vision was to step back in time into a magnificent hacienda-style home graced with traditional Spanish-Moorish and Tuscan influences. As codesigner and general contractor, Fabu-WALL-ous Solutions helped achieve this vision, from start to finish, in just one year. The 3400-square-foot home—a 2009 Parade of Homes Peoples’ Choice Award winner—features extensive walled gardens and numerous rooms opening onto a central courtyard. A self-contained casita, or mother-in-law apartment, is set within the house, whose grand lines are complemented by exterior stonework, hand-wrought ironwork, and a red tile roof. Other highlights include an extraordinary boveda ceiling of herringbone brick in the dining room and a staircase whose steps are faced with 18 colorful Mexican tile designs. Bill Deuschle and Chuck Caswell, Fabu-WALL-ous managing members with more than 35 years of construction experience each, note that the firm takes pride in “truly working very closely with clients to achieve their desires.”
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ACC Fine Furnishings Private Residence | Santa Fe
chris martinez
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ontemporary is cool, but it doesn’t need to be cold. With the redo of their home’s great room, Josh Brown and Kelsey Daly Brown had these things in mind: fashion, function, design, and—most of all— comfort. Kelsey visited ACC Fine Furnishings’ showroom for help to create a family gathering space updated to a modern feel, yet with welcoming softness and warmth. Contemporary gets cozy with twin Hunter sofas in violet, soft micro-chenille fabric, by Mitchell Gold + Bob Williams. It gets even cozier with a hand-tufted shag rug under-
foot, and shines with John-Richard glass cocktail nesting tables—all made possible through ACC’s complimentary world-class interior design services, delivery, and installation. “ACC’s award-winning showroom features fine furnishings from traditional to transitional and modern, with designer brands including Hancock & Moore, Pearson, Ralph Lauren, and Hickory Chair,” notes ACC design consultant Peggy Garcia. “We are the premier destination in Santa Fe for design.”
620 Cerrillos Road, Santa Fe | 505.984.0955 | accsantafe.com
destination dahl
Residential Geothermal System
chris corrie
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n years past, the phrase “extremely efficient 5700-square-foot home” would have been an oxymoron, impossible even to imagine. Not today, especially when Destination Dahl heads up the heating and cooling design. Dahl heating specialist James Coss determined the energy requirements for this contemporary Santa Fe–area home and came up with a custom-designed Bosch geothermal heat-pump system—the most energy- and cost-efficient system on the market. Geothermal technology takes advantage of the relatively constant yearround temperature below the earth’s surface to supply heating, cooling, and hot water. Using electricity provided by a large photovoltaic array, the home’s net energy consumption is zero. General contractor for the project was Hurlocker Homes, with Josh Mechanical serving as plumbing/mechanical contractor. And with an expansive Santa Fe showroom, Destination Dahl is a premier source for green building products and design for new construction and remodels, including projects aimed at LEED certification. Dahl specializes in hydronic heating, energy-efficient solar domestic hot water, geothermal heating and cooling systems, water conservation and treatment, residential fire protection, and plumbing products. 1000 Siler Park Lane, Santa Fe | 505.471.1811 | destinationdahl.com
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Christopher Thomson Ironworks Studio
Alexander Vertikoff
christopher ThOMSON
THE Hogan Group
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hen Drur y Hotels sought a Santa Fe designarchitecture firm to guide it through the sensitive task of transforming the 1950s-era former St. Vincent hospital and late 19th-century Marian Hall into a beautiful lodging compound to complement and enhance the downtown experience, all heads nodded to the Hogan Group, Inc. The Drury results, opening in late spring 2014: a pedestrian-friendly environment with a central promenade linking Cathedral Park to Paseo de Peralta and a breezeway from Palace Avenue into the site. Thoughtful design elements will tie together existing historic structures, new additions, and concealed parking, and offer unmatched downtown views from the Drury Plaza’s rooftop pool and deck. Archbishop Lamy’s mid19th-century cathedral gardens provided landscaping inspiration, now with a focus on low water use. Once again, Mark Hogan and his team have drawn on extensive experience with public and private clients and urban design—including projects in the downtown historic district—to achieve exciting, culturally enriching results. 994 Old Pecos Trail, Santa Fe 505.988.1913 | hogangroupinc.com
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ye-catching forged steel sculpture by artist-blacksmith Christopher Thomson adds year-round vibrant color and visual poetry to outdoor living spaces and landscape design. Spiral Pajos #2 is part of an evolving series by the Ribera, New Mexico–based artist whose inspired creations range from functional— furniture, architectural lighting, and fireplace sets—to fluid, rhythmic sculptures in forged steel or bronze for the table or wall. Thomson creates works in the Pajos series by pulling long pieces of dripping hot steel from the fire, hammering them into shape with large power hammers in the brief moments before they cool, and then composing them into groups attached to a spiral base. “Life experiences blend with the rich tradition of my craft to quietly push my work in unanticipated directions,” the artist observes. His work is on view by appointment at Christopher Thomson Ironworks studio, gallery, and sculpture garden in San Jose, New Mexico, and at La Mesa of Santa Fe and Sugarman-Peterson Gallery in Santa Fe.
P.O. Box 578, Ribera 505.470.3140 | christopherthomsonironworks.com
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