Hudson, N.Y. | $1.195 MillionA Greek Revival-style house built in 2005, with three bedrooms and three bathrooms, on a 0.17-acre lot

Built on spec on vacant land in Hudsons first gated community (dating to the turn of the 20th century), this home is one of several stately houses in the area. It is the last building on its side of a blocklong street, less than five minutes on foot from Warren Street, the citys boutique- and restaurant-rich commercial stretch. An Amtrak train station is less than half a mile northwest, near the Henry Hudson Riverfront Park. Pennsylvania Station in New York City is two and a quarter hours south.

Size: 2,520 square feet

Price per square foot: $474

Indoors: The sellers, who are the second owners, bought the house in 2009 and made substantial changes. They installed central air-conditioning, opened the second-floor stairwell and landing (which required some structural engineering to remove a load-bearing wall) and updated the kitchen and bathrooms. They also replaced windows, added period-appropriate crown moldings and other millwork and wired several first-floor rooms for sound.

Crossing the colonnaded front porch, you enter a center hall with Brazilian cherry floors that leads past the staircase to the new kitchen. There, youll find Smallbone of Devizes hand-painted cabinetry and new appliances, most from Miele. The stovetop is a Lacanche Volnay four-burner that includes a cast-iron simmer plate with a wok ring.

The connected living and dining rooms have cherry floors, 12-foot ceilings and walls painted in a pale gray shade from Farrow & Ball. Each room has a fireplace (gas-burning in the living room, wood-burning in the dining room) with a black marble surround and mantel. The powder room was renovated with a paneled wainscot topped with Art Nouveau-style wallpaper.

Two second-floor bathrooms were combined to create the en suite master bathroom. Striated marble tile covers the walls, continuing into the walk-in shower. The guest bathroom has a shower-over-tub and a pedestal sink.

Outdoor space: French doors lead from the master bedroom and adjacent guest room to the upper front balcony. A rear entrance is approached by a brick walkway through a fenced garden. There is off-street parking for two cars.

Taxes: $17,878

Contact: Pamela Belfor, Gary DiMauro Real Estate, 917-734-7142; garydimauro.com

Offering treetop views in Woodland Hills, in the San Fernando Valley, this one-story stucco-clad house is close to the Ventura Freeway, which takes you southeast into Los Angeles (downtown is 26 miles away). The neighborhoods central business district is about two miles east, and the city of Calabasas, with a number of shopping and dining options, is just to the west. The 2.1-million-square-foot Westfield Topanga & Village mall, which has luxury stores and restaurants, is about three miles northeast. Hiking and biking trails wind around the almost 3,000 hilly acres of the Upper Las Virgenes Canyon Open Space Preserve, less than four miles northwest.

Size: 2,029 square feet

Price per square foot: $591

Indoors: Entering a bright-red front door and skirting a walnut partition, you find an open-plan room with terrazzo floors, a vaulted ceiling and a rear wall of glass. The living room includes a gas-burning stone fireplace; the kitchen has walnut cabinets and stainless steel appliances.

The owner converted the original master bedroom into an office, and expanded beyond that to create a 500-square-foot master suite with floor-to-ceiling windows and polished concrete floors. A pair of new master bathrooms includes one with a slipper bathtub and another with a walk-in shower.

There are two additional bedrooms and a guest bathroom with retro aqua tile, double sinks and a separate shower and tub. The furniture is available to buy.

Outdoor space: A large covered patio with a grill area extends off the back of the house. The property is entirely fenced (an automated gate with a pedestrian door gives access) and is planted with Meyer lemon, guava and fig trees. Parking is in the attached two-car garage, with additional room for up to 10 cars in the spacious driveway.

Taxes: $14,988 (estimated)

Contact: Casey Napolitano, Kennedy Wilson Real Estate Sales & Marketing, 818-404-5090; kennedywilsonre.idxbroker.com

Before the singer Julio Iglesias Jr. bought this house eight years ago, it was renovated in a sailboat-cabin style, with efficiently designed wood-paneled rooms incorporating many built-ins. The house is in the Meadows neighborhood, in Old Town, five short blocks northwest of Bayview Park and less than a mile east of the historic seaport. The Ernest Hemingway house is about a mile southwest, and Higgs Beach is the same distance southeast. The Basilica of Saint Mary Star of the Sea, with its Our Lady of Lourdes grotto, is about half a mile southwest. Lore has it that the nun who designed the grotto, which was dedicated 98 years ago, prophesied that Key West would never be devastated by a hurricane as long as the structure stood. So far, so good, but flood and wind insurance are still required for mortgage holders of this property.

Size: 1,424 square feet

Price per square foot: $842

Indoors: A paneled living and dining room with an open kitchen are part of the new addition. Glass double doors open from there to a covered porch overlooking the pool. The kitchen has custom Dade County pine cabinets and wood cladding, even on the refrigerator.

Self-contained guest quarters at the front include a bedroom with a loft sleeping area, an office niche, a bathroom, a kitchenette and a private entrance. There is also a bunk room with two sleeping berths off the kitchen.

A spiral staircase rises to a second small office on the landing, and the master suite. The suite includes a bedroom, a sitting room overlooking the pool and a bathroom with a walk-in shower and porcelain pedestal sink. A television positioned above a fireplace between the two main rooms swivels to face either.

The spiral stair continues to a rooftop observation deck, where Mr. Iglesias installed an outdoor shower, steam room and kitchenette.

Outdoor space: The property is entered through a gate set into a stone wall. There is a rocking-chair porch leading to the louvered front door, and tropical greenery surrounding the backyard swimming pool and hot tub. A structure to the side of the pool offers equipment storage and additional covered seating.

Taxes: $7,502 (based on a $700,174 tax assessment)

Contact: Elaine Coyle, Keller Williams Key West Compass Realty, 305-923-9202; compass.com

For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.

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$1.2 Million Homes in New York, California and Florida - The New York Times

In the lower level of the Crow Museum of Asian Art, beneath galleries of carved jade and precious lacquerware, Chinese-born, Austin-based artist Beili Liu has brought out the strength in a more delicate material: Thousands of yards of red thread coiled into a network of discs. This composes her site-specific installation Lure, a play on the Chinese legend of The Red Thread, which says that all children are born with an invisible tie to their soulmates.

Sometimes they have encounters, sometimes they have missed encounters, Liu says of the discs, which hang from the ceiling and sway to and fro with the air conditioning.

Lure/Dallas is one of two site-specific installations in Beili Liu: One and Another, the inaugural exhibition of the Crow Museums three-year Texas Asian Women Artists Series. For Lius first major exhibition in Dallas, the artist, UT Austin professor, and mother draws upon her Chinese heritage, and, more broadly, her experience as an immigrant woman.

Part of an ongoing series, Lure/Dallas does what its name implies, drawing the viewer in with a narrative that welcomes interpretation. Liu says the discs represent individuals, but shes heard them compared to poppies and blood cells. Some discs are paired, shaped from a single thread, a few are alone in masses; the connections droop to the floor, tangling, sometimes becoming obscured, sometimes drawing pairs closer.

Youll be thinking about these common threads as you move upstairs to the Mezzanine to see Lius second installation, Each and Every/Dallas, also part of an ongoing series. Here, the artist lays out a more pointed discussion of humanity. The room is filled with flattened pieces of childrens clothing, dipped in colorless cement and arranged in a rectangle hovering above the floor. Cement-coated threads hang from the ceiling like dull needles, stopping inches above the garments.

Its a deeply personal project for Liu, one that started with collecting her young daughters hand-me-downs without a specific purpose in mind. When the Trump administrations zero tolerance immigration policy was introduced, she decided to use those pieces, in addition to clothing donated at her daughters school and by fellow artist-parents, to speak out.

I thought the combination of cement, which is an industrial building material, and these tender, soft, small pieces of clothing that are to shelter our little babies bodies, is such a poignant and powerful combination. We have the harsh and the tender put together to talk about this situation that is really difficult to describethe impossibility of why this even happened, says Liu. I see them as being both preserved and destroyed at the same time, so they can no longer serve the purpose of protecting the bodies of the children. The scale is important, because we are talking about a large number of children who are still away from their families, who dont know where they are in the system. Theres this unknown sense of loss and suffering being visibleIts a project that I really needed to do as a mom, as an immigrant, and also as a woman artist.

The artist has also planned a performance in conjunction with the installation; She will return in March and sit in the back of the gallery, mending worn pieces of childrens clothing in an act of silent protest and meditation (dates and times TBA).

Liu carries this idea into her final piece at the Crow Museum, a flag commissioned by MAP (Make Art with Purpose), which is separate from, but directly related to, her exhibition. The work, titled Outline, is made from a cyanotype image of clothing seams. It hangs in the skyway of the Crow Museum, looking over Flora Street on one side and the Trammell Crow Center on the other, a tribute to the mothers who are still awaiting the return of their children.

Beili Liu: One and Another is on view at the Crow Museum of Asian Art through August 16, 2020. The museum is free and open to the public.

Originally posted here:
At the Crow's Celebration of Asian Texas Artists, a Common Thread for the Immigrant Experience - D Magazine

Sandy Gellis remodeled his State College condominium to be pleasing, purposeful and practical with the goal of living independently for another 20 years.

At 76, he jokes that the only thing he would do differently is add a second bathroom vanity sink for his new girlfriend. Gellis is among a growing trend of seniors who wish to age in place retain independent living in a private home by adding user-friendly features and retaining aesthetics.

According to AARP, older home owners overwhelmingly prefer to age in place, which means living in your home safely, independently and comfortably, regardless of age or ability level.

According to a 2017 HomeAdvisor report, 37 percent of homeowners reported having difficulties walking up stairs or reaching for cabinets as they age, and 41 percent said theyve experienced a trip or a fall. Thirty-six percent said they count on help to do everyday tasks at home. Nearly half of owners 75 and older responded that they had prepared for aging with home renovations, but 15 percent did so only after their physical needs made their dwellings unlivable.

Too often an inability to lift a foot over a traditional tub/shower combination forces a person into an assisted living, said Lou Mihalko, president of Mihalkos General Contracting. Each January for the past several years, he has noticed an uptick in inquiries from those who wish to add a first-floor bath or bedroom with common features, such as levered door handles, zero-entry showers and higher toilets.

Remodeling is a spectrum from user-friendly changes for an older resident to extensive renovations for wheelchair accessibility. Gellis renovations were more on the user-friendly side of the scale rather than full-accessibility modifications, according to Peter Toby Hood with Cisney & ODonnell.

For Gellis, the firm:

Created additional space in the toilet area and added a comfort-height seat.

Created more counter space, and a taller height vanity with more storage.

Eliminated a soaking tub and replaced an existing module shower unit with custom tile and a true zero-entry shower with a seat and a handheld shower.

Improved lighting.

Hood said Gellis space could be modified for full accessibility compliance in the future if necessary.

The glass shower doors could be replaced with a curtain and grab bars could be installed as the walls were fortified during the remodeling.

Hood went through specialized training with an emphasis on helping seniors plan ahead for changes that come with aging and is certified for aging in place services through the National Association of Home Builders/Remodelers. For people with low-vision or balance deficiencies, Hood said installation of contrasting floor and wall colors help people differentiate their position in a steam shower environment.

Tim Ellis, NAHBR chairman, said those contemplating a remodel need to design for future needs, he said. It goes beyond easier bathroom access and extends to kitchens, hallways and home entrances with the goal to make the home design the most versatile and easier to age-in-place while considering the customers desires. Are they looking to remodel an existing space, are they thinking of moving mom or dad into their home? What are moms future needs down the road? Do they want to plan for using a walker or wheelchair?

Remodeling to accommodate health and less mobility due to aging run the gamut in features and price points, local contractors said. A modest bathroom remodeling project costs an average of $15,000 to $25,000 and more homeowners are willing to make the investment in an effort to stay in their home within the neighborhood and community they enjoy.

We try to give people all their options, said Jason Leaper of J&J Remodeling/Multi-Service of Altoona.

Leaper and other contractors like Lou Kabello of Altoona confirmed a local, multi-year industry trend. Initially, a remodel project may spring from an aesthetic desire to refresh existing structures. Such was the case with Joi Cooney of Loretto who said shes wanted to update her A-frame home for years. At 62, Cooney said she wasnt prepared to fully address the accessibility issues Mihalkos suggested.

I had my heart set on a soaking tub the kind with jets, she explained. But she did concede to the placement of grab bars to ease her entry and exit from the tub. Her remodeled bedroom and ensuite bathroom is in the upstairs of her home.

However, when her mother, 86, scheduled knee surgery, accessibility at her mothers home became a priority.

Lou Mihalko, president of Mihalkos General Contractors, said most people think of stainless steel grab bars, but other changes can also reduce fall risks.

Most people dont prepare but wait until a health situation forces them into it, he said. People should pre-plan, but they dont.

Most older people run into accessibility problems in the bathroom, he said. The key to accessibility is planning ahead for the time when a leg cant be lifted over and into a bathtub.

Immediately after the holidays, Mihalko and other remodelers said they see a spike in requests for bathroom remodels.

Often kids from out of town visit over the holidays and become concerned about mom or dad or their aunt or uncles safety so they are the ones who start the discussion, he said.

Often it takes a fall or another medical issue to prompt a discussion about making accommodations. While a complete bathroom remodel tops the list, other more gradual changes can be helpful.

For instance, levers instead of round door handles make a big difference for people who struggle with arthritis in their hands or who lose the ability to grasp a door knob or a faucet due to a stroke.

Other helpful and modest changes include brighter lighting in hallways and sturdy handrails, Mihalko said.Both can be made to blend and enhance existing decor.

Accessibility concerns arent limited to home interiors, said Shawn Warner of Altoona, who owns a general contracting and landscaping business.

More and more, people want to eliminate exterior barriers, Shawn said, such as multiple entryway steps, and they want to increase accessibility to enjoy the outdoors.

In his 16-plus years in remodeling, Leaper said he has seen an increased desire among homeowners to remain in their home. Looking ahead during the design process can be less expensive in the long run both in actual construction and in avoiding assisted-living or nursing home costs.

Its so much cheaper to address issues during the design phase than after construction when you have to go back and re-do it, he said. Review doorway widths, transitions between thresholds and flooring materials.

Intergenerational living sees a resurgence

The hardest thing to admit is were getting old and we need help, Ellis said. Youre trying to balance that reality and see that mom needs help. Were seeing more families combine households. Its a lot cheaper than having someone come in and assist mom in her own house.

The trend toward intergenerational living is seen in the 65- to 75-year-old demographic, he said.

Sometimes parents move from their two-story colonial-style home into an added on one-level suite with their children and grandchildren.

It is becoming more common to see several generations living together in the same home. Some families do this for the benefit of sharing the cost of living expenses, and some families find this helpful when someone in the family needs care. Having the family members all in one household makes this situation easier, said Lisa Moyer, a supervisor with Blair Senior Services Long Term Living program. We are also seeing a great increase in the number of grandparents who are the primary caregivers for their grandchildren.

Like many other communities, Altoona has many older homes that are two-stories with a single bathroom on the second floor. Older homes with narrower doorways make accessibility for a person who uses a walker or wheelchair difficult.

If a permanent first floor bathroom cant be added, a portable commode may be a solution provided someone can take it up stairs for emptying. Another option could be a stair glide system to provide second-floor access.

Often, they cant make it upstairs easily to get to bed or out to the garage. Plus, the house is just too big to maintain, clean and keep up, Ellis said.

Ellis has seen a significant uptick in requests for mother-in-law suites where he lives in Harford County, Maryland.

We let (the homeowner) know that were not just designing to meet their mothers needs today, but also to address their own needs in the future. They are creating a future where the son and daughter can then age in place, he said.

This trend is fueled as families move less often and the cost of elder care rises.

Hes witnessed a son and daughter-in-law move back into the childhood home and live upstairs with an aging parent living on the first level.

While more expensive up front, the cost of building an addition is recouped within a few years especially compared to an average nursing home cost of $10,000 per month.

Municipalities are more willing to grant variances and assist in getting through the building permit process. They are getting on board.

Programs offered

Blair Senior Services Inc. offers a variety of services to assist people in remaining in their homes, according to Supervisor Lisa Moyer.

The OPTIONS program offers home delivered meals, personal care assistance (bathing, dressing and grooming), assistance with purchasing incontinence supplies and nutritional supplements, personal emergency response systems, and adult daily living program services, which assist with day-to-day tasks people may have trouble completing on their own.

The Caregiver Support Program can provide caregivers with reimbursement for out-of-pocket expenses related to the care of their loved one, such as assistance with respite care and other costs that are not covered by some other programs, Moyer said. Limited reimbursement may be available for qualified home modifications and adaptive equipment not covered by insurance.

For grandparents raising their grandchildren, the Caregiver Support Program can offer reimbursement for some caregiving costs for the children, such as seasonal clothing, school supplies and extracurricular activities.

For individuals who do not qualify for other programs, or need assistance in addition to what those programs can provide, the CHOICES program may be able to assist.

CHOICES is a private-pay program which can provide respite care, personal care, financial management assistance, housekeeping, shopping, medication management and nursing services, as well as more comprehensive care management services to individuals who need it.

The CHOICES, Caregiver Support and OPTIONS programs can be used together to create a complete plan of care that can help the person remain in their home, Moyer said.

For individuals who require additional assistance, the Community Health Choices program may help medically and financially qualified people with multiple services which may help them remain in their homes. There are no costs to the consumer to participate in this program.

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Options abound to give seniors ability to age in place | News, Sports, Jobs - Altoona Mirror

The InstallerNet partnership will enable more mass-market reach and nationwide installation capabilities for Delos' DARWIN platform. (Photo courtesy Delos)

Pioneering home wellness company Delos maintains that the healthy home should not just be a privilege of luxury homeowners. So while the company has fostered relationships in the CEDIA channel over the past couple of years, it has also looked to expand its scale and potential customer base.

Toward that end, Delos has announced a partnership with InstallerNet, a nationwide provider of installation services for consumer technology, to service homeowners integrating Delos DARWIN Home Wellness Intelligence network.

The relationshipwithInstallerNet will help us scale and enable growth, bringing healthand well-being to more people in more places, says Delos CEO and founder PaulScialla.

As we expanddelivery of DARWIN from new homes and renovations to existing homes, we areconfident in InstallerNets experience managing installations at scale andtheir ability to provide enhanced service to our customers.

The company has made a splash with groups serving the customintegration industry such as HTSA during the organizations fall conferencelast year, for example, Delos chief commercial officer and head of residentialbusiness Anthony Antolino participated in a keynote panel on opportunities inwellness.

In the residential space, we believe as a guiding principle that improving peoples wellness is a right and not a privilege, so we have to be really careful about having products that accommodate all socioeconomic classes, Antolino told the HTSA dealers last fall. He noted at the time Delos had partnered with builders like KB Home to help roll out the platform on the national front.

The DARWIN Home Wellness Intelligence network is designed to enhance human health and well-being by monitoring, calibrating and responding to changing indoor environmental conditions, the company explains.It earned a CE Pro BEST Product Award in the wellness category in 2019.

EnlistingInstallerNet enables Delos to rapidly expand distribution and provideinstallation and support at scale, Delos says in the announcement.

InstallerNet will service the mass market for Delos andprovide certified technicians to deliver and install DARWIN, providing apersonalized orientation, ensuring the DARWIN elements are connected,registered andactivatedthrough the homes wireless network, according to the announcement.

Meanwhile, in terms of certification for custom integrators, HTSA and Delos partnered on intensive, single-day training courses in New York and Los Angeles offices last year and have had roughly two dozen dealers earn certification.

Wellness technologyis an emerging growth category and Delos is well-positioned to become theleader, states Tony Frangiosa, InstallerNets president and CEO.

Our verticallyintegrated platform technology will be used to simplify the process for homebuildersand their customers.

InstallerNet recently expanded its reach by partnering with distributor Capitol Sales with some mutually beneficial perks for both InstallerNet and Capitol dealers in terms of sales leads and technology offerings.

DARWIN is availablethrough volume production builders Antolino had noted last fall that Deloshad partnered with KB Home to help roll out the platform, for instance andDelos made the InstallerNet announcement as the company shows homebuilders itstechnology this week at the NAHB International Builders Show (IBS) in LasVegas.

It follows Delos buzzworthy booth and participation as host of the inaugural Wellness Pavilion at CEDIA Expo last September in Denver, Colo. Integrator attendees could escape the show floor into an environment that included a living plant wall, air purification system, circadian lighting, zero-gravity chair and guided meditation recordings.

At IBS, thecompany planned to showcase its wellness technologies and solutionsacross the residential space, with a team of experts running demos of DARWIN,the company said ahead of the show. Visitors can also explore and discuss thelatest research on the intersection of health and home environments, Delos saidof this weeks booth.

In addition to exhibiting, Delos also participated in theChowa Concept Home from builder Woodside Homes and Japan-based Sekisui House atIBS. As described by the exhibitors, Chowa is an ancient Japanese term thatrepresents the spirit of partnership and reflects life-balance, well-being,sustainable value, and connectedness to nature and will spotlight SekisuiHouses core value of love of humanity as a strategic platform for aninnovative home of the future.

Its a natural extension of Delos efforts to marry wellness and biophilia design with the builders and integrators who can bring the technology to homeowners.

I think as more and more innovation comes forward, more and more energy savings, more and more environmental sustainability comes forward wellness in the homebuilding arena is the next megatrend that homebuilders are focusing on, Antolino says in a video interview about Chowa.

Our participation in the Chowa house is a really good exclamationon that point, and I think thats a good takeaway for homeowners and homebuilders,largely.

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Delos Partners with InstallerNet to Expand Wellness Reach - CEPRO - CEPro

Sonia spent hours redoing her floor by hand (Picture: Caters News Agency)

Heres a DIY project that might not be to your personal taste, but is pretty impressive nonetheless.

Sonia Barton, 47, wanted to give her old kitchen a revamp after living in her home for 13 years.

She decided to get creative, spending hundreds of hours over the course of a year transforming the space piece by piece.

And the focal point of all that work is definitely the floor created with 5,000 miniature flower buttons, coins, and her cheating ex-husbands old record collection.

The childrens entertainer from Belper, Derbs, estimates she spent 2,500 on the dream project.

I love DIY and I love colour so it just evolved, Sonia said.

I originally wanted to do records on the floor when I was married but my husband at the time didnt like the idea so as soon as we split I decided to do it.

Its been a labour of love for me. I started it over a year ago and spent evenings and weekends working on it.

Sonia began the project in October 2018, after deciding to completely overhaul her kitchen by installing a new floor, worktops, drawers, kick-board, and architrave.

Sonia said: I bought myself a table saw and made the drawers myself from floorboards.

I made all the doors and drawers. I love vibrant colours so decided to paint the doors.

I spent ages looking at tiles and couldnt find any that I liked so I brought some plain white tiles. I then decoupaged them and then put resin on them.

The worktops were an ebay bargain which I was able to install with help from a friend.

For the floor, I bought the buttons and then added coins and records. I glued them on the floor and put a resin over them.

The buttons were the hardest part, they took hours and hours and hours and there are thousands of tiny flower buttons on the floor, all of them are different.

Some of them are my ex-husbands.

It amuses me, it makes me laugh every time I walk in the kitchen and see them.

Each section is bordered by small tiles because I didnt want to do it all in one go so I could still use my kitchen.

Sonia is overjoyed with the end result and says she feels happy every time she enters her kitchen.

Her friends and family are big fans, too.

Most of my friends have seen it as its been coming along, Sonia said.

Some people have seen photos of it and have said its a bit mad but theyve said it works when theyve come in and seen it. Its bonkers and it reflects me.

Its a hard-wearing kitchen so it should last forever.

I feel happy just being in it. Stepping inside brings a smile to my face no matter how Im feeling.

It uplifts your soul.

Do you have a DIY project you fancy showing off? Get in touch by emailing MetroLifestyleTeam@Metro.co.uk.

MORE: Mum transforms plain driveway into stunning dining area

MORE: Mum creates amazing DIY playroom for son with sensory processing issues for 80

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Mum turns 'cheating' ex-husband's record collection into her new floor - Metro.co.uk

AMPFIELD

20/00093/FULLS & 20/00094/LBWS Erection of single-storey rear extension to provide extended living accommodation; change roof type of existing single-storey rear extension to match proposed extension and provision of vaulted roof over proposed Kitchen/Dining Room (Amended scheme) - Kingfisher House , Knapp Lane, Ampfield

BRAISHFIELD

20/00096/TREES Hornbeam (T1)- Removal due to Basal decay, evidence of Honey Fungus present. - The Close, Church Lane

20/00140/TREES S1 - Laurel - Remove - Orchard Hill, Braishfield Road

BROUGHTON

20/00055/FULLS Erection of manager's dwelling with stabling and garaging, construction of stable, hay barn, and siting of horse walker, formation of yard and loading bay, siting of temporary mobile home for equestrian worker, installation of package sewage treatment plants, formation of private ways and re-surfacing of existing tracks, restoration of farmland with associated landscaping and biodiversity enhancements - Trickledown Estate, Horsebridge Road

CHILWORTH

20/00111/VARS Remove condition 4 of 16/00156/FULLS (Demolition of existing garage and out buildings; erection of first floor rear, two storey and single storey side and single storey front porch extensions to provide additional living areas with bedrooms and balcony above; creation of basement with pool below the front garden and erection of detached garage) regarding the installation of frosted glass screens to balcony on rear of property and vary condition 5 to substitute approved drawings to allow alterations to the roof windows - Windy Ridge, Chilworth Old Village

LOCKERLEY

19/03074/FULLS Erection of 2 No. prefabricated bin stores with associated hard standings and dropped kerbs - 35-44 & 9-14 Butlers Close

20/00027/FULLS Alterations to existing car parking and installation of Golpla matting, installation of timber bollards to perimeter of green, and installation of 2 vehicle gates - The Green, Butts Green

MICHELMERSH AND TIMSBURY

20/00106/TPOS T 355, T353, T351, T349, T348, T347, T337, T401, T454, T334, T319, T318, T301 (Tagged numbers) Poplars - Reduce by up to 10 metres.T343 Poplar - fell and replace with standard fastigiate Oak or other species specified by TVBC. - Woodland to the south west of 1 Casbrook Field, Upper Timsbury, Romsey

MOTTISFONT

20/00134/TREES Fell 9 Ash trees - Mottisfont Abbey, Mottisfont Village Road

NORTH BADDESLEY

20/00118/FULLS Single storey side extension to provide open plan kitchen/diner and larger living room - 19 Woodside Road

20/00124/FULLS Use of land as a single gypsy pitch for a temporary period of 3 years with new access from Bracken Road - Land at junction of Rownhams Lane, Bracken Road

NURSLING AND ROWNHAMS

20/00054/FULLS Single storey rear extension to provide dining room - 18 Hurricane Drive, Rownhams

20/00059/VARS Variation of condition 2 (approved plans) of 17/01322/FULLS (Ground floor rear extension; loft conversion with new front dormer and raise ridge height of roof ) to replace drawing 04 B with drawing 04 C, and 05 with 05 A to allow for change in windows - 129 Upton Crescent, Nursling, Southampton

20/00068/FULLS Erection of single and two storey rear extension to provide additional living space with enlarged bedroom above - 3 Colts Road, Rownhams, Southampton

ROMSEY EXTRA

20/00120/CLPS Certificate of proposed lawful development for a single storey rear extension - 14 Tarver Close, Romsey

20/00142/VARS Vary Condition 3 of 19/00373/RESS (Approval of details for appearance, landscaping, layout and scale of 73 dwellings pursuant to outline planning permission 17/02183/OUTS) to substitute landscape drawings in order to accommodate mitigation planting along part of the eastern site boundary - Land west of Baroona, Cupernham Lane, Romsey

ROMSEY TOWN

19/02934/FULLS Change of use from professional services (A2) to food and drink use (A3) - 14-14a, Market Place, Romsey

20/00090/TPOS T1 Horse Chestnut - whole crown reduction upto 4m - 4 Elm Place, Winchester Road, Romsey

20/00114/CLPS Certificate of proposed lawful development for the erection of a 1m high fence on land adjacent 1 Pinewood Close - 1 Pinewood Close, Romsey

20/00121/FULLS Single storey rear extension to provide enlarged kitchen - 90 Winchester Road, Romsey

20/00143/TREES Catalpa (T1) - To reduce as close to ground level as possible - 5 Station Road, Romsey, SO51 8DP

VALLEY PARK

20/00101/TPOS T1 - Oak - reduce lowest limbs by up to 1-2m on eastern side to re balance crown. - 2 Pennard Way, Chandlers Ford, Eastleigh

20/00107/FULLS Extension and conversion of garage to form ancillary accommodation - 1 Hemlock Way, Chandlers Ford, Eastleigh

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Planning applications in Romsey and Test Valley - Romsey Advertiser

When the architect Elizabeth Diller talks about glass, she evokes the progressive, quixotic European doctrines of a century ago. Bruno Tauts Glass Pavilion, which was built in 1914 for an exhibition, inspired Paul Scheerbart, a poet and author of fantasy novels, to write Glass Architecture, an essay describing an imaginary transparent city of the future. If we want our culture to rise to a higher level, Scheerbart said, we are obliged, for better or for worse, to change our architecture.... We can only do that by introducing glass architecture, which lets in the lights of the sun, the moon, and the stars, nor merely through a few windows but through every possible wall. Diller describes her firms expansion and renovation of New Yorks Museum of Modern Art as guided by the modernist aspirations of glass, the utopian ones about democratizing space and about the extension between the outside and the inside.

Diller, whose practice emerged from collaborations with her husband, Ricardo Scofidio, is a co-founder of Diller Scofidio + Renfro, an architectural partnership whose work crosses over into the visual and performing arts. DS+Rs dictum of adaptive re-use is best demonstrated in its most famous (and most globally mimicked) project, the High Line, an abandoned elevated railway on Manhattans West Side, once slated for demolition by Mayor Rudy Giuliani and now repurposed as a public park. The High Line snakes northward from the meatpacking district, terminating at the new and controversial Hudson Yards development, where DS+R has again altered the citys cultural fabric by creating the Shed, a multipurpose arts complex with a sliding outer shell, which opened last year. These projects, expressing the firms commitment to democratizing public spaces, anticipated the challenges of reinventing MOMA, which, for ninety years, has stood as a monument to the paradoxical alignment of capital and counterculture.

When Tom Wolfe wrote that Modern Art arrived in the United States in the 1920s not like a rebel commando force but like Standard Oil, he meant it literally: the museum, New Yorks cathedral of culturethe first institution of its kind in the worldwas not exactly the brain child of visionary bohemians. It was founded in John D. Rockefeller, Jr.s living room, to be exact, with Goodyears, Blisses, and Crowninshields in attendance. The original seeds of this upper-class defiance can be traced to the infamous Armory Show of 1913, which introduced America to Cubism, Fauvism, and Futurism. The crowds were astonished by works by Paul Czanne, Mary Cassatt, Gustave Courbet, Henri de Toulouse-Lautrec, douard Manet, Pablo Picassowho had declared that museums are just a lot of liesand Marcel Duchamp, whose shimmering masterwork Nude Descending a Staircase was the outstanding hit of the show. (Thats not art, Theodore Roosevelt announced.)

In 1928, Abby Aldrich Rockefeller and the Boston textile heir Lillie P. Bliss seized on the idea of a permanent establishment for the kind of European art that they liked but could not find in museums like the Metropolitan, in New York. The two women recruited the lumber heir A. Conger Goodyear, who had been ejected from a gallery board in Buffalo for buying a Picasso, to be their administrator. Goodyear brought in Paul J. Sachs, an investor, and Sachs in turn recruited Alfred Barr, an academic who defended modern painting, to be the projects director. Their museum opened on November 8, 1929ten days after Black Tuesdayin a rented office space on Fifty-seventh Street and Fifth Avenue. The first exhibition, a small collection of paintings by Czanne, Gauguin, Seurat, and van Gogh, drew curious crowds that overflowed in a line down the block. It was a fantastic atmosphere, Margaret Fitzmaurice-Scolari, the art historian, said. You felt an unbelievable vibration.... It was absolutely electric.

In 1932, when the newborn institution moved into a five-story townhouse on Fifty-third Street that was owned by the Rockefellers, its radical zeal was as undiminished as its breathless patronage by the one per cent, who, like their European counterparts, paid for the privilege of being disrespected, or even outright attacked. The first exhibit there included a mural by the Hungarian immigrant Hugo Gellert, a member of the Communist Party of America, which depicted Henry Ford, President Herbert Hoover, J. P. Morgan, and John D. Rockefeller, Sr., flanked by gunmen and bags of cash and accompanied by Americas most famous gangster. It was called Us Fellas Gotta Stick TogetherAl Capone.

Even before the museum erected its permanent home, on West Fifty-third Street, in 1939, it had fundamentally altered the trajectory of architecture and urban planning with a landmark 1932 exhibit grandly titled Modern Architecture: International Exhibition. The curator was Philip Johnson, a wealthy young aesthete whom Barr had invited to broaden the museums scope to include photography, graphic arts, and industrial fabrication. Johnsons Machine Art exhibit, in 1934, was, according to his biographer, the critic Mark Lamster, a sensation from the moment it opened... Here were things nobody had considered putting in an art museum before: beakers, a cash register, a circular saw, a Dictaphone, perfume bottles, pans, springs of all sizes, a toaster oven, a waffle maker, a telescope, a vacuum, and even a dentists X-ray machine.

For the architecture showcase, Johnson collected models and drawings of buildings by Europeans like Walter Gropiuswho had founded the Bauhaus, a neo-socialist collective of craftsmen, engineers, artists, and architectsand by the Swiss-French painter and architect Charles-douard Jeanneret, known as Le Corbusier, whose utopian urban-planning concept, The Radiant City, was expressed in a 1925 sponsored study, called The Voisin Plan City, which proposed demolishing broad sections of Paris and replacing them with rows of identical cruciform residential towers interspersed with elevated freeways, concrete walkways, and courtyards of featureless grass. Wolfe wrote that Johnsons accompanying book, co-authored with Henry-Russell Hitchcock, a Wesleyan lecturer who wrote influential articles on design, gave no indication that the International Styleand their label caught on immediatelyhad originated in any social setting, any terra firma, whatsoever. Frank Lloyd Wright, declining an invitation to participate, condemned the style as communistic, disdaining the curators as a self-selected group of formalizers... superficial and ignorant.

The museums flagship structurethe 1939 faux-Bauhaus imposture done by Philip L. Goodwin, a society architect, and Edward Durell Stone, whom Rockefeller admired for the elegant deco execution of his Radio City Music Hallwas disdained by Johnson, who, in the process of remaking himself as a stratospherically prestigious architect, was invited to counteract the buildings shortcomings. MOMAs first westward addition, the taut and elegant Grace Rainey Rogers Memorial Wing, done by Johnson in 1951, and since demolished, was, according to Lamster, a masterpiece... the first glass-walled modern building to rise in New York, but thats the story of MoMA, the constant tearing itself down to remake itself, often for the worse. There is no visible trace of Johnsons next, larger addition, the 1964 East Wing, but his eternally serene Sculpture Garden, from 1953, remains essentially intact.

In the postwar decades, modern art, modern architecture, and the museum all faltered and languished. The once brazen International Style could now be found everywhere, its Platonic forms duly copied out in diluted, increasingly mundane degrees of fidelity to the thrilling European originals. In the late nineteen-fifties, Johnson collaborated with Pietro Belluschi, Gordon Bunshaft, Wallace Harrison, and Eero Saarinen on another Rockefeller project, planned with Robert Moses: the demolition of the San Juan Hill neighborhood to make way for the Lincoln Center for the Performing Arts, a set of ersatz-Italian piazzas flanked by white limestone brutalist auditoriums that present the surrounding streets with impenetrable stone walls. Lamster wrote, If you look at the new formalism of the sixties, Lincoln Center with its monumentality and its stark whiteness and its classicism and its insistence on authoritytheres something fascistic about that. (Johnsons defiant insistence on the amoral purity of his aesthetics reached its apotheosis in the kitschy towers he was happy to build, much later, for Donald Trump.)

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The Once and Future MOMA - The New Yorker

Harry Nuriev and Tyler Billinger were having a purple kind of day.

On a recent sunny morning in their NoLIta apartment, Mr. Nuriev, the founder of the design firm Crosby Studios, sat barefoot and cross-legged in purple pants on plush purple carpet while Mr. Billinger, his partner in life and work, lounged on silvery cushions in a purple floral shirt.

Around them sat numerous pieces that Mr. Nuriev had designed for the fashion brand Opening Ceremony a furry chair, cylindrical shelving units, a floor lamp with hand-shaped diffusers all realized in solid violet.

Mr. Nuriev, 35, is a Russian-born, New York-based designer with offices in Moscow and New York, and he has had dalliances with other colors in the past: dusty pink, powder blue and brilliant yellow. But he usually limits his palette for each project to a single eye-catching color, with the goal of creating furniture and interiors that visually pop.

It changes every day, he said. Today, I might have a blue mood, tomorrow a purple mood.

Committing to one dominant color for his home, therefore, presented a challenge.

I wanted my home to be very neutral and monochromatic, so I chose a gray color as a relaxing base color, he said.

But gray needs support, he added, to avoid falling flat. Eventually, he decided that bright purple was the ideal partner and one he could live with for a while.

The effect is invigorating, especially when taken together with material choices like squishy kitchen-cabinet doors upholstered in silver faux leather and square gray tiles that cover a number of surfaces, including the kitchen sink.

But perhaps the most surprising part of the extensive renovation the couple undertook last year which utterly transformed a respectable apartment that already had hardwood floors and an updated kitchen and bathroom is that its a rental.

The couple rents the 900-square-foot, one-bedroom duplex for $5,600 a month and, after discussions with their unusually permissive landlord, spent more than $50,000 on the renovation, an investment they wont be able to recover if they eventually move on.

Mr. Billinger, 24, was already renting the apartment while working in public relations at Moschino and Jeremy Scott when he met Mr. Nuriev about a year and a half ago. After just a few months, they decided to live together in Mr. Nurievs apartment in Williamsburg, Brooklyn, which left the NoLIta home largely vacant. Mr. Billinger later became a partner at Crosby Studios, where he now handles business matters as the firms client list expands. (Mr. Nurievs latest creation is a transparent sofa stuffed with surplus clothing, which he developed with Balenciaga and introduced at Design Miami last month.)

I had this place sitting here, he said. Last summer, when both our leases were up, we were thinking maybe we should rent a new place and just start completely fresh.

But as they prepared to give up the NoLIta apartment, they realized it had several things going for it.

We really loved the energy in this neighborhood, Mr. Billinger said. And having two floors made sense for us, because a lot of times we end up working at home, so its nice to have that separation.

They also liked that it had a large balcony with a view of One World Trade Center.

So they renewed the lease and brought in a contractor last summer. They demolished the existing kitchen, removed the island and added a transparent violet acrylic panel to provide some separation from the living room. They eliminated the full-size refrigerator and installed an under-counter model. Where there was previously a full-size range, they extended a new tiled counter and installed an integrated two-burner cooktop, largely for aesthetic reasons.

We dont really cook, as you can tell, Mr. Billinger said, pointing to the potted succulents artfully placed around the burners.

They covered the living rooms hardwood floors with wall-to-wall carpeting and tiled the wall, while also creating a platform that holds cushions for a custom sofa that is easily reconfigured.

Upstairs, they changed the layout to make space for a bedroom with a soft headboard upholstered in gold faux leather and a large dressing area enclosed by a tiled storage wall and outfitted with Ikea racks.

They also gutted the master bathroom to add more gray tile, a gray toilet and violet acrylic partitions. Crosby Studios collaborators supplied some of the finishing touches, including plumbing fixtures the firm created with the Australian company Dorf and a vanity produced with the Indian furniture company Hatsu.

After two months of construction, the renovation was completed in September.

Despite the uncertain future of their rental, they have no regrets. They are simply happy to live in the moment.

Cost-wise, its not the easiest thing to do, said Mr. Nuriev, whose first interior design project was his former rental apartment in Moscow, where he did the same thing in 2013. But its a very exciting feeling to be inside of your own environment every day.

We want it to reflect who we are as people, Mr. Billinger said. And I think this home really reflects that.

Although, as Mr. Nuriev noted, Most people probably think its crazy.

For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.

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In NoLIta, a Rental Renovated in Shades of Purple - The New York Times

Address:729 Washington Ave. N., Minneapolis

Web address: https://www.thenordicminneapolis.com/

Size: 10 stories, 200,000 square feet

Architect:Hartman Cox Architects, Washington, D.C., lead design architects. LHB Architects, Minneapolis office, architect of record.

General contractor: RJM Construction, Golden Valley

Owner/developer: Minneapolis-based United Properties and Greco

Property description:Since it opened in March 2019, The Nordic has become a bit more than just another brick-clad, loft-style creative office building.

United Properties developed the two-building property from the ground up as a mixed-use project that incorporated the historic feel office tenants like about Minneapolis North Loop neighborhood. But the project also includes outdoor recreation space, a food hall and a massive lobby meant to pull in both tenants and neighbors with a hip coffeehouse vibe.

The lobby was pretty important as a gathering area for people, said Chris Wold, a United Properties asset manager. And we really wanted to get the outside to look like it had been for here forever.

The food hall, operated by Galley Group, has also been a heavy draw, filling up with lunch and dinner diners from The Nordics offices and from nearby residents, Wold said. The food hall opened in December with food vendors selling Detroit-style pizza, Hawaiian food, Asian soul food and fried chicken.

Construction has wrapped on The Nordic, with the exception of a planned fitness facility and tenant improvements on about 2,000 square feet of retail space on the Third Street North side of the property. That space is part of The Nordics nine-story mixed-use parking ramp. The building contains more than 400 parking stalls, restaurant Thr3 Jackon the ground floor and 58 condominium units collectively named The Sable. The condos hide the parking behind them and seem to have been popular among buyers with 41 selling so far. Minneapolis-based Greco co-developed Sable with United Properties.

Between the two pieces of The Nordic is a courtyard that links them, as well as the Loose-Wiles building next door. A construction crew was at work this week installing an artificial ice surface that will be used for curling.

Tenant spaces are already bustling as vacancy in the building has dwindled to 10%. Digital marketing agencyOvative/group and co-working space provider WeWork lease the largest office spaces in the building. Ovatives 38,000 square feet of office space on the ninth and tenth floors and amenity space enclosed in a small, rooftop space are all linked with wide stairwells.

WeWork, which leases about 60,000 square feet between floors four, five, six and seven, is on its way to filling its rental office spaces, said WeWork Community Manger Amada Hart. Offices at this WeWork location, which is one of three in Minneapolis, accommodate companies starting with a single employee to one with nearly 70, she said.

Its still getting ramped up, Hart said in a Thursday interview.

West Monroe Partners will surpass Ovative as the buildings second-largest tenant when it moves into 42,000 square feet of space in May. When the space is complete it will be a light, bright space, Wold said, thanks to banks of huge windows and a massive atrium space that links the two floors of the companys future working space.

The Nordics 20,000-squre-foot eighth floor has yet to be leased. United Properties is building out a speculative suite in half of the space that will be fully furnished sometime in February. The developer hopes to lease the suite built out as is, and the raw space on the rest of the floor as something a tenant would have built out to its individual tastes.

Were looking for both, Wold said. There are a lot of companies that come and they dont even want to think about design.

United Properties is seeking WELL certification for The Nordic, Wold said. The designation denotes a building designed with the health and wellness of the occupants in mind.

Excerpt from:
Building Blocks: The Nordic draws North Loop in - Finance and Commerce

Before she was Sonic Youths iconic bassist, sing-speaking recondite poetry over squealing guitars, and before she published her memoir, started a fashion line, and acted in films, Kim Gordon was an art-school kid staging interventions in friends apartments. The goal, she wrote at the time, was to use art to deconstruct design.

40 years later, the impulses behind those interventions still inform Gordons art making.Following the rather public dissolution of her band and marriage in 2011, Gordonmoved to her hometown of Los Angeles and refocused on her art practice, whichenacts some of the same public-vs-private tension thats ungirded her personal life over the past decade.

Its kind of ironic that I ended up as a public person whos sort of uncomfortable with it all, Gordon tells Artnet News over the phone from her home in California. Shes just returned from New York, where her show The Bonfire opened at 303 Gallery. Shes battling a rough head cold from the trip, but her voice is unmistakably familiar.

Lining 303s walls are blurry, amber-tinted photographs of friends encircling a beachside bonfire. The scene is jovial, but the context is not. Subjects are framed by digitized rectanglesthe type that pop up when facial recognition software hones in on a known pixel pattern; others have crosshairs trained on them, like the targets of a drone strike. Its all a reminder that even the most intimate of moments are threatened by technocapitalisms watching eye.

Meanwhile, a recent performance piece,Los Angeles June 6, 2019, blares from a stack of monitors in the center of the gallery. In it, Gordon uses LAs municipal architecturehandrails, benches, cornicesto play a screeching guitar, reclaiming the space through a kind of earsplitting ritual thats equal parts Vito Acconci and Glenn Branca.

Gordon spoke with Artnet News about her new show, the evolution of her art practice over the years, and her unease with being a private person in the public eye.

Kim Gordon, The Bonfire 7 (2019). Kim Gordon. Courtesy 303 Gallery, New York.

Lets start with the bonfire images. What is it about this scene that interested you?

Its just an archetypal image. Last summer I was in Provincetown and my friend organized a bonfire. She had to get a license just to have it on the beach. I took those pictures as it was happening and I just thought they looked really cool. The lighting reminded me of Old Master paintings.

I had been thinking a lot about the branding of different experiences. For example, the way Airbnb now rents out things like camping trips, selling you on the idea that youll live like a cowboy. These are special private moments that are being highlighted and sold. In actuality, there is no sense of real privacy anymore. And people dont care until it turns into something bad.

Atop the canvas prints are swathes of acrylic medium. Theyre almost unnoticeable until the light hits them. What was the intention of using the acrylic on those works?

I wanted them to be more than just photographs. Its almost like a shadow painting. Creating a secret painting in public is interesting to me.There are also overlaid, Photoshopped digital surveillance lines. They tie in with a video that Loretta Fahrenholz did for one of my songs, Earthquake. She had these special effects people use those graphics to hide peoples faces because we didnt have release forms. I liked the idea of tying it in with that. Ive always had my art and music so separate, but theyre starting to merge together more.

Those Photoshop graphics kind of create a hybrid design and an abstraction within a representational picture. You see that a lot in designeverything is designed to tie together. Its all kind of like a modern-day landscape to me.

Kim Gordon, Los Angeles June 6, 2019 (2019). Kim Gordon. Courtesy of 303 Gallery, New York.

Theres a great dialogue between the video installation and the bonfire prints. In the video, while youre roving around LA with your guitar, the viewer becomes hyper-aware of all the security cameras in the background and the way that public and municipal space is being controlled and privatized.

And the security guards were everywhere. It was like I was a terrorist. Understandably, I guesswhen you do something like that [Laughs]

Im interested in the gardens and the waterfalls and the way landscaping works in those corporate plazas throughout the city. Its something Im particularly aware of in LAeven more than New Yorkhow those things disguise this corporatization of city life.

You conceived this work,Los Angeles June 6, 2019, as a one-off performance. How does its current form as a video installation change the piece for you?

I actually made it for this show that took place between Ste, France, and LA. It was an idea Id had for a long time. I always liked the way skaters repurposed those corporate buildings, the stairways and the railings. I wanted to do the same thing, reclaim the space using those same railings as giant guitar slides. I asked a documentary filmmaker friend to shoot it and she did such a great job. She shot it with three iPhones. It was originally shown in a storefront on Sunset Boulevard, which was pretty cool because the sound of the traffic going by added to the experience and we didnt start showing it until the sun was setting so the light was interesting and then it got dark. I knew I wanted to include it in the New York show but I didnt want it to be this giant image of me on the wall, so I put them on the floor. Then the director of exhibitions at the gallery came up with the idea of arranging them like a bonfire and putting some fake tree stumps nearby.

Kim Gordon, Los Angeles June 6, 2019 (2019), still. Kim Gordon. Courtesy 303 Gallery, New York.

Even though the piece isnt explicitly about L.A., the subtext is thereyoure engaging with the bones of the city itself. You spent decades on the East Coast before moving back to LA in 2016. Since then, what influence has the city had on your work?

I dont know if LA has really influenced my work. I kind of feel like I always carried a bit of LA with me in New York. I dont think it really changed in that way. I always liked the architecture, the weird customized houses, how you can have a tutor house next to a ranch. LA is a melting pot anyway. People move here from all over and the architecture reflects that. I also find it interesting how customizing ones house or car is kind of the ultimate freedom of expression for people here. Its always been my favorite city to look at. Theres so much space and distance; its very voyeuristic. But I think LA influenced my record more than my art.

Your history with art is longer than your history with music. Do you feel more comfortable in the art world than you do the music world?

Yeah, I do actually. Like a lot of people, I just kind of fell into music as a way to escape the art world. It was the spirit of post-punk do it yourself. I didnt have any training in music at all. But I did go to art school, and I grew up wanting to be an artist since I was five, as cliche as that sounds. Thats why I moved to New York.

I dont really think about the music world at all today. Ive had to recently because I did the solo record, but I still dont interact that much with the music scene in LA.

Installation view of Kim Gordon: The Bonfire, 303 Gallery, New York. Photo: John Berens. Courtesy of 303 Gallery.

When doing research for this interview, I found that most of the pieces of writing that were ostensibly about your art tended to focus more on your fashion and your time in bands. Rarely did they address your artwork critically. Do you find that people have a hard time separating, say, Sonic Youth Kim Gordon from artist Kim Gordon, or past Kim from present Kim?

Oh yeah, totally. Its just something I feel like I always have to overcome. I should probably have more fun with it. [Laughs] I do feel like a lot of the pieces have been like the kind of journalism you often get in the music world, where its clear the writer just read the press release or something. But I havent had a straightforward, conventional art career. You have to really dig around to actually know what my work is. Its kind of a drag. I think its just something I have to work out for myself. I dont want to worry about what other people are thinking.

Your work is also quite disparate. Your word and wreath paintings, your sound and performance pieces, your abstract and figurative sculpturesif these were all to share the same room, unknowing visitors would conceivably be surprised to realize they were done by one person. Do you feel the same way?

For me it all goes back to design. When I did the survey show at White Columns in 2013, I brought it all together under the title Design Office With Kim Gordon and I was actually surprised at just how clearly you could really see a thread running through the whole thing. It was a lot of lo-fi design.

In the early 80s, when I started Design Office, the idea was to do interventions in peoples apartments that were part psychologicalI would take something personal about them and turn it into an art object, then physically alter the space in some way and write about it all in a magazine. I did a few of those. And if you look at the materials in the rest of my work since, the logic behind it, you can see those roots in some way. Im still interested in interiors and Ive always been influenced by how art and design interacts. Its all somewhat performative.

Maybe Im more of a sociologist. Think of me as a sociologist and it all makes more sense. [Laughs]

Kim Gordon, The Bonfire 10 (2019). Kim Gordon. Courtesy 303 Gallery, New York.

Youve spoken about the stranglehold the market has over the art world. Is this something you contend with in your own work or do you make things with the understanding that you cant control their life after they leave the studio?

Its definitely something I contend with, especially with installations. Theres something about professionalism in art that I just want to resist. Its hard to make art thats awkward anymore, or to make something thats unexpected or surprising or unsettling in a way thats not like blatantly offensive or sexual or cheap, especially in spaces like commercial galleries which are just white boxes.

Kim Gordon: The Bonfire is on view through February 22, 2020 at 303 Gallery.

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There Is No Sense of Privacy Anymore: After Kim Gordons Personal Life Went Public, She Decided to Tackle Surveillance in Her Art - artnet News