Just as the weather starts to get a bit cooler (we Angelenos have our fingers crossed that the cooling trend continues), it seems like the events calendar starts to heat up. In particular, our good friends at the AIA|LA have an action-packed fall planned with events and tours that will knock your socks off.
“I’m inspired by the materials themselves,” says Bay Area–furniture designer Alice Tacheny, who launched her own collection last year at ICFF and will be having an opening at Erica Tanov Marin at the Marin Country Mart later this week. Her work—pared-down, clean-lined chairs, tables, case pieces, even a bed, along with new home accessories—are primarily crafted of American walnut and rift white oak. Brass appears, too, “because it’s soft and easy to work with,” she says. “It pairs well with other materials I use and, no matter what finish it has, it patinas nicely. It bears the imprint of the people who use it.”
Before the Design Museum in London opens the doors to its new location in 2015, visitors in both the real and virtual worlds, will have had an opportunity to get up-close with the vastly larger space thanks to an immersive tool created by Stickyworld. A London-based company itself, Stickyworld builds interactive visual forums designed to foster discussion on projects ranging from design review, city planning and beyond. “Our business offers a new way of capturing feedback on the built environment,” says Michael Kohn, Stickyworld’s founder and CEO.
How do you integrate a New England–style clam shack into an existing building and its West Hollywood neighborhood without resorting to tired—and incongruous—nautical references? For Michael Cimarusti, the seafood star behind LA’s acclaimed Providence, and his partners, you turn to (fer) studio and architects Christopher L. Mercier and Douglas V. Pierson.
It’s Modern: The Eye and Visual Influence of Alexander Liberman. Charles Churchward. Rizzoli, $65.
There’s a fairy tale quality about the life and careers of Alexander Lieberman. An emigré from Kiev, he was briefly touched by the Russian avant garde, edited the first magazine of photo journalism in Paris in the 1930s, narrowly escaped to the US in 1941, was swiftly fired from his first two jobs but spent the next 50 years in art direction at Condé Nast. Even as he honed his reputation as an artist and social lion, he became editorial director of the entire publishing empire, from Vogue to Allure. He re-launched Vanity Fair and House & Garden and inaugurated new titles. Nobody will ever again exercise such authority and for so long. Adaptability was his greatest gift. An exacting stylist, he could reconceive magazines every decade and for every demographic, remaking layouts for hours at a time, before returning to his Connecticut studio to work on an abstract painting or sculpture.