Mimi Zeiger

Critic, editor, curator and instigator.

Hestia, virginal and nary a myth to her name, is the Greek goddess of the hearth. Perched high on Mount Olympus, she would tend the gods’ fire. Zeus put her in charge of sacrifices, and combustible bits of animal flesh and fat would catch and spark as she fed offerings into the flames. While other mythical figures would venture out on odysseys and trickster expeditions, she was central to the continuity of family life—even the Real Housewives–esque craziness of hers.

It is from Hestia that we receive our domesticated idea of tending to the fireplace at home, and of gathering around the hearth (the translation of her Ancient Greek name)—a designed object that rises above its functional purpose, enhancing its users’ everyday lives as a site of communion and reflection. But times have changed. As the climate crisis upends seasonal expectations and increases the frequency of devastating fires, what’s the point of having a hearth in our homes now?

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Many of the remembrances of David Lynch published after his passing in January mentioned his gee-whiz, cherry-pie-and-coffee, Midwestern earnestness. The director always exuded uncanny sunshine in contrast to his penchant for noir. As a trait, earnestness rarely gets enough attention. More often than not, it’s overshadowed by hipness, camp, or irony. PlayLab is earnest. And Archie Lee Coates IV and Jeff Franklin, who cofounded the creative agency in 2009, are also glass-full, milk-fed earnest. Despite running a twelve-person team that caters to some of the biggest names in art, music, and film, these are two guys who just want to a grab some pizza and a six-pack and geek out over Charles and Ray Eames or Tibor Kalman — just like they did when they met studying architecture at VirginiaTech, or for a dozen years in New York when Franklin would work a day job at REX and then come to the studio for all-night brain-storming sessions.

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It’s hard to believe that the Salk Institute is nearly a half-century old. Louis Kahn’s masterpiece, perched on Pacific bluffs in La Jolla, Calif., has always had a conflicted relationship with time. Critic Esther McCoy, in a 1967 issue of Architectural Forum, wrote that “Kahn has said that he builds for today, not the future, but Dr. [Jonas] Salk maintains that in the laboratory building the future was built into today.”

The Salk Institute might be enduring in its design. But even icons age. Today, the landmark needs significant work on its concrete and glass façade, as well a plan for maintaining the limestone courtyard. Kahn couldn’t have predicted that fungus spores would drift on marine air from nearby eucalyptus trees and take root on the building, discoloring and eroding the teak window screens.

Which is why the Salk teamed up with the Getty Conservation Institute (GCI) to develop a long-term preservation strategy for the site. Based on a condition survey, historical research at the Kahn archives in Philadelphia, DNA testing, and surface treatment analysis on the building’s façade, CGI came up with a conservation methodology. The Salk Institute Conservation Project, as it’s called, is a model field study within the Getty’s Conserving Modern Architecture Initiative (CMAI). Read More …

“California design is not a superimposed style, but an answer to present conditions….It has developed out of our own preferences for living in a modern way,” explained architect and designer Greta Magnusson Grossman in 1951. Casually, she captured the essence of midcentury West Coast design—a movement built on climatic, economic, and technological responses to Los Angeles combined with a non-doctrinaire embrace of modernism. It’s her quote that opens California Design, 1930–1965: “Living in a Modern Way,” the latest exhibition at the Los Angeles County Museum of Art (LACMA). Read More …