I’ve recently found myself with a fair bit of extra time (I’ll write more on that at some stage, perhaps), but for now I don’t think I’ve ever shifted into a slower pace and a period of relative unknown with as much ease, effortlessness, and joy. Who is this person?!
Working out of The Magic Factory, a 15 000-square-foot think tank in San Francisco, Ken Fulk specialises in interior design, special events, and architecture. His reputation is a fantastic one: He is a fantasy; an inventor and creator who pulls off simply the most imaginative sets. Whether he is creating staggering homes, throwing the opening party of a museum show, or planning large-scale events, Fulk’s work is always remarkable and stylish and over the top and I just love it. At Hirst Bar in San Francisco, a space designed by Fulk, the drinks are free – you’ve just got to be invited.
The past six decades have been among the most dynamic and turbulent in US history, from JFK’s assassination, Apollo 11 and Vietnam to the AIDS crisis, racism and gender politics. Responding to the changing times, American artists have produced prints unprecedented in their scale and ambition. Now showing at the British Museum until 18 June 2017, American Dream traces 60 years of art, design and history in one major exhibition.
I love yellow. It’s my favourite – it’s happy, and it makes me happy. (And I’m blonde. Blondes look good in yellow.) American architect Richard Meier loves white. But in honour of the 100th anniversary of the De Stijl movement, his one and only building in the Netherlands has been painted in the style of Piet Mondrian.
I published a story for House & Garden last week about RCR Arquitectes, the winner of this year’s Pritzker Prize. Considered architecture’s highest honour, for the first time since it began in 1979 it was awarded to three winners –Rafael Aranda, Carme Pigemand and Ramon Vilalta – for the trio’s intensely collaborative way of working together.
It’s the best time of year for film. The Oscars have come and gone, leaving us with the year’s finest pool of must-watch films.
I don’t know what rock I’ve been living under, but I’ve only just discovered Bar Luce, a Milanese café designed in 1950s Italian style by director of all directors, Wes Anderson.
In 18 months my mom and I have committed to walking the Camino. That gives me 18 months, about 547 days – and counting – to get my financial shit together. I’m a terrible spender and an even worse saver. In September 2018 that needs to be revolutionised so that I can take a sabbatical (work logistics to be arranged then, don’t ask questions) and fly to Europe for two, maybe three, months. Deviating from my obsession with everything French (Paris will naturally be on the agenda), I find myself drawn to and inspired by the dusty colours and flavours of Porto, and the bold patterns and architecture of Spain. Hence, this hotel’s exquisite renovation and striking personality caught my attention.
Last year, 50 years after opening as a groundbreaking new arts venue in London, The Roundhouse theatre celebrated its half-century with a series of plans and commemorations. The Camden theatre asked the public to share its memories of the theatre, collating accounts, images and recordings from gig goers, local residents and performers. It also dug into its archives for an enormous collection of posters from across the decades.
We know the words, the reality has become customary: we live in a media saturated world. It’s a life of constant exposure to new brands, languages, ideals and innovations. We are spoilt with content. Overexposed. But sometimes, amidst the blurry haze of content, there comes a find so jarringly clear, and so unlike anything else, that one simply has to stop. In this case, it’s Isabelle Menin.