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Today, the ribbon was cut on the new Green-House ...

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Apr 16

Today, the ribbon was cut on the new Green-House at Green-Wood Cemetery.
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Designed by @architecture.research.office, the new education and welcome center at @historicgreenwood creates, for the first time, a new ‘front door’ for this incredible NYC landmark and brings together visitor services, offices, and public programming. The new L-shaped building nestles around a restored historic Victorian greenhouse with a contextual design that celebrates the site’s history and the Cemetery’s iconic landscape.
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The project balances preservation and new construction through thoughtful material choices and site design, including a green roof and landscaped entry that bring Green-Wood’s hills and winding paths out into the neighborhood. Inside the center, galleries, classrooms, and archival spaces support a wide range of public programs and reinforce the cemetery’s role as both an active burial ground and a cultural institution.
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Read more in the @nytimes via the link in bio.
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📸@rafaelgamo

Wednesday Woman: Carla Juaçaba
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Since...

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Apr 16

Wednesday Woman: Carla Juaçaba
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Since 2000, Carla Juaçaba has developed her eponymous architecture and research-based practice in Rio de Janeiro. Her work encompasses both cultural programs and private commissions, and is recognised for its structural clarity, material restraint, and close relationship to landscape. Her projects often rely on simple structural systems, such as steel and glass, that allow architecture to appear almost weightless within its surroundings. Before founding her own firm in 2000, the Juaçaba began her career working for Gisela Magalhães (one of Oscar Niemeyer’s peers) whileen still an undergraduate.
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Understanding how a space can be “political, democratic and essential” is a key driver in Juaçaba’s practice. “A phrase by the Brazilian indigenous leader and writer Ailton Krenak, ‘step gently on the ground,’ is on the wall of my design studio at Mendrisio Accademia. Architectural design should be understood as action over a territory. Architecture is not a drawing or a visual composition: each line, idea, or sketch of an architectonic design represents an action, a material transformation, and a geographical transformation. We should work together with other disciplines to build a landscape where nature, design and infrastructure coexist.”
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“I always say I have to destroy something on the site to build it. But I don’t destroy anything physically, not even one tree. What I’m destroying is invisible. I don’t want to sound pretentious, but I always have to find this nothing, this non-physical presence in a site. That’s the incentive for me to find that very strong ‘something.’ And there’s always a presence, and the thing is to think about that presence.”

“My work has mostly been concerned with the ...

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Apr 13

“My work has mostly been concerned with the relationship of a part to the whole. How am I connected to the others in the world, and how are we all connected to the greater whole?”
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Byron Kim’s (@skybluekite) exhibition at @jamescohangallery, A Little Deepness, brings together early large-scale skyscapes with an entire year of Kim’s ongoing landmark series, Sunday Paintings. Together, these works celebrate a lifelong dedication to the close observation of the natural world, and offer an intimate and expansive portrait of an artist for whom abstraction has long expressed the interconnectivity of the universe. Kim’s paintings occupy a territory between realism and minimalism, between romanticism and conceptualism—closer in spirit to Ad Reinhardt, Mark Rothko, and Agnes Martin than to landscape tradition, yet thoroughly grounded in specific places and moments.
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The exhibition is on view through May 9, 2026, at the gallery’s 48 Walker Street location.
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📸@jamescohangallery

Wednesday Woman: Rachel Whiteread
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...

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Apr 1

Wednesday Woman: Rachel Whiteread
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“Seeing a great piece of art can take you from one place to another—it can enhance daily life, reflect our times and, in that sense, change the way you think and are.”
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Rachel Whiteread (b. 1963) is a British artist best known for her sculptural casts of architectural spaces and everyday objects. In her work, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Using materials such as concrete, resin, rubber, and plaster, she transforms negative space into solid form. Her work reveals the hidden structures of domestic and urban environments and turns the absence within rooms, furniture, and containers into physical monuments imbued with memory.
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Whiteread first rose to prominence with Ghost (1990), a solid concrete cast of the interior of a Victorian living room. She expanded on this working method with House (1993), cast from the entire interior of a condemned Victorian terrace house in London’s East End. Whiteread created this work after all the other terraces in the row had been demolished, and it stood alone as a reminder of the working-class homes that once spanned the street. The controversial project, demolished shortly after its completion, became a defining work of late twentieth-century public sculpture. That same year, she became the first woman to win the Turner Prize.
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Other significant public commissions include Water Tower (1998), a resin cast of the water towers ubiquitous to the New York City skyline, and the Holocaust Memorial (2000) in Vienna, an impenetrable library of books turned inwards in commemoration of the thousands of Austrian Jews who perished during World War II. These monumental works are distinguished by their poetic minimalism and their capacity to evoke stillness and contemplation.

@skidmoreowingsmerrill (SOM) may be one of the ...

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Mar 30

@skidmoreowingsmerrill (SOM) may be one of the best-known architecture and design firms in the world, but there is an entire body of work that is largely unknown. For decades - between 1950 and roughly 1990 - the firm designed dozens of furnishings and objects - each in its own right a part of SOM’s modern, rigorous aesthetic, with a carefully honed sense of ergonomics, material innovation, and environmental responsibility.
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Created as part of the firm’s philosophy of total design, where architecture, interiors, and furnishings formed a unified whole, these pieces were originally developed for specific commissions and were never commercially available. Despite being an integral part of some of the most important corporate interiors of the late 20th century, this archive has remained unavailable for purchase in the marketplace.
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That is about to change.
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This May, @teknion - through IKON Studio - is introducing the SOM Collection, a curated grouping drawn from this work, and making these designs available beyond their original projects for the first time ever. These are not reissues; each piece has undergone careful study to preserve its original design intent, while ensuring it performs meaningfully today. In many cases, these are invisible shifts, small but essential interventions that allow design
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See the full collection and read more about each piece in @metropolismag’s latest DESIGN THE FUTURE issue. Link in bio.
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📸 Teknion, Ezra Stoller, Matthew Gordon, Norman McGrath

Wednesday Woman: Karen Karnes
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Karen ...

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Mar 25

Wednesday Woman: Karen Karnes
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Karen Karnes was an American potter and towering figure of the postwar studio-pottery movement. Known for her refined, quietly expressive stoneware, she pioneered salt-glazing in the 1960s and wood-firing in the 1980s. “Her work opened undreamed of possibilities of expression for the handmade pot. For the many potters who knew her, she was a mentor whose work embodied the creative power and singular voice to which we all aspire—her life in complete harmony with her creative vision,” writes Mark Shapiro about Karnes.
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Born in New York City in 1925, she studied design at Brooklyn College before turning to ceramics at Alfred University after time spent in Italy. Her early development was shaped by her involvement at Black Mountain College in the early 1950s, where she worked alongside influential artists and helped catalyze a renewed interest in handmade pottery in postwar America.
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Karnes’ work is distinguished by its earthy palette, salt-glazed surfaces, and commitment to tactility and use. “After all these years as a potter, I am still conscious of the privilege of my life. There is still the deep pleasure of making pots on the wheel, the excitement of firing, and kiln opening, the challenge of new forms. It is a life of so much variety and one for which I am fully responsible — a rare quality in work today.”

The Sonoma Adobe House, located a block off of the...

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Mar 24

The Sonoma Adobe House, located a block off of the city’s downtown square, is the oldest Adobe house in California. It was built in 1847, the same year that its original owner, John Nash, was arrested on site for refusing to cede his position as town magistrate during the Bear Flag Revolt. The home was restored in the 1930s by Zolita Bates, the great-grand-daughter of a former owner, and in 1959, it was awarded landmark status by the state of California.
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Now owned by Andrew Mariani, co-founder of @scribewinery, the house was just transformed by Post Company into a comfortable living space, as well as a venue for entertaining.
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Taking extreme care to preserve the original structure’s integrity, @post_company introduced a discreet U-shaped addition that is invisible from the street. Although the extension is distinctly modern, its pared-down aesthetic echoes the unadorned simplicity of the original home’s design, and the muted shades of its timber facade offer a subtle contrast to the historic structure’s weathered adobe.
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The interiors have been designed with hospitality in mind. A 13-foot French antique table dominates the dining room, which retains the building’s original wood floors and adobe and brick hearth. Throughout the interior, Post Company opted for simple and elegant finishes in brass, wood, and alabaster that emphasize the home’s elementality.
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“In the end, the new wing doesn’t compete with the 1847 structure—it choreographs a return to it, framing the adobe as the project’s quiet center of gravity,” writes Leonora Epstein for @archdigest.
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📸@chrismottalini

@winterhouseprojects is pleased to present ...

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Mar 23

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