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Joining agave bar @cocteleriamixteca and the first...

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Jul 31

Joining agave bar @cocteleriamixteca and the first New York City outpost of L.A. taqueria @tacos1986la, the subterranean cocktail bar Kees (@seekkeesnyc) now completes One Cornelia, the multi-concept West Village hospitality hot spot. Jeff Bell, owner of the pioneering hidden cocktail bar Please Don’t Tell (@pdtnyc), helms Kees, which draws its moniker from the Dutch nickname for Cornelius (a nod to its location and Bell’s ancestry). Post Company—the visionary multidisciplinary design studio behind Raf’s, Fedora, INNESS, MOLLIE, and more—not only designed Kees, but One Cornelia’s other two concepts, as well.
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An understated glamour, informed by New York City’s historic hotel bars and infused with “luxurious going out energy,” according to Bell, dresses the space. “For me, the truly special aspect of Kees is its sense of intimacy and surprise,” Jou-Yie Chou, a founding partner of @post_company, tells @surfacemag. “The concept itself—a destination cocktail bar tucked beneath a street-corner mezcalería and taco stand—is delightfully theatrical, while also serving as a subtle nod to the relationship to Please Don’t Tell.”
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Thanks to @daveybarrett for this beautiful piece in @surfacemag. Link in bio.
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📸 @johnny_miller_

A new cultural destination has arrived in ...

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Jul 14

A new cultural destination has arrived in Haverhill, MA.

The new Historic New England Center is the first major public gateway to @historicnewengland’s extraordinary collections and a significant new cultural destination for the Greater Boston area. Located within a historic former shoe manufacturing complex adjacent to Haverhill’s Amtrak and commuter rail stations, the Center introduces visitors to the largest collection of New England artifacts in the world, and serves as an entry point to Historic New England’s 38 exceptional museums across the region.
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Occupying the ground floor of the historic Burgess Building, one of two historic factory buildings that helped establish Haverhill as the "Queen Slipper City," the Center marks the first public phase of Historic New England's broader vision for a vibrant cultural district centered on preservation, exhibitions, partnerships, and community engagement. The adaptive reuse of the Burgess and Lang Buildings reactivates a significant industrial landmark while supporting the ongoing revitalization of downtown Haverhill.
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Opening the Center is "Shoe Stories: Past, Present, Future," an exhibition exploring the history and future of shoemaking in America, with a particular focus on New England and the pivotal role Haverhill once played in the global shoe industry. The exhibition spans more than two centuries of footwear design, from 18th-century shoes made by Boston cordwainer Winthrop Gray to contemporary sneakers produced by JEMS, the first Black-owned sneaker factory in the country. One highlight is the work of internationally acclaimed designer Stuart Weitzman, who began his career in Haverhill at Historic New England’s Lang Building, where he worked on his father’s shoe line, Mr. Seymour Shoes.
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The Center is designed not only as a destination, but as a gateway to Historic New England’s broader work across the region and as a model for how preservation can contribute to community life.
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📸 @boldheartmedia, Neil Dixon

Set amid the tallest peaks of New York's ...

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Jul 12

Set amid the tallest peaks of New York's Adirondack Mountains, High Peaks House occupies a landscape that helped shape America's conservation movement. Originally built in the 1890s as a retreat for a New York City attorney, the home has welcomed generations of family and friends for more than 130 years.
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For its transformation, @post_company looked beyond the familiar language of Adirondack lodges and grand "Great Camps." Instead, the design embraces the quiet character of the original house in order to create a contemporary retreat rooted in simplicity, warmth, and the enduring spirit of the region.
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Natural materials—including walnut, reclaimed brick, linen, wool, and rattan—pair with vintage furnishings sourced throughout the Northeast to create interiors that feel both timeless and deeply connected to place. A restrained palette of earthy tones allows the surrounding landscape to remain the focal point, while thoughtful detailing honors the home's history without resorting to nostalgia.
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The result is a house that feels at once elegant, understated, and enduring—a modern retreat that celebrates the Adirondacks not through style, but through a profound respect for its landscape, history, and spirit.
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Thanks @fred_a_berstein for this beautiful feature in @1stdibs! Link in bio to read more.
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📸 @chrismottalini

The @ellisbeauregardfoundation in Rockland, Maine ...

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Jul 7

The @ellisbeauregardfoundation in Rockland, Maine has been the art world’s best-kept secret—until now.
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On June 27, the foundation celebrated the opening of its new, purpose-built campus. Designed by @matthewbairdarchitects, it accommodates the Foundation’s growing residency, which had previously been housed in a repurposed school building. Now, the linear building provides live-work studios for four artists as well as community living spaces, while an L-shaped building serves as a flexible performance and exhibition space.
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“We really wanted a place where artists feel honoured and safe, like they’re valued and not value-added,” founding executive director Donna McNeil told CULTURED.
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Thanks to @ebkinsella for this article in @cultured_mag, online now. Link in bio 🔗
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📸 @dylan.hausthor

Designed by @lakeflato, Arthouse makes public a ...

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Jun 22

Designed by @lakeflato, Arthouse makes public a significant contemporary art collection to the heart of Marble Falls, Texas. The new gallery is sensitive to its small-town context and uses local materials, filtered light, and a carefully considered landscape to create a quiet setting for art.
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Thanks to @sjlubell and @anna_fixsen for this article in @wallpapermag (link in bio).
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📸 @andreacalo

Wednesday Woman: Minnette de Silva
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...

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Jun 10

Wednesday Woman: Minnette de Silva
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Minnette de Silva was a pioneering Sri Lankan architect whose work helped define a regional approach to modernism in South Asia. Born in Kandy in 1918, she came from a politically progressive family that was active in the anticolonial and universal franchise movements. After studying in Mumbai and later at the Architectural Association in London, she returned to Sri Lanka and established her own practice, the Studio of Modern Architecture, in 1947. De Silva was one of the first women in the world to lead an independent architectural studio and also the first Asian woman to become an associate of the Royal Institute of British Architects.
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De Silva’s architecture combined modernist principles with local traditions, climate-responsive design, and Sri Lankan craft techniques. Rather than adopting a universal International Style, she emphasized shaded verandas, natural ventilation, courtyards, and integration with the landscape. Her work wove together ecology, heritage, craftsmanship, and social concerns in order to create what she described as “modern regional architecture.”
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De Silva was a foundational figure in South Asian modernism whose long overlooked contributions have gained increasing recognition in recent years.

Wednesday Woman: Lutah Maria Riggs
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Jun 3

Wednesday Woman: Lutah Maria Riggs
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Lutah Maria Riggs was a pioneering American architect whose work helped shape the architectural identity of Southern California. Based in Santa Barbara for most of her career, Riggs melded modernist and Spanish Colonial Revival styles to create an early form of California Modern architecture. Her buildings are celebrated for their sensitivity to landscape, craftsmanship, and regional character. One of the first women to establish and lead her own architectural practice in California, she was among the earliest female architects to achieve national professional recognition.
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After earning a degree in architecture from the University of California, Berkeley in 1919, Riggs joined the office of architect George Washington Smith. In 1930, she opened her own practice and went on to design residences, gardens, public buildings, and cultural institutions throughout California. Her notable works include the Alice Erving House, the Blaksley Library and Herbarium at the Santa Barbara Botanic Garden, and the Vedanta Temple in Montecito, a landmark admired for its serene synthesis of Asian and California architectural influences.
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Riggs was known for her meticulous attention to materials, light, and site, believing that architecture should provide both practical comfort and spiritual uplift. In 1960, she became one of the first women elected a Fellow of the American Institute of Architects, and in 1966 she was named the Los Angeles Times Woman of the Year.
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“I don’t like to say a house is any style. It’s just a house—the best solution I could think of to a given problem.”

Wednesday Woman: Cecily Brown
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“The ...

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May 20

Wednesday Woman: Cecily Brown
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“The place I’m interested in is where the mind goes when it’s trying to make up for what isn’t there.”
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Cecily Brown is a British-born painter celebrated for canvases that appear to exist in a continual state of flux, animated by sensuality, expressive brushwork, and vivid color. Oscillating restlessly between abstraction and figuration, her paintings draw upon a wide lineage of Western art history—from Paolo Veronese, Peter Paul Rubens, and Edgar Degas to Willem de Kooning, Francis Bacon, and Joan Mitchell—while also absorbing imagery from popular culture. Through this synthesis, Brown has developed a distinctly fluid visual language that resists fixed narrative and instead immerses viewers in unstable, psychologically charged spaces. Her vigorous treatment of the nude figure in particular challenges traditional representations of the body. She transforms familiar subjects into fragmented meditations on desire, excess, life, and decay.
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Raised in Surrey, England, Brown studied under painter Maggi Hambling before attending the Slade School of Fine Art in London. Although her graduation in the early 1990s coincided with the rise of the Young British Artists, Brown diverged sharply from the group’s conceptualism and embrace of celebrity culture. She moved to New York in 1994 and emerged alongside painters such as John Currin as a key figure in the resurgence of figurative painting.
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Central to Brown’s work is her ability to transform paint into something bodily and unstable. Her early paintings of hedonistic rabbits and fragmented still-life motifs evolved into the chaotic, orgiastic compositions that brought her international recognition. “I think that painting is a kind of alchemy,” she has said. “The paint is transformed into image, and paint and image transform themselves into a third and new thing.”

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