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THE NAMINGHA FAMILY LEGACY connects the past to the present PAULA CASTILLO’S abstractions in metal ARCHITECTS OF SPIRIT and their sacred spaces

FALL 2016FALL 16 $9.95 CDN $9.95 Display through Dec.US 2016 U.S./Can. $9.95 63





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SWIRLING CLOUDS Acrylic on Canvas 30” X 24” Dan Namingha ©2016

STRENGTH AND EQUALITY Indiana Limestone 12” X 15” X 4” Arlo Namingha ©2016


AB Digital C-Print Face Mounted to Plexiglas Edition of 2, 23” x 28” approx. Michael Namingha ©2016

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R E S I D E N T I A L A N D C O M M E R C I A L I N T E R I O R S A ND I N O UR SHOWROOM ANTIQUES • FURNITURE • ACCESSORIES TEL 505 984-8544 1 5 0 S O U T H S T. F R A N C I S D R I V E , S A N T A F E , N M 8 7 5 0 1 W W W. W G D I N T E R I O R S . C O M ©Wendy McEahern for Parasol Productions and the EG

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an historic school redefined as elegant living The adaptive reuse of Manderfield School consist of 8 distinct and beautiful condominiums; 5 in the original building and 3 freestanding casitas. Each will have its own private outdoor space, covered parking, AC and top of the line appliances. A park-like setting with lush landscaping will complete this unique property. Â

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Pacheco Park: Design District At the heart of Santa Fe’s Design District is Pacheco Park, an inspired community of businesses offering a superb array of retail, services and lifestyle options. From the city’s most renowned design shops and providers, to high-end and custom furnishing and fixtures, Pacheco Park offers one-stop access to all your design, new construction, remodeling, and landscaping needs. Including retail and services, you’ll find world-class yoga, local businesses offering unique products and services from hand-made rugs to custom window design, a water treatment company, a fullservice salon and a healthy, innovative eatery. Pacheco Park provides centrally located office, retail and customized space for Santa Fe’s most successful and dedicated businesses and entrepreneurs. Come and discover the Design District for yourself.

1512 Pacheco St, Ste D206 Santa Fe, NM 87505 505.989.8484 or 505.780.1159



52 Points of Connection

64 Manifesting the Divine

The Namingha family of artists blends traditional ways with a modern worldview.

Contemporary architects offer new takes on an ancient challenge.

By Nancy Zimmerman Photos by Kate Russell 24 TREND Fall 2016

By Devon Jackson Photos by Douglas Merriam and Robert Reck












FLASH Four collage artists explore the transformative power of everyday objects; the Santa Fe International Film Festival provides independent artists an exciting platform for their work.

ART MATTERS Designers around the country are pushing the boundaries of their imagination, thanks to the Museum of New Mexico Foundation’s licensing program. By Ashley M. Biggers



CONSCIOUS BUILDING Joseph Kunkel takes a holistic approach to building housing and community on tribal lands. By Zane Fischer

46 ARTIST PROFILE Paula Castillo’s meditations in metal explore the confluence of known reality and hidden influences. By Keiko Ohnuma Photos by Kate Russell


HOW WE LIVE Multimedia artist Alice Bailey and her husband, Ricardo Sanchez, have transformed their home into a mosaic wonderland. By Anya Sebastian Photos by Kate Russell

46 CORRECTION: A story on Nancy Zeckendorf in our summer issue inadvertently appeared to suggest that contractor David Campbell, of Campbell and Steele, LLC, was primarily involved with flooring in the renovation of Zeckendorf’s condo. In fact, Campbell was responsible for all aspects of the substantial condo remodel.

Fall 2016 TREND

ON THE COVER: Michael Namingha’s Ride (2015), a long-exposure photograph created using LED lights.


PASSION OF THE PALATE Mexico’s longtime influence on the cuisine of New Mexico and beyond. By Nancy Zimmerman Photos by Douglas Merriam

89 CHEFS TALK Some of Santa Fe’s top chefs share childhood food memories that influence their current tastes and cooking styles. By Nancy Zimmerman


BITE & BUZZ The cafe at Albuquerque’s Indian Pueblo Cultural Center puts a creative spin on Native American culinary traditions. By Sharon Niederman





Top: Alice Bailey mosaic. Bottom: Paula Castillo’s Silver Air, (2015)



Photo: Claire Kahn by Peter Ogilvie.

Peaceable Kingdom December 2016 An exhibition of exclusive new works Patina gallery is recognized as one of the most beautiful galleries in Santa Fe. In its 18th year, Patina offers the finest contemporary jewelry, fine art and design

131 W. Palace Ave, Santa Fe, NM +001 (505) 986-3432



Ashley M. Biggers, Rena Distasio, Gussie Fauntleroy, Zane Fischer, Devon Jackson, Sharon Niederman, Keiko Ohuma, Anya Sebastian, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS Boncratious, Doug Merriam, Kate Russell, Robert Reck, Matt Schulze NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Deanna Einspahr SOCIAL MEDIA MARKETING Knock Knock Social SUBSCRIPTIONS Visit and click “Subscribe,” call 505-988-5007, or send $24.99 for one year (four issues) to Trend, P.O. Box 1951, Santa Fe, NM 87504 -1951. PREPRESS Fire Dragon Color, Santa Fe, New Mexico PRINTING Transcontinental Inc., Montréal, Québec Lisa Paxton, 604-319-6381 Manufactured in the United States. Printed in Canada. Copyright 2016 by Santa Fe Trend LLC. All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007, or email art + design + architecture + cuisine ISSN 2161-4229 is published 4 times a year, with Spring (circulation 25,000), Summer (25,000), Fall (25,000), and Winter Annual Lookbook December 2016–August 2017 (35,000) issues distributed throughout New Mexico and the nation at premium outlets. Ask your local newsstand (anywhere worldwide) to carry Trend. Find us on Facebook at Trend art + design + architecture + cuisine magazine. Editorial inquiries to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-988-5007,

28 TREND Fall 2016



2 0 0 C A N YO N R OA D ◆ S A N TA F E , N E W M E X I C O c a s a n a v a r r o g a l l e r y. c o m ◆ 5 0 5 . 8 2 0 . 9 2 6 6 ◆ j o s e @ c a s a n a v a r r o g a l l e r y. c o m

Back to the Future

During a phone conversation one afternoon this past July, my father once again asked what had by now become a familiar refrain during our weekly calls: “You get any rain?” My answer was the same as it had been all summer: no, not yet. In spite of skies that darkened almost daily, the weather pattern governing our corner of the Rocky Mountain Southwest seemed permanently stalled inside the donut hole of the 2016 monsoon. “Don’t worry,” my father assured me. “I’ve been here 53 years and this is nothing new. The desert is resilient.” The monsoon finally did hit us mid-August, bringing with it the usual sturm und drang as well as the cooler temperatures that almost always signal late summer’s gearing down into early fall. Some people dread the end of warm weather, but I think it would be disorienting to live in a state of perpetual summertime. I love our four distinct seasons, and the fact that the singular traditions that govern life in the Land of Enchantment are so closely aligned with these quarterly shifts. My father was right: at the heart of resiliency is the acknowledgement that for everything there truly is a season. As it turns out, that idea ended up informing most of the stories in this issue, in particular those that explore the ways in which our state’s Native peoples honor their traditions at the same time they define new pathways for their future. While their history is certainly laden with stories of encroachment, relocation, and near-genocide, it is also rich with instances of incredible resilience and rebirth. We discovered that forces for change are gathering both on and off the rez. Zane Fischer’s article on Joseph Kunkel (page 41) profiles a dynamic young architect determined to buck the status quo when creating and sustaining community on tribal lands, while on page 52 Nancy Zimmerman turns our attention to the artistic legacy of the Namingha family, whose members draw both from the deep well of their ancestry and from the broader cultural landscape of the 21st century. And on page 94, Sharon Niederman profiles an Albuquerque chef who weaves the millenniaold staples of the Pueblo diet—corn, beans, and squash—into exciting new culinary traditions. Other stories in this issue touch on similar themes, whether showcasing whimsical mosaic artistry, parsing the meaning behind a series of abstract sculptures, or raising questions about what, if anything, makes a sacred space. Taken together, the stories and images that make up this issue present a compact statement about the importance of exploring and redefining one’s place in the cultural landscape. That’s something we at Trend do on a continual basis as well. As a quarterly, we too have to go with the seasonal flow as we probe the zeitgeist. But while our content is continually evolving, our mission remains the same: to champion the art of living well, against all odds. Rena Distasio Editor


TREND Fall 2016


from the editor


Charlotte Foust, All That Jazz, 2016, acrylic on paper, 46 × 34 inches

New Work

Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111

ashley m . biggers

robert reck

sharon niederman

kate russell

douglas merriam

zane fischer

Ashley M. Biggers is an Albuquerque native who has penned stories for Outside Online, New Mexico Magazine, Southwest Art, and Dorado magazine, among others. She has authored several editions of the New Mexico True Adventure Guide and is the local editor of Guest Life New Mexico and Guest Life El Paso. She is currently at work on Eco-Travel New Mexico, due out from University of New Mexico Press in 2017. 5 Niederman is the author of 20 books on New Mexico history, Sharon travel, and cuisine, and is the restaurant reviewer for the Albuquerque Journal. She is the recipient of the prestigious Lowell Thomas Travel Writing Award and was twice honored with the Border Regional Library Association’s Southwest Book Award. Her most recent book is The New Mexico Farm Table Cookbook, recipient of a 2016 first place prize from the National Federation of Press Women.

Kate Russell is a nationally recognized photographer based in Santa Fe, known for her ability to create evocative images and elevate simplicity to an art form. Her work is seen in The New York Times, Western Interiors, and Santa Fean, among others. Her book work includes The Restaurant Martín Cookbook: Sophisticated Home Cooking From the Celebrated Santa Fe Restaurant by Martín 6 with Bill and Cheryl Jamison. Rios

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Robert Reck’s work is distinguished by a masterful use of light, strong composition, and a passion for the designs found in nature and the built environment. He holds a master’s degree in art from the University of New Mexico, where he studied with such prominent artists and historians as Thomas F. Barrow, Van Deren Coke, Betty Hahn, Rod Lazorik, and Beaumont Newhall. Reck was a staff photographer for Architectural Digest Magazine and has contributed to dozens of publications globally. He was the lead photographer for Santa Fe Style, published by Rizzoli International. Douglas Merriam is a travel, food, and lifestyle photographer who has a lot of fun on his assignments, no matter what he’s shooting or for whom. He has an affinity for green chile, lobsters, blueberries, and piñon, and loves cooking with his wife, Shannon, and daughter, Sage. He splits his time between Santa Fe, and Portland, Maine. Zane Fischer is a recovering writer who is whiling away his time teaching robots to build houses at his digital fabrication start-up, Extraordinary Structures. When he pretends to have free time, he serves on the board of trustees for Santa Fe Art Institute, the board of directors for MAKE Santa Fe, and is a co-coordinator of MIX. R





ollage artists are like magicians, masters of illusion who transform the mundane into the mesmerizing. In their worlds, unremarkable chia seeds form Lilliputian towers and moth wings bedeck hidden garden fairies. Fantasía Fantástica: Imaginative Spaces and Other-Worldly Collage, on view at the National Hispanic Cultural Center (NHCC) in Albuquerque from October 14 through Spring 2017, showcases the work of four collage artists who explore not only the transformative power of the everyday but also the traditional definitions of Hispanic art. Jadira Gurulé, contract curator for the show, points out that despite representing a diversity of experiences and subject matter, Latino artists are often pigeonholed. “This exhibition is important not only because the artists present skillful and alternative mus-


TREND Fall 2016

ings on form, texture, space, science, mythology, history, and fantasy,” Gurulé says, “but also because they are all artists who help broaden the understanding of New Mexican, Hispanic, and Latino/Latina art and subject matter.” The show’s artists, Nick Abdalla, Cynthia Cook, Carlos Quinto Kemm, and Rachel Muldez, all hail from New Mexico, though Muldez now resides in Dallas. While not all identify as collage artists, Gurulé has united them under this umbrella because of their affinity for found objects and ephemera. “They take things that very much had a life of their own before and give them a Nick Abdalla’s Amapola Sagrada (2005), mixed media, including wood, bentwood furniture parts, cardboard, basketry, cloth, and pottery shards, is one of 70 objects on view in the exhibition, which runs now through Spring 2017 at the National Hispanic Cultural Center in Albuquerque.

new feel,” she says. “Recycled artwork is certainly something that’s trending right now. It makes us think differently about the mundane.” Gurulé also notes that these four artists are in tune with the past, galvanizing tradition to inspire thought. “Many of the artists in this exhibition have had lengthy and successful careers, so it isn’t so much that what they are doing is new but rather that it continues to be a relevant and important part of the ever-evolving climate of New Mexican, Hispanic, and Latina/Latino arts. In this sense, we should be wary of creating a dichotomy between past and present and instead understand that these artists deserve to be appreciated in all of their diverse expression all of the time.” Abdalla’s work epitomizes upcycling, as he gathers rattan furniture, wooden beads, cardboard, and even the occasional bamboo


Other Worldly

backscratcher to construct extraordinary swirling sculptures and forms that defy naming. The former University of New Mexico art professor seems to embrace this mystery and, according to Gurulé, shies away from defining his work, which can be found among the permanent collections of the New Mexico State Capitol, the Albuquerque Museum, and the NHCC. As Pablo Picasso and Georges Braque did in the early 20th century when they elevated collage to fine art, Cook and Quinto Kemm craft altered spaces via photomontage. Cook creates luminous self-portraits and scenes set in punched-metal frames made from repurposed aluminum soda cans and cookie tins that hark back to Spanish Colonial tinwork—she’s won Best of Show twice at Contemporary Hispanic Market. Quinto, for his dimensional painted collages, begins with a photo of a figure or figures, often from Renaissance art, then adds and changes body parts, creating figures his Cubist predecessors would recognize. The former member of the prestigious Roswell Artist-in-Residence program paints both figure and landscape, fashioning a mystical world describing humanity’s inner search for spirituality. Muldez, a recent recipient of a master’s degree in fine art from the University of Dallas, collects nature’s detritus—leaves, rocks, seedpods, and nests, to name a few—then rearranges them to form new constructs. Often her touch is so delicate that it’s impossible to tell where Mother Earth left off and the artist began. Visitors can see how the artists create these other worlds when Muldez installs one of her floor pieces at the reception, to be held October 14 from 6 to 8 p.m. Attendees may also join a studio tour of Abdalla’s workspace in October, a gallery tour with Quinto Kemm in February, and respective ¡HAH! Happy Arte Hour events with Cook, Abdalla, and Muldez in November, February, and March. —Ashley M. Biggers 35

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Independence Fest

Susan Stamm Evans Quietude Series Bronze

on steel base



For a list of this year’s screenings and events: 1 505 992 8877

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TREND Fall 2016



t began as a festival on the fringe, a way for four local independent filmmakers to spotlight the unsung zerobudget movies being made by their contemporaries. Today, the Santa Fe Independent Film Festival is one of the biggest of its kind in New Mexico, whose growing buzz about its dynamic programming is reflected in attendance numbers that topped 10,000 in 2015. “This is something that was homegrown by people who grew up here, who have real ties to the community,” says executive director Jacques Paisner who, along with his sister Liesette Paisner and Gary Farmer and Dave Moore, founded the festival in 2009. “Because of those Gena Rowlands the year she won the lifetime achievement strong roots, it has become something award. Bottom: Patricia and Wes Studi at a fundraiser. substantial on a national and international scale.” Running for five days in mid-October of each year, the festival bridges the gap between the end of Santa Fe’s summer tourism season and the onslaught of skiers in winter. “Downtown really lights up because of it,” Paisner says. “We have films showing in five theaters, and there’s a party every night.” Highlights from past years include a live one-man show by John Waters, and lifetime achievement awards given to George R.R. Martin, Shirley MacLaine, and Gena Rowlands. This year’s award will go to director Jay Roach (Trumbo), and the festival will once again include its popular series of receptions and filmmakers’ brunches headlined by top industry players. In spite of its growth, the festival remains true to its original mission: to feature juried and nonjuried screenings of independent feature-length and short narrative fiction and documentary films from around the world. “Not only do our attendees get to see films that won’t be released to general audiences for another 12 to 18 months, many of our films opened at the New York Film Festival the week before,” Paisner says. “That really speaks to the quality of our programming.” One film on the festival’s calendar for this year is Amber Sealey’s No Light and No Land Anywhere, which premiered at the Los Angeles Film Festival in June. “Amber grew up here in Santa Fe before moving to California,” Paisner says, “so we’re excited to be the homecoming for a local who made it big.” —Rena Distasio

The Academy for the Love of Learning is taking the lid off learning, working outside the four walls of our schools to reconnect people, young and old, with their innate wonder and enthusiasm for discovering who we are in the deepest sense, who we are when we come together in relationship, and the impact of the structures and systems we live within.

What might it look like if the community were the classroom? Academy for the Love of Learning founder and president Aaron Stern calls this “school outside of school,” a network of learning relationships fueled not by grades or tests, but by individual interests and talents, and by the innately human desire to teach and learn.

• Institute for Teaching • Institute For Living Story • Foundational Studies and Practices • Research and Resources

Visit us at to find out more Photos © Don J. Usner


art matters BY ASHLEY M. BIGGERS

Creative License

Santa Fe’s museums hold a treasure trove of inspiration for modern-day designers


hen flipping through a West Elm or Wolf-Gordon home decor catalogue, few people might realize that a rug pattern began with a basket housed at the Museum of Indian Arts and Culture, or that an embossed wallpaper design was inspired by a Zulu beaded apron from the Museum of International Folk Art collection. But these items and more are just a few of the creations whose designs travel from vault to market through the Museum of New Mexico Foundation’s licensing program. Nearly a decade ago, Pamela Kelly, a fourth-generation Santa Fean who previously worked in retail operations, franchising, and product development for brands such as The Body Shop, Smith &


TREND Fall 2016

Upholstery manufacturer Designtex took inspiration from a c. 1900 Macedonian coat from the textile collection at the Museum of International Folk Art.


Hawken, Banana Republic, and Williams-Sonoma, saw great opportunity in the museum’s collections. She approached the Museum of New Mexico Foundation, the fundraising arm serving the aforementioned museums along with the New Mexico Museum of Art and the New Mexico History Museum, about unlocking the troves for designers—thus creating a revenue stream for the foundation. The licensing program was launched in 1998 and Kelly became its director. The program generates funds through royalties, which contribute up to 8 percent of the foundation’s operating budget. In turn, the foundation, which also generates income from museum shops, contributes $2 million annually to exhibition development and educational programming. Through the MNMF, designers can access large collections of Southwest Native American materials such as pottery and basketry, and a major collection of European and Spanish furniture and accessories. It also boasts the world’s largest collection of international folk art and a world-renowned ethnographic textile and dress collection of more than 26,000 items. “Everything in the archives is very modern in terms of design,” says Kimberle Frost, a New York–based designer who accessed the MNMF’s clothing archives for a home textile line she created for 39

art matters

Designtex. “It’s amazing something so old could be so new and so present.” The resources are hardly Southwest-specific. Rather, they represent Santa Fe and New Mexico’s longstanding identities as crossroads of culture. “Part of the design aesthetic that exists here is really a result of all of these layers of European design coming here and being reinterpreted,” Kelly says. Reinterpretation remains vital, since the program doesn’t allow direct reproduction. In fact, in the hands of the designers, inspiration points are sometimes difficult to trace. They pick up on the stripe of a coat here or the weave of embroidery there to create fabrics for Kravet Fabrics or Valdese Weavers, furniture for Hickory Chair, or rugs for Jaipur, to name a few. As trends tack toward authenticity, manufacturers seem drawn to handcrafted items. “Everything’s about the maker now, and the touch of the artist’s hand,” Kelly says. “If we can talk about a reference point, it seems to give validity to the product,” says Laura Levinson, chief creative officer of North Carolina–based Valdese Weavers. The creative studio and textile manufacturer works with clients to license elements and is now also creating its own 20-pattern collection. “All of them have a handmade quality, even though they are mass produced. When starting with a handmade inspiration, it yields better results.” Although designers could easily access ethnographic textiles and pottery images online, Frost attests that seeing each item personally and understanding the backstory is an unmatched experience—and a deep source of inspiration. The program’s licensing process was devised to educate both designers and consumers. After Kelly connects with design firms via trade shows or cold-calls, the firms send a representative to tour the full archives. Kelly pulls samples that match the firm or designer’s particular goals. They agree upon a selection of items, usually 15 to 25, from which to draw inspiration, then sign a contract. Once Kelly has prospective designs back in hand, she reviews them with a relevant museum curator and, in the case of the Museum of Indian Arts and Culture, the Indian Advisory Panel (IAP), to ensure sacred symbols and cultural motifs aren’t used. For example, the IAP asked New Mexico– based Nambé to revise a glassware vessel that had included a sacred symbol. The designers appreciate the review process, which ensures they are not misappropriating cultural motifs. Although the foundation works closely with its partner manufacturers, it doesn’t scour the marketplace to police designs. To complete the process, Kelly helps to name the items and provide educational information about the sources. “We’re unyielding in our requirements to create context,” she says, flipping through a swatch book in which end products are labeled with a tag describing the inspiration item’s culture, place, and time period—as well as a note that this inventiveness came from the museums of New Mexico. R

40 TREND Fall 2016


Valdese Weavers, a design studio and furniture textile manufacturer located in the Blue Ridge Mountains of North Carolina, adapted a design detail from an ancestral Pueblo pot (ca. 1000–1200 AD) into this fabric.

conscious building BY ZANE FISCHER



A Native architect upends urban planning and architectural design on tribal lands


nvironmental psychologists say that our physical homes are one of the key ways in which we define ourselves, in which we project and understand our sense of self. This is why cookie-cutter suburban homes are so easily lampooned as emblems of banal sameness, of the failed promise of individuality insinuated by the American dream. If your house is just like the house next door, do you even matter?

But what if you don’t have the luxury of this kind of domestic anxiety? What if federal monies provide your housing and the most efficient use of that funding has been to plop easily replicable if characterless blocks into rigid grids and hand over the keys with the expectation that you’ll be grateful? What if you had no choice but to have your house be the clapboard equivalent of government cheese? For decades, critics of the housing provid-

ed to Native Americans through the Department of Housing and Urban Development have railed against government structures perceived to be of low quality and symbolic of a soulless sameness so thorough as to seem sinister. But all of that is changing, and an unassuming 31-year-old named Joseph Kunkel is leading the charge. A few factors are at work in transforming the way housing projects manifest for Native people across the United States,



TREND Fall 2016

Kunkel is Northern Cheyenne, but he grew up largely removed from the buttes, forests, and grasslands that define his tribe, the physical land that represents the traditional spiritual sensibilities of the people. Instead, Kunkel was raised in Point Pleasant, New Jersey. “It was a little white utopia,” he says, “a classic vacation shore town in New Jersey.” He was the kid with different hair, eyes, and skin. But he got along well enough, and regular visits to southeastern Montana kept him keyed to his roots. His dual homes instilled in him a keen sense of place and an awareness of the impact of design and structure on communities. He was inspired by a powerhouse of a grandfather, who told him that if not for his calling to become a priest, he’d have gone into architecture. Kunkel pursued a graduate degree in the field with an emphasis on urban design and development. His thesis focused on providing affordable housing for the Northern Cheyenne, with a twist.


according to Kunkel, executive director of the Sustainable Native Communities Collaborative (SNCC). Tribes are more proactive and engaged in developing opportunities. Government bureaucrats no longer fit the mold of faceless and frustrating obstructionists—HUD is trying to be a better partner. And SNCC is spearheading initiatives to empower participants in the planning and design process. “It’s not that government entities and agencies wanted to do bad—they have been earnest in their work to provide housing–– but what has been designed and built has inevitably contributed to a kind of degradation of culture,” Kunkel says. Extrapolating from how rooted we are as individuals in the way in which our homes represent us, it’s easy to imagine how generic housing has not only failed to represent the distinct nature of Native American tribes but has actively obstructed cultural continuity. Design—or its absence—can be a weapon, if only by accident.

conscious building


Kunkel’s affordable housing wouldn’t be standardized stock, but would emphasize sustainability and, even more important, culturally appropriate design. “This means you’re thinking about place, about the factors that have influenced the

people who inhabit that place and how their practices, preferences, and needs can be honored and enabled through design,” Kunkel says. Considering a sense of place is, academically, standard practice in architecture, but it happens less often than it

One of several community meetings held to discuss the Santo Domingo housing project. Opposite: Joseph Kunkel. Top: Site of the proposed Santo Domingo housing project. Previous page: A rendering of the Northern Cheyenne Housing Development project.

should and, until recently, it rarely trickles down to affordable housing. Kunkel’s graduate work had landed him in the middle of an important and burgeoning movement. Architect Jamie Blosser was a part of that movement as well. As founder of SNCC in 2009, she had achieved success with culturally appropriate affordable housing in the Tsigo Bugeh Village, a project with the Ohkay Owingeh Housing Authority in New Mexico. Working with Enterprise Community Partners, a foundation dedicated to finding housing solutions and building vibrancy in communities, SNCC went on to set an ambitious goal of bringing new opportunities to all the sovereign nations working to retain identity and improve options for housing and the next generation. “I founded SNCC because I saw a real need for public interest design in Native American communities based on deep community engagement,” says Blosser, now executive director at the Santa Fe Art Institute. “Each community’s values and beliefs can and should be incorporated into the design and planning of their built environment.” Recruiting Kunkel to work with SNCC was an obvious choice for Blosser. His background, thesis work, dedication to the wellbeing of Native communities, and attention to detail made him the perfect candidate to carry the project forward. He has served as the organization’s executive director since 2015 . Kunkel’s determination to do work that has an impact on the larger Native population has found focus through SNCC’s advocacy and action. The group has worked on several notable projects around the country and developed a communityoriented design process that engages a broad range of stakeholders in manifesting their future housing. “We bring a set of design skills and the design thinking skills, but the idea is to let the community be the architect and create the vision,” Kunkel says. In the Pacific Northwest, the Puyallup tribe created The Place of Hidden Waters, a project in which the housing mimics and is influenced by the traditional longhouse, the community


conscious building

vices like advocacy, technical assistance, grant writing, and training. We also help tell the stories of amazing things that tribes are doing in developing green and healthy homes and building beautiful projects that also protect their traditional way of life,” Blosser says. The next step is to tie new opportunities for empowered housing development to transportation and economic development. And that’s exactly what’s happening with SNCC’s current work at Santo Domingo Pueblo. Anyone who has ever ridden the Rail Runner Express commuter train that runs between Santa Fe and Albuquerque will have stopped at Santo Domingo and, in what amounts to a terse Indian Country joke, watched tumbleweeds roll by and wondered why the train stops in this bro-

ken-down dust bowl. Now, with assistance from SNCC, ground has been broken for 41 units of housing clustered with a community center, daycare facilities, computer labs, athletic amenities, and a mixed-use social space. The design will be something the tribe is proud of, but Kunkel also sees it anchoring the upcoming Santo Domingo Heritage Arts Trail and, with luck, a new era of opportunity for the pueblo. “They are working with landscape architects on a safe pedestrian path that will connect the housing and a new tribal artists market with the train stop,” Kunkel says. Now people have access to the train to work at jobs in Santa Fe and Albuquerque while living on their tribal lands, and at the same time the train can deliver tourists who are interested in purchasing work from Santo Domingo artists and craftspeople.

A few of SNCC’s site strategies and housing prototypes for the Make It Right Foundation and their Sustainable Village Project for the Fort Peck Tribes (Sioux and Assiniboine). Designed with community input to be culturally appropriate, sustainable, and healthy, the homes are well insulated, incorporating both straw bale and structural insulated panels as well as solar panels. 44

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gathering place for ceremonies. “It isn’t copied directly,” Kunkel says, “rather it’s influenced by the function of the longhouse and it feels right for the people.” The sense of ownership and pride in a community asset that is oriented to place is palpable, he explains. HUD homes historically have not achieved this, and the effect has been detrimental. “Not only do the people have no pride in something that feels foreign and forced, but the homes have been viewed negatively from the outside and resulted in a kind of snowball effect.” SNCC combines design skills and community process with assistance and resources for navigating HUD funding, and the result is a powerful shift toward better housing and more positive perception. “SNCC is able to augment architecture services with other pre-development ser-


There is only so much one can learn in a standard lecture-style meeting, so Kunkel and his team also held a “heritage walk” as a way to engage the community and showcase the proposed Santo Domingo project firsthand. Kunkel led the mobile gathering, answering questions as he and the community members walked the length of the proposed site.

“But the economic potential doesn’t stop with trading posts or markets,” Kunkel continues. “The new infrastructure can be the starting point for light industry, community assets that power a range of entrepreneurialism.” This more holistic approach to housing––seeing it as an integral component in a whole ecosystem of resources and systems that work together to create health, sustainability, and success––is the future, says Kunkel, and that big-picture approach is one of the core values that SNCC brings to its projects. “Whether you like it or not, this country is set up for home ownership to be the basis for wealth,” he says. “Building affordable housing in Indian Country is insanely complicated, but if we can help

more tribes invest in their own housing, maybe even be their own mortgage providers, we start to see more and more wealth staying in those communities and more and more opportunities for diversified income streams.” After all, financial sustainability is as critical to communities as environmental sustainability. People outside of the Native communities have noticed the work SNCC is doing, and their principles and practices are proving to be valuable across a range of design challenges. Kunkel and his team at SNCC have provided architecture for individual residences and are able to apply their community-based planning skills to any city or community in need of master planning or improved community engagement and a smarter design process.

“We’re enthusiastic about bringing the process we’ve developed in working with tribes to a broader private and municipal audience,”  Kunkel says. He plans to leverage more design work regionally and nationally as a way to inspire, train, and empower new generations of Native American architects. It’s a brilliant vision: Native American communities, historically at the receiving end of the nadir of American architecture and planning, invent a people-powered design process that uses a holistic understanding of culture, infrastructure, and economics to transform the built environment into an ally rather than an enemy. And then they come back to save the rest of us. You couldn’t design a better outcome. R


artist profile


Metal as Metaphor Paula Castillo digs deep into material history, giving shape to our human predicaments


hat if we raised our children not to surrender so easily to the laws of physics? Freed them, that is, to dream like the builders of pyramids, Stonehenge, Easter Island, and Machu Picchu, where the only thing standing in the way of a vision was a series of engineering problems? That’s the kind of environment that might account for the paradox of a sculptor like Paula Castillo: small woman, big ideas, and heavy metal objects that seem as permeable as air. “At the dinner table, he would do this game with us,” Castillo says of her father, an engineer who came from a line of workshop tinkerers. He would ask his children to imagine something interesting to create, and then everyone would contribute ideas on how to bring it about. He did not discriminate among the family’s three girls and two boys, so everyone was invited to answer the question and ultimately fulfill the destiny of Man the Builder. The sons went into engineering, and Paula, through a kind of osmosis, became an acclaimed metal sculptor without ever consciously planning to make art. She had always loved making things, but did not connect that to the art world, having been raised in the agricultural community of Belen, with a New Mexican father and Lebanese-American mother who trafficked in the practical. She assumed she would become a teacher. Naturally bright and ambitious, Castillo got into Yale, but ended up dropping out to work in a nearby factory that manufactured parts for electrical wiring. It was this experience, more than college, that awakened her interest in art. Yale had seemed like an adventure, a way to get out of town, but she was not really prepared for the academic intensity. At the factory, she recalls, “There was a huge Polish immigrant population of mostly women; I rode the bus with them in the morning. It was wonderful, because my work is a lot about displacement—both humans and the environment—but also the pragmatics of being able to work on machines, and revisiting the game at the dinner table.” Eventually she finished her undergraduate degree at the University of New Mexico and took a teaching job in the small community of Córdova, south of Truchas, renting a room from the widow and former shopkeeper Josefita Córdova. Three decades later, Castillo and husband Terry Mulert, an artist and poet, remain in the community. They eventually bought the former general store that now serves as their home and gallery and they maintain workshops and studios next door. Castillo had been warned before moving there that the old Spanish villages south of Taos were rife with crime, unemployment, and drugs. But what she and Mulert found instead was a community of artists and intellectuals who would gather for poetry readings and salon-style conversation: the late painter-poet Álvaro Cardona-Hine and his


wife, poet Barbara McCauley, in Truchas, and another painter-writer couple, Pierre Delattre (San Francisco’s “Beatnik priest”) and Nancy Ortenstone, in Dixon. “We developed this beautiful mentoring relationship that was amazing,” Castillo says. It was during this time, in the early 1990s before their son arrived, that Castillo revisited her childhood habit of collecting scrap, putting it together in ways that appealed to her conceptually. By her own account, she found an audience for the resulting artworks fairly quickly. By 1998 she was showing at William Siegal Gallery (then on Canyon Road) and winning public commissions, which now account for more than half her working time. She is best known for these public pieces, like the ones commissioned for the New Mexico History Museum when it opened in 2009: a set of mountain benches, two steel trees that climb up a wall to the roofline, and a colcha-style Rio Grande snaking along an exterior wall. The public work is not really representative of where she started, however, since it evolves through the exacting requirements of narrative proposals and technical drafting. The work for which Castillo gained notice is abstract pieces assembled mostly by intuition, using discarded materials from industrial fabrication—the byproducts of punch presses, lathes, and drill presses—which she welds 48

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and wires together in appealing patterns. Immediately accessible for their graceful beauty, the studio work carries such opaque titles as I drifted on through tangled lines and I can only count things, which have been known to frustrate viewers with their poetic impenetrability. Born of her lifelong inclination to collect, handle, and think about materials, Castillo’s studio pieces emerge from a hands-on tinkering with her thoughts about the unseen connections between things, from the objects’ physical characteristics to their social history. Animating the process is her deep fascination with critical theory, which carries her from the tactile and visual experience of the maker to the conceptual associations of the contemporary theorist who pulls things apart to reconfigure them in new ways. The series called The Forest offers a good example. These pieces, arranged in different groupings, consist of ripped, discarded galvanized steel culverts that Castillo collected from roads in the Santa Fe National Forest. Using the culverts as a mold, she welded together small metal discs left over from a punch press in an echo of their shape and then arranged the refabricated culverts in a way that suggests vegetable peels, or shed skin, or road-kill snakes—something once alive and then abandoned. >


artist profile

Tiny Spears and Teeth (2015), individually welded hand-twisted wire Top: A few of Castillo’s materials and a draft drawing for Hidden Lake Opposite: Tethered (2012), individually welded lock washers and hand-twisted wire Previous page: Castillo in her studio 49

artist profile

Edge of the Woods (2015), steel

Flower in Flower (2015), hand-cut, hand-formed steel

The Forest (2012), individually welded steel byproduct


She calls the piece a palimpsest, a manuscript page that has been erased and written over, a metaphorical figure for unrelated texts that interrupt and compete with each other. These culverts, she says, have an interesting history: some were part of WPA road building projects, and for years allowed people in the area to move safely through some of the state’s remotest areas. “They tell the story of a community as witness, if anyone wants to go that far,” she says. And then there’s the discarded punch-press discs, salvaged from a fabricator who worked on a majority of the casinos built on Native lands throughout the Southwest. “So it is a narrative—for me anyway.” The piece thus brings together one of Castillo’s enduring themes: “the confluence of global forces in our local environment,” as she describes it, and the fact that our interactions are interwoven with influences persisting from “other times, other spaces, and other agents.” Built of solid metal and yet appearing transparent, the 23 weblike pieces of The Forest capture what is perhaps the most recognizable element in Castillo’s work: a seemingly effortless union of opposites. The scrap metal, a product of human industry, communicates strength and permanence, yet Castillo makes of it something mutable and flowing, beautiful and ephemeral, even leaving metal pieces to rust and patinate, subjected like organic matter to the corrosive effects of nature. What began as minerals in the earth was subsequently transformed by the hopefulness of human intention and ended up as capitalist waste, leading Castillo through a maze of concepts that has branched out for more than two decades—what she calls “the visual manifestation of ideas.” These concern dislocation, our alienation from nature, the dissolving of boundaries between the known and the real, all of which lend her work a metaphoricity that appeals even to those who are simply drawn to its beauty. Confronted with the undeniable aesthetic appeal of her work, Castillo squirms even as she acknowledges the importance of admirers who respond to her sculptures intuitively. “I really don’t believe in originality,” she begins, “but the way we put things together is a form of translation. The way I almost ‘collage’ things—for me it’s unique, so that is one piece of the originality.” Her aesthetic sensibility, however, “comes from all kinds of things, and comes through me. It feels authentic, but I don’t know if it’s a concern for me.” The artist does not make it easy to understand her intentions, and she readily admits, “Sometimes I care if it comes across, and sometimes I don’t.” According to her artist statement, “My work annexes minimalist forms and schemes and reinscribes them with a quietly schizophrenic division between the hyper-organized desire to dissolve into the world . . . and the need to buttress margins . . . Ultimately the final goal for all of my artwork really is to expose our real, dense, and buried attachments to the ‘other.’” In 2010, when she was already well established as an artist, Castillo went back to UNM for an MFA, not to shore up her resume but “because I needed something to recharge me, and I needed community.” She gained valuable experience with AutoCAD software

and collaborated with landscape architects, but mostly Castillo used the time to thoroughly indulge her desire to read artistic, political, and social theory. Her pieces from this period, short films and critical interventions as well as sculptural installations, offer a window into her overriding concerns. Agnus Dei is a poignant but harrowing five-minute film of a sheep slaughter, starting with wildlife scampering in a winter wonderland and narrowing to the sawing apart of a piece of meat, set to Bach’s choral Mass in B Minor (Agnus Dei). In her project Letters to Dead Trees, Castillo posted signs on utility poles in the Carson National Forest that asked such sad questions as, “I know you were a tree, but who am I?” and “I wonder how long you have been here. Do you remember your forest?” These pieces, which communicate urgent concerns about the human place in the world, divinity, and our animal origins, also communicate a mood of forgiveness and grace that helps translate the narrative “I” of many of Castillo’s sculpture titles from obscurantism to emotional confession. She does care if it comes across. With her postmodern eyes wide open, the artist knows she cannot hide behind the formalism of abstract sculpture, peeping out to offer only the lowercase “I” of her titles. One is bound to ask how she positions herself as a female Hispanic sculptor who is not working in any style that would be accepted at Spanish Market (or, at least, not yet). “Style is one of those surface things that’s not about anything but commodifying things,” she responds dismissively—while allowing that some artists might feel compelled, for financial reasons, to work in a framework “they feel is the only access point for engaging in community. “For me, doing any kind of self-identification like that seems anachronistic,” she adds. “What kind of art would a Hispana woman be doing?” Yet she admits to a certain discomfort with the possibility of tokenism. “I do have some feelings that I was able to get into a gallery because I was a female Hispanic artist who was doing something different.” Reviewers often comment on the petite Latina sculptor and her brute creations, but the paradox Castillo poses goes beyond mere demographics. Rather than represent an idea or position, Castillo places herself within the flow of human evolution, as medium rather than message. “It’s the museum-ification of culture, putting a Plexiglas box around something,” she says of orienting her work to a particular tradition. “My response is that we’re still here, and still reframing around all these vertices.” Approachable as she is, down to earth and forthcoming, Paula Castillo is also in some palpable way not entirely one among us. The mysterious way she transmutes metal scraps into cultlike objects embodies the artist as alchemist, the magician who mediates between physical objects and unseen forces. Her incantations begin with the “I” but always point outward, elsewhere, from the ground from which we sprang to our animal embodiment to the possibility of grace and transcendence. R




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The Namingha family of artists blends ancient ways with a modern worldview


BY NANCY ZIMMERMAN | PORTRAITS BY KATE RUSSELL magine a world without time, where past, present, and future merge seamlessly to form a never-ending circle of life, its gentle rhythms guiding us, sustaining us. Such is the world of the Hopi, descendants of the ancient Sikyatki people whose artistic achievements rival the finest from any culture, anywhere. Their designs were so sophisticated that they don’t look out of place today in a contemporary gallery or museum, despite having been created with rudimentary tools and materials. Ask a Hopi how it is that this ages-old artistry manages to be simultaneously historic and current, and you’ll probably get a patient smile in response. To Western civilization, obsessed as it is with measuring, saving, and spending time, it seems impossible that the intricate, abstract Hopi designs could have been created in a prehistoric world that predated the modern impressionistic, cubist, and abstract art forms they often resemble. But to the Hopi people, who still occupy the lands of their ancestors in Arizona, there’s nothing surprising about it. “In our culture, we believe that the past is the future, the future is the past,” says Santa Fe–based Dan Namingha, an award-winning contemporary painter and sculptor. Namingha is part of an extraordinary family of artists who descend from Nampeyo (c.1860–1942), the Tewa-Hopi woman who single-handedly revived the distinctive pottery of the Sikyatki people and who is considered one of the finest artists of her time. Nampeyo’s talent lives on in her descendants, who have taken their art to new heights in a variety of mediums while honoring their creative heritage, one born of a cosmology that celebrates the connections among all things on the planet. Namingha was first exposed to design and color by his mother, Dextra Quotskuyva, Nampeyo’s great-granddaughter and a renowned potter who has continued to refine the unique designs of her forebears to create works of exceptional beauty. Now retired, she has received numerous awards throughout her life, among them the designation of Arizona Living Treasure in 1994, the Arizona State Museum’s Lifetime Achievement Award in 1998, and the Southwestern Association for Indian Arts (SWAIA) Lifetime Achievement Award in 2004. Namingha was also influenced by his grandmother, Rachel, who was a talented potter, and his



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Academy of Art in Chicago. Among his numerous awards are an honorary doctorate from IAIA granted in 2009 as well as that organization’s Visionary Award, conferred in 1997. He received New Mexico’s Governor’s Award for Excellence in the Arts in 1995 and was honored by the Santa Fe Rotary Foundation as Distinguished Artist of the Year, also in 1995. In 1994 he received a special tribute from the Harvard Foundation and Harvard’s Fogg Art Museum, and he has been the subject of two PBS documentary films and a segment of CBS’s Sunday Morning with Charles Kuralt. Thomas Hoving, the former director of New York City’s Metropolitan Museum of Art, was a devoted fan of Namingha’s work and published a book, The Art of Dan Namingha, in 2000. In many of Namingha’s paintings he takes a minimalist approach to his subject matter, distilling the physical features of the landscape down to their essence and breathing life into the lines and curves, creating shapes reminiscent of the abstracted symbols found in Hopi pottery. “I make a landscape that’s very realistic,” he says. “I then break it down into an impression, then break it down further into an abstract form, then even further into something completely minimal. I’m trying to get to the core of the form of the landscape, and then everything else fits in. It’s like a haiku—it still sustains itself and has a sense of power and strength even though it’s very minimal.” But it’s not all abstraction and minimalism. “I did a painting recently that’s based on butterflies,” he says, “with one side of it butterflies, the other half symbols. In the center are four figures that


grandfather, Emerson, a farmer, rancher, carpenter, stonemason, and composer of songs for Hopi ceremonies. He was raised primarily by Rachel and Emerson during his early life while Dextra, a trained nurse, left Hopi to work at the hospital in Winslow, Arizona. “I recall my grandmother giving me some of her clay to play with,” he says. “I must have been about six. Instead of doing ceramics I ended up making sculptural figures like horses and cows and chickens. I was intrigued with color. My grandfather would take me to his kiva in Middle Village and I’d watch the katsina ceremonies. It made a strong visual impression on me.” To this day he creates sculptures, working in bronze and steel rather than the clay of his early boyhood. His introduction to painting came while he was attending elementary school in the village of Polacca on the Hopi reservation. His teacher, Lillian Russell, was a painter herself, and she provided the kids with watercolors, oil paints, charcoal, and casein in powder form, and set up a studio at the school for the kids who had an interest in art. “She would reserve an hour for all the kids to come in early and have a session with the materials. She basically instructed us in how to use them, but then left it to us to experiment with them as we pleased. That was my motivation to get up extra early, just to get to school and fiddle around with the materials.” Since those early days, Namingha has remained true to his influences while creating a body of work that’s astonishing in its breadth, subtlety, and seemingly effortless artistry. He first studied at the University of Kansas, then later at IAIA and the American


Dan Namingha’s Katsina (2016), mixed media on board, uses abstracted elements of traditional symbols. Opposite: Butterflies, spirals, and Hopi Cloud People are united to create a healing force in his Passage #43 (2016), acrylic on canvas. Previous page: Montage #24 (2016), acrylic on canvas.



TREND Fall 2016

their sacred places, back to the past and the future.” He explains that these connections have a profound influence on the culture. “There are different points throughout the Southwest that are important for the Hopi, points that connect us that we refer to as the Domain. They’re shrines that are not really visible to most people—they’re very low-key, which protects them. They’ve been there for centuries.” Namingha still speaks fondly of the teacher who first let him loose with art materials, and he emulated Russell’s laissez-faire approach while his own sons, Arlo, 43, and Michael, 38, were growing up. “It was a fortunate introduction to the arts for us,” says Arlo, who was honored with the Mayor’s Award for Excellence in the Arts for 2016. “Our father’s studio was open to explore, but we were never told what to do or how to express ourselves. We were free to experiment and do things our own way.” Arlo’s work shares the minimal aesthetic of his father, but his materials of choice are wood, clay, stone, and bronze. “I prefer working with natural materials,” he says. “You create a relationship


are referred to in Hopi as the Cloud People. My mother once told me that butterflies were a form of healing, so I wanted to do something with that.” Namingha’s younger son, Michael, had shown him a photo of a Syrian butterfly that’s on the verge of extinction, so he incorporated it into the painting and surrounded it with other butterflies from Latin America all the way through to Alaska. “I put it there because of all that’s happening in the Middle East, and the exodus of families from Syria,” he explains. “Fixing that is a longterm process, so I used their butterfly to try to heal that place.” Namingha’s heart is never far from the ancient civilization whose life lessons and artistic expression inform his work. “In my paintings I often put a spiral in the center, which is referred to as a sipapu, the center of the world, a place of emergence based on our creation myth,” he says. “We came out of that place, that spiral, and then began our migration. And then it continues with another spiral, when we’ve reached our current home. “The two spirals are connected, the beginning and the current place,” he says, “by the frequent pilgrimages Hopis still make to


Namingha reduces the landscape to its essence in both Desert Mountain #6 (2014), acrylic on canvas, and Mountains and Arroyo (2016), oil on canvas (top). Opposite: Dan Namingha with Katsinum Montage (2016), acrylic on canvas (left) and Katsinum #3 (2006), acrylic on canvas (right).


with them—you have to accept their nature because you don’t always know what they’ll do. Mother Nature always wins, so that keeps me humble.” Ever ready to experiment, Arlo says he is constantly exploring new ideas, and he even re-engineers his tools to “make them do what I want them to do.” Many of his sculptures are interactive, with parts that can be detached, rearranged, and turned on their sides to form a variety of different sculptures, all from the same basic pieces. Simultaneously playful and profound, their reductive lines and curves reflect the ancient Hopi designs in what Arlo calls 58

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a “dialogue through form,” conveying an earthy sophistication that connects the natural world to a subtly cerebral worldview. “I address issues by playing on mythology and current events,” he says. “My work has become more and more minimal, but there’s always a hidden element of symbolism, a little glimpse of the culture.” The relationships and connections among the components of his sculptures speak not only to humanity’s relationship to the planet and each other but also to the infinite possibilities this relationship inspires, achieving a kind of universality that has worldwide appeal. It’s thus no surprise that his work, a uniquely American expression of creativity and inclusiveness, is especially popular among U.S. embassies, where it’s displayed in places as disparate as Switzerland, Uzbekistan, Cambodia, and the Central African Republic. His brother Michael’s conceptual work using digital inkjet images printed on canvas, paper, Plexiglas, and vinyl evinces a similar sensibility, but with an edgier, more urban vibe. “I work with text— sayings and words,” he says, and he particularly likes working with vinyl. “I was frustrated with problems of scale, but vinyl lets me shrink things or blow them up. I was looking for a way to do something unique.” When he studied at Parson’s School of Design in New York City, Michael first explored architecture and design, and he started out


Arlo Namingha’s Maiden (2008), bronze edition of four. Opposite: Arlo in his studio with works in progress (top). The components of Sikyatki (2016), Indian limestone, can be rearranged to form a variety of sculptures (bottom right). Cultural Images #21 (bottom left). 59



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Michael Namingha’s Grand Canyon (2016), digital C-print face-mounted to Plexiglas. Opposite: Michael with Useless Regrets (2016), adhesive-backed vinyl letters, a piece for an exhibition on Fred Harvey at the Santa Fe Community Gallery that uses one of the maxims Harvey used to attach to his calendar (top). Love (2015), archival pigment print on Hahnemühle paper (bottom).

by creating branding concepts that targeted consumers. “My work doesn’t relate so much to Hopi culture,” he says. “It reflects my own experience.” That experience includes having lived through the trauma of 9/11 during his time in New York, something he’s still coming to terms with, and his fascination with all aspects of pop culture. Although he now is back in Santa Fe, his hometown, he still makes frequent trips to New York for inspiration. “I love spending time there, going to the galleries, museums, and concerts and just wandering around the city. Then I come back to Santa Fe to process it all,” he says. During one recent trip to New York he stumbled across proof that his Hopi ancestors would have felt right at home in today’s contemporary art world. “I was at the Met one day and I saw Salvador Dalí’s Christ of St. John of the Cross next to a Nampeyo pot!”

The minimalism that characterizes the work of his father and brother is evident in Michael’s work as well, and its apparent simplicity belies the complexity of his social commentary, which manages to convey multiple ideas in very few words, sometimes in just a single word. The message is delivered so quietly that the viewer is inclined to linger a bit to ponder the work, letting the message sink in slowly. As different as his work is from the others, there’s an unmistakable quality to the art of all three that suggests that, in addition to an underlying Hopi aesthetic, there’s a Namingha aesthetic as well, one that persists through the generations. “My sons have their own vision of how they see things and how they want to project that,” says Namingha. “It’s built into our name, in fact. ‘Na-ming’ means ‘by itself,’ and ‘ha’ means ‘growing.’ It refers to a volunteer plant that grows without being nurtured. My sons spent time in



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Dan Namingha’s Hopi Eagle Dance (1996), acrylic on canvas. Opposite: Left to right, Michael, Frances, Dan, Arlo, and Nicole, with Michael’s dog, Camden, in the gallery. In the background is Dan’s Points Connecting (2015), acrylic on canvas.

my studio and fiddled around, just as I did as a kid. As a metaphor, they’ve grown on their own. This is why I think our work stands alone, each different from the other but at the same time complementing one another.” It all comes together at the gallery, Niman Fine Art, which Dan and his wife, Frances, established in Santa Fe in 1990. The gallery is run by Frances and Arlo’s wife, Nicole, both of whom hail from Ohkay Owingeh Pueblo and have a background in business. Their assiduous stewardship of the commercial side of the enterprise affords Dan, Arlo, and Michael an enviable freedom to concentrate

on their art, and the family’s closeness and obvious enjoyment of one another’s company makes this division of labor as much an expression of love as it is a practical allocation of individual talent. “The culture is our foundation,” Namingha concludes. “I tell my sons that beyond that you can do anything you want because you’re a part of this planet and a part of the family of humanity. Whatever you apply through your medium doesn’t necessarily have to be Native American, but it can be something that covers the planet and all its inhabitants because you are part of that family. We’re all connected.” R 63

Manifesting the Divine

Contemporary architects offer new takes on an ancient challenge


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hen architects tackle a project that requires them to create a sacred space, they must first address the question of just what qualifies a space as sacred. The answer is not exactly clear-cut, as different people assign different meanings to the term, and a space need not function as a place of worship to manifest qualities of the sacred. Nevertheless, most agree that, essentially, sacred spaces are those that connect with us at a soul level and invite us to contemplate the divine mystery of our existence. Beyond that basic notion, the interpretation and manifestation of the divine can take many forms, and architexcts have pondered how to capture that ineffable quality for centuries. “I hold a very broad and subjective definition of what a sacred space might be versus a more institutionalized and culturally coded version,” says architect Hadrian Predock, son of iconoclastic Albuquerque-based architect Antoine Predock and a partner in Predock Frane Architects in Venice, California. “For me, it’s more about a state of being, which might allow for things like a sense of existence, or the sublime, to be experienced without other external interference. This could potentially happen anywhere, but I do think there are certain kinds of spaces that establish or enhance these deeper sensations.” Predock and his partner, John Frane, brought these ideas to bear in 2003 when they designed the Center of Gravity Foundation Hall at the Bodhi Manda Zen Center, the Buddhist monastery located in Jemez Springs, New Mexico. “If the Center is sacred,” Predock says, “it’s because of the repeated practice of Zen ritual and the dedicated exploration of human existence. This is a highly ritualized space, which brings a very special presence to the architecture. I don’t think that architecture is inherently ‘sacred.’ As beautiful and powerful as it can appear, space itself is indifferent. We bring our own projections, constructs, and sensations to the spaces that we inhabit.” Among the constructs brought to this particular building were a connection to the land (as a child, New Mexico–born Predock spent his summers at camp in the Jemez Mountains) and an understanding of the sense of place inherent in traditional building materials. Predock and Frane’s design references elements of historic New Mexico architecture via massive earthen walls and a metal roof, but the effect is decidedly contemporary rather than traditional. In his book Earth Architecture (Princeton Architectural Press, 2008), architecture professor and author Ronald Rael notes that the architects also

interpreted aspects of Zen Buddhist building principles. “Here the use of contrasting natural and synthetic materials, passive and active environmental systems, and relationships between lightness and heaviness create an impressive space dedicated to the daily ritual of traditional Zen practice,” he writes. Predock and Frane incorporated New Mexico’s awe-inspiring light to further imbue the space with a sense of the divine. Pieces of plate glass were turned on edge and built into a series of sliding wood panels, which creates an almost magical glow each dawn when the sunlight pierces the glass. “By midday, ambient light fills the room through a slot between the hovering, folded roof and translucent polycarbonate walls that are a counterpoint to the thick rammed earth,” Rael continues. He adds that the walls are similar to the rice-paper walls of traditional Japanese architecture as well as the deerskin- and mica-paned windows built centuries ago by Native Americans and the early Spanish settlers. The western walls reflect the luminosity of the mountains that emit a golden-reddish glow at sunset, while at nightfall the glow is extended via recessed lights in the interior that spread their illumination through the transparent wall panels, which, Rael says, “transforms the building into a lantern.” It’s not all ethereal inspiration, however; practical considerations contributed to the design as well. The building materials provide active and passive controls on the site, which undergoes an extreme fluctuation of temperatures from day to night and season to season. The thermal mass keeps the building cool when the temperature rises and radiates stored thermal heat when the temperature drops. Heat is also supplied by hot water from the nearby Jemez Hot Springs and dispersed via discreet radiators along the interior perimeter. The use of translucent walls obviates the need for artificial lighting during the day, further reducing the building’s energy footprint, and recycled soil for the walls and re-used wood for the roof beams add to the ecologically friendly design. The center won the National AIA Honor Award in 2004. Manipulating the light to imbue a space with a sense of spirit is pretty much universally understood, but it’s trickier than it sounds. When architect Jon Dick of Archaeo Architects took on the job of designing the main chapel for the Rivera Family Funeral Home in Santa Fe, he was asked by owner Tom Rivera to make the chapel nondenominational and as welcoming to traditional Hispanic families as to nontraditional atheists. He also requested that it be simple and clean. The funeral business is changing—moving from dark draperies and somber music to “life celebrations”—and Rivera wanted his chapel to reflect this cultural shift. For Dick, the challenge was to achieve that without using all the expected elements. “The idea was to go as simple as possible,” says Dick, 65


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are gestures,” Dick says, “to those bigger issues of where the planet is and where we are in relation to the sun and stars.” Ossuaries in the f loor are marked with the primary constellations around the equator, bringing heaven down to earth and giving the chapel the feeling of being on sacred ground. The sole ornament, hanging in the main chapel by an aircraft-hangar cable, is a sculpture in the shape of the flower of life by local artist Jeff Overlie. There are many other touches intended to imbue the space with as much sacredness as possible, and most of these have to do less with religion than with what surrounds us. “When we’re in need of something reassuring, we tend to think of nature,” Dick says. “And we turn to nature because it’s invariably comforting.” Western architects have been emulating the sublimity of nature for centuries, creating places of worship that feature soaring spires and grand spaces designed to evoke feelings of reverence. When the architecture firm Skidmore, Owings, and Merrill was awarded the commission to build a chapel for cadets at the Air Force Academy in Colorado Springs in 1954,


who believes that humans naturally gravitate toward leanness and simplicity. “But simple is not easy. And this is all about life and death and how to build an appropriate space for those. How do you create architecture that can respond to that?” So, in keeping with his firm’s name, which incorporates the Greek word for “ancient,” Dick relied on two things: the way the Southwest’s architectural forms merge with the landscape and accentuate it, and his knowledge of sacred architecture. The chapel basically became a cylinder with slanted walls that open up and out, as if to heaven, with a segmented arch entrance that borrows from the work of the visionary 18th-century French architect Étienne-Louis Boullée. There’s an abundance of natural and artificial light; in the visitation rooms, it pours in unobtrusively via vertical windows colored in a red-blue-green scheme. In places, the walls are seven feet thick, which delighted Rivera because it gestured to the thick adobe walls of pueblos and kivas. “And when you come through these thick walls,” Dick says, “you feel secure.” There are two small windows that let the sun in to mark the winter and summer solstices by illuminating the nichos. “These


The Bodhi Manda Zen Center, set in the foothills of Jemez Springs, New Mexico. Opposite: A large open space gives way to an altar within the Foundation Hall at the center. Previous page: A view up to the vaulted peak of stained glass and aluminum panel in the Protestant Chapel of the United States Air Force Cadet Chapel.

designer Walter Netsch immediately stirred up controversy with his initial model. Considered dangerously avant-garde, the building even drew the ire of then-Governor Edwin Johnson, who claimed, “The paganistic distortion conceived as a place of religion is an insult to religion and Colorado.” Netsch scrapped the original plan and then spent several weeks visiting European churches and cathedrals—the Basilica of St. Francis of Assisi, Sainte-Chapelle, and Chartres Cathedral—seeking inspiration. His task was particularly difficult because he was expected to create a place of worship for many denominations, each with its own aesthetic. He felt that the usual single spire would not be inclusive enough, so he conceived a design that incorporated 17 glass and aluminum spires, each composed of 100 tubular tetrahedrons that were 75 feet high and spaced a foot apart, with the gaps between them filled with one-inch-thick colored glass designed in Chartres, France. Inside are three main chapels, each serving a different denomination—Protestant, Catholic, and Jewish—as well as a smaller all-faiths chamber. The Protestant chapel is the largest,

with the tetrahedrons forming the walls and stained-glass windows providing strips of color between them. In the Catholic chapel, reredos became the focal point, while an abstract mural of glass mosaic symbolizes the sky with blue, turquoise, rose, and gray tiles. The mural’s designer, Lumen Martin Winter, also designed the 14 Stations of the Cross carved from fourinch-thick slabs of marble that came from the same quarries that Michelangelo used. The Jewish Chapel is circular in shape, with inserts of clear glass adorning a vertical grille that encloses the chamber, making for a tent-like structure. Its foyer is made of brown Jerusalem stone that was donated by the Israeli Air Force. The structure was finished in 1963, and has since been updated by the same architectural firm. In response to the ongoing controversy over the modernist approach, partner Nathaniel Owings explained at the time, “The challenge is to produce for generations to come—not just for today or for 50 years hence—an efficient, flexible, and simple solution . . . [that is] lastingly beautiful. We believe the architectural concepts should represent the national character of the Academy . . . and 67


A hundred steel tetrahedrons form the structure of the United States Air Force Cadet Chapel (this page and opposite), from which 17 spires shoot 150 feet into the air.


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TREND Fall 2016


Rounded shapes soften the contours of the Rivera Family Funeral Home both inside and out. Architect Jon Dick incorporated a flower of life design into the ceiling of the otherwise minimalist chapel. Opposite: the lobby wall is made from a series of interlocking panels manufactured by Modular Arts and is lit, like the rest of chapel, by full-spectrum LED strip lights that allow an infinite number of color changes.


that they should be as modern, as timeless, and as style-less in their architectural concept, as efficient and as flexible in their basic layout as the most modern projected aircraft.� Indeed, the spires have been likened to a phalanx of fighter jets turned on their tails and pointing heavenward. The sublimity of Gothic religious architecture was thus reimagined to encompass a contemporary aesthetic while retaining all the emotional and spiritual energy of the more traditional buildings. Resistance to the challenging design has diminished over the decades, and in 1996 it was awarded the American Institute of Architects’s Twenty-Five Year Award, a prize granted to buildings that have stood the test of time for 25 to 35 years and which exemplify design of enduring significance. Building styles come and go, but the architecture of sacred spaces will always concern itself with manifesting heaven on earth. Like nature itself, it has the power to awe and transform, to comfort and inspire. R






DEDON Collection AHNDA Design by Stephen Burks DEDON Inc · (877) MY DEDON ·



530 South Guadalupe · Santa Fe, NM 87501 (505) 989-7300 phone · (505) 989-7303 fax

How We live


Fantasy meets reality in this Santa Fe couple’s creative home environment

ssorted glass bottles, Barbie dolls, and animal skulls guide visitors toward the gate leading into the main courtyard. There, on either side of a large fountain, stone seating is overlaid with mosaic designs, the brightly colored ceramic pieces forming a Coptic cross among geometric forms considered sacred. Clearly, this is no ordinary home. “I’ve always been enchanted by fantasy and stories,” explains Alice Bailey, multimedia artist and creator of the mosaics. “You could say I’m a bit of a Peter Pan.” Her story has its own fairy-tale quality. “Irresistibly drawn” to Santa Fe from Washington, DC, she arrived in 1995, the same year Ricardo Sanchez began working on the house he had designed. A roofing contractor by trade and single at the time, he put together plans for an ambitious family home on the west side of town, confident that his future partner would show up. Sure enough, it wasn’t long before the two met while out dancing, and in 1998, he and Bailey were married. Eighteen years later, Sanchez and Bailey still refer to their home as a “work in progress.” They have left most of the two-and-a-half acres wild, with no master plan to the property’s transformation. Yet elements appear as the inspiration strikes—a kiva fireplace here, larger-than-life stone sculptures there, and more recently, an extended garden area and greenhouse full of herbs for Bailey’s culinary creations. The house itself is an expansive adobe structure with unconventionally high ceilings and photovoltaic solar panels on the roof along with freestanding panels recently added by Sanchez. The interior is designed to the couple’s needs, with two bedrooms and an open plan for the living, dining, and kitchen area. There are also a fully equipped gym, office, and Bailey’s jewelry and photography studios. But what gives the place its character is an array of artifacts made by more than a dozen artists. Woven ironwork banisters frame the stairs. There’s a handmade, electric-blue glass basin in the guest bathroom, and Bailey’s bathtub, made to measure, is fashioned from found stones. The kitchen cupboards were custom built by the same craftsman who made the office desk and shelving. “The interior would have looked completely different if I hadn’t come along at the right moment,” says Bailey with a broad smile. “Fortunately our design aesthetics are extremely compatible, so it has been very much a shared vision.” The home has been Bailey’s canvas in particular, though she says Sanchez makes most of the decisions about the moving parts. Her first mosaic, displayed on


How We live

The caterpillar (top left) and Cheshire cat (bottom) are among the many characters of Bailey’s Wonderland sculpture (previous pages); Top right: Bailey’s two-part mosaic around the patio fireplace, titled Moving Within to get a Handle on the New World. Opposite: Alice Bailey through the looking glass of her kitchen window.


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How We live

Alice looks to be falling into her designated spot in the mosaic’s fantasy world. Opposite: A detail from Bailey’s mosaic about her journey to Santa Fe recalls “somewhere in Oklahoma, the peak of trepidation on the way to a new home . . . the forested hills of Pecos and the apple orchards of Dixon,” Bailey says.


How We live

In the guest bathroom, the black granite flooring and taupe plaster walls were designed to showcase the electric blue sink, handmade by a local glass artist. Bailey and Sanchez share their home with two German pinschers; here Zoe waits on the stairs leading to the second level by the kitchen.Opposite: An antique European chandelier hangs over the living area Bailey and Sanchez think of as their “expanded adobe”—an inviting, tranquil space.


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How We live


TREND Fall 2016

Bailey and Sanchez in their foyer, just inside the front door of their wonderland. Behind them, a ropero (wardrobe) is faux painted to represent their idealized selves. Opposite: The gardens in bloom (top), and one of Bailey’s newest pieces, Peace Angel (bottom). The “birds” were a gift from Christy Hengst, who transposes historic articles about war and peace onto her porcelain works. The glass “feathers” are remnants of the late Henry Summa’s glass work.

an interior wall, celebrates her journey to Santa Fe. The piece has a charming “outsider art” effect. Assorted ceramic pieces interspersed with objects add to the three-dimensional “picture” of her travels. Although she and her dog completed the trip in a U-Haul, in the mosaic they are setting off in a bright green canoe. “We were going down the river of life,” Bailey explains. She went on to create other representational pieces, culminating in a salute to Lewis Carroll’s Alice’s Adventures in Wonderland. “That story and those characters have always had a special fascination for me,” she says. “The fact that we share the same first name probably drew me in to begin with.” The mosaic’s colorful array of characters are overlaid along the perimeter of an outdoor deck at the home’s second floor, where stairs lead to the courtyard. Scenes include the Mad Hatter’s tea party, the grinning Cheshire cat, the Queen of Hearts (whose head, in fact, comes off, to be stored for the winter) and, of course, the White Rabbit and Alice. The project took more than five years to complete and is the reason Bailey and Sanchez refer to their home as “Wonderland.” Bailey gets her materials from five local ceramic artists who regularly donate their breakages to her. She describes the

hours she spends creating mosaics as “an open-eyed meditation experience.” Primarily, she’s interested in the interplay of color and texture, something she has explored through many mediums, the earliest being clothing and costume design. “My mother taught me to sew when I was 11 years old,” she says, “so that’s why I got involved with textiles to begin with.” She progressed from theatrical costumes to fashion wear, textiles, hand-painted silk scarves, and jewelry, finally arriving at her latest interest in mosaic arts. She’s now putting together a collection of small sculptural pieces to be displayed indoors. “I learned the hard way that ceramics don’t survive outside in the winter,” she says ruefully. She and Sanchez remain committed to their home as their largest art piece, and significant items, or suggestions, often appear as birthday or holiday gifts. Sanchez recently discovered a massive boulder and had it delivered to Bailey as a surprise. “We’d talked for a while about creating a major outdoor water feature of some kind,” she explains, “and when Ricardo saw that boulder, it was like, that’s it! That kind of thing happens all the time.” As it happens for this home, wonderland is ever in the making. R 83

Photos: Boncratious

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TREND Fall 2016

Pastrami tacos from Eloisa. Opposite: Chef John Sedlar’s chile with peas.






merica has long been famous as a melting pot of cultures, and nowhere is that more evident than in the evolution of our country’s cuisine. With each successive wave of immigration we’ve incorporated foreign flavors and cooking methods that have taken our food to new levels of complexity. Here in New Mexico, things have always been a little less conventional and a lot spicier than in mainstream American kitchens. But here, too, we’ve benefited from the influx of cultures building on our original fusion of indigenous and Spanish dishes. One of the unsung heroes in all of this is Mexico, whose contributions to American cuisine are legion and whose culinary tradition extends well beyond the ubiquitous tacos and enchiladas we normally think of in connection with Mexican food. In 2010, Mexico’s cuisine was recognized by UNESCO as an Intangible Cultural Heritage of Humanity. The use of the word “intangible” is particularly appropriate, as much of the Mexican influence lies in their creativity as well as in their preference for local, farm-fresh, unadulterated ingredients and complex flavors that sometimes are allowed several days to meld as they bubble away in their cauldrons. There’s a growing number of Mexican chefs working in this country, and not all of them prepare Mexican food, of course. Like chefs everywhere, they work in a variety of styles and cuisines. But all of them bring their well-honed palates and a heritage of inventiveness to their work, treating it more as a calling than merely a job. Their affinity for piquant flavors serves them well as they combine influences from Asia, Africa, and the Middle East, just as their experience in creating rich flavor combinations aids them in perfecting Continental dishes while adding their personal flair. Those skills are especially congruent with the New Mexican culinary tradition, which encompasses the same reverence for locally sourced, natural foods and shares a fondness for spices and heat. Both New Mexico and Mexico were important parts of New Spain centuries ago, and they even were united under Mexican rule for a brief time in the 19th century, so the amount of overlap between the cuisines is not unexpected. Our state’s growing reputation as a culinary destination stems from our deeply rooted values, and Mexican chefs thus find a level of comfort and compatibility here. Their contributions to the mix of cooking styles and traditions that make our region special often go unnoticed, but they are nonetheless an important component of our culinary ascendancy. Long may the collaboration last! —Nancy Zimmerman TREND Fall 2016


Saveur bistro


Saveur means taste, and the name says it all.

204 Montezuma, Santa Fe, New Mexico • Breakfast, lunch, and catering. Open Mondays through Fridays • 7:45 a.m. to 3:30 p.m. 505-989-4200

chefs talk


Memories of Home



n Marcel Proust’s famous novel Remembrance of Things Past, the author expounded on the concept of involuntary memory and how a simple aroma or flavor can trigger a cascade of recollections and long-buried feelings. There’s a scientific explanation for that, but the complex workings of such ephemera as the brain’s olfactory system, gustatory cortex, and amygdala don’t really excite the imagination. What matters more is how our earliest food memories inform our current tastes and preferences, and how our concomitant memories of family and friends enhance the experience, transporting us through time and space to a place where the conscious mind rarely ventures. At the latest session of Trend’s ongoing Chefs’ Roundtables, publisher Cynthia

Top Santa Fe chefs discuss their earliest culinary influences Canyon assembled a group of noted Santa Fe chefs to discuss their early memories of food and how these have affected their careers. The conversation, moderated by former caterer and restaurateur Ric Lum, ranged from childhood recollections to general observations on the life of a chef and the current state of the restaurant business. Following are some highlights from that discussion: “I grew up with home cooks,” says Martín Ríos, owner-chef of Restaurant Martín where, with his wife, Jennifer, he cooks up

elegant but accessible “progressive American cuisine.” Born in Guadalajara, Mexico, Ríos came to Santa Fe as a teenager, but he still remembers the flavors and aromas of his childhood. “My grandmother had a restaurant at San Juan de Dios market, and my grandfather had a candy shop right next to her. We’d go to the different booths to get the ingredients for the restaurant—the live chickens were in a cage and they’d butcher them right there,” he recalls. “When my grandmother couldn’t do it any longer she gave the restaurant to my mom, and my sisters and brothers and I helped her. So I started to understand about my heritage, Mexican food. I also learned about it from being at home; the Mexican tradition is that the family always sits down together for breakfast, lunch, and dinner,

From left: Chefs Martín Ríos and Ángel Estrada; Ron Cooper; chefs Fernando Olea, Sllin Cruz, and John Rivera Sedlar; and moderator Ric Lum


and you all talk about your day.” Ríos cites two of his favorite childhood dishes, milk gelatin, which his mother still makes for him on his birthday, and sopes, thin, shallow shells of dough fried crisp and topped with vegetables and meats. These have found their way onto his restaurant’s menu in the form of panna cotta instead of milk gelatin and a lunch special of sopes made more elegant by stuffing them with pork belly or short ribs rather than beans and rice. Chef John Rivera Sedlar is a New Mexico native whose family is from Abiquiu. His restaurant, Eloisa, is named for his grandmother, who first taught him to cook. “She could work a woodstove and a griddle,” Sedlar says, “and used products from local orchards and farms.” His menu is a contemporary interpretation of tradi90

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tional Northern New Mexico cuisine, offering dishes like duck enfrijolada, a confit of duck served with blue corn tortillas and radicchio and enhanced by a New Mexico Cabernet-chile sauce. He also offers a fivecourse tasting menu that pays tribute to Georgia O’Keeffe through his evocation of the flavors and smells of Abiquiu. “The first course is mainly aromatic and visual,” Sedlar explains. “It’s nine small plates of aromatics and things that are part of the environment, like chamisa or Russian sage. You don’t eat it, but it conjures that area. [To evoke] O’Keeffe’s take on red poppies, we ask the guests to close their eyes and sniff, and they can smell the color red. We use various chiles and local apricots to transport you there.” Executive Chef Ángel Estrada, who helms the kitchen at Midtown Bistro, grew up in

Chihuahua, Mexico, and moved here when he was 16. “I was inspired by my mother’s and grandmother’s cooking,” he says. “I’m the oldest of eight kids, so I used to cook for my little brothers and sisters.” While he retains the memories of the flavors of his youth, he currently prepares food inspired by “a little bit of everything. I do Spanish, French, Italian—however I can please my customers.” His Mexican touches are minimal, but dishes like roasted corn and potato bisque, or calabacitas with fried leeks and basil pesto, attest to his knack for subtly incorporating his early influences into an appealingly pan-global fusion cuisine. Mexican dishes take center stage at Sazón, where Chef Fernando Olea, a native of Mexico City, introduces diners to the sophistication and complexity of true Mexican cooking. “I didn’t like to eat anything


chefs talk


until I was around nine years old,” he confesses. “I thought food was the most horrible punishment you could give to a child. But one day I woke up and I loved food. I remember sitting in the kitchen, doing my homework amid the aromas of chiles, salsa, salchicha [sausage], tomatillos.” Olea recalls his mother fixing bacalao a la vizcaína (Biscay-style codfish) at Christmas, and taking trips with his grandmother to Puebla, where he first enjoyed mole poblano. “We also ate a lot of lamb barbacoa [barbecue] that they’d cook all night, wrapped in agave leaves, in a pit.” At Sazón, Olea prepares unusual Mexican delicacies like corn truffles served over mini-tortillas with exotic spices and asadero cheese, and even taquitos of baby grasshoppers with avocado sour cream—as authentic as the more familiar Mexican fare but with a far more complex flavor profile. “There’s a dicho [saying] in Mexico that goes, ‘You don’t find mezcal, it finds you,’” says Ron Cooper, the acclaimed artist and motorcycle aficionado who founded his company, Del Maguey, in 1995 to bring artisanal mezcal to discriminating palates. His efforts have been recognized by the James Beard Foundation, which named him Outstanding Wine, Beer, or Spirits Professional for 2016. Having been “found” by mezcal a number of years ago, Cooper treks to remote villages in the Mexican highlands to work closely with craft distillers who follow the procedures of their ancestors, making a liqueur so smooth that it can be sipped like a fine cognac. While Cooper’s earliest food memories from his childhood in Ojai, California, involved standard American fare like pizza and Foster Freeze ice cream, he also used to visit a little shack where Angie, the proprietor, served up delicious tacos and menudo. Thus began his affinity for Mexican food, laying the groundwork for his obsession with mezcal to emerge decades hence. Regarding taste memory, he says, “I’ll taste a new mezcal twice a year for five years, and if I don’t have a taste memory of it after that, I won’t buy it. It’s such a gift to be able to remember a great flavor.” At Geronimo, Executive Chef Sllin Cruz continues the late Eric DiStefano’s

Trend’s ongoing roundtable discussions promote the chefs’ natural camaraderie as they share experiences and memories.


chefs talk


Clockwise from top left: Chef Sedlar in the kitchen at restaurant Eloisa; Chef Cruz at Geronimo; Ron Cooper with giant agave plants at Del Maguey mezcal makers in Mexico; Chef Ríos in the kitchen at Restaurant Martín.


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sophisticated approach to fusion cuisine by retaining the menu favorites while introducing his own flair to the mix with dishes like garbanzo bean and eggplant croquette accompanied by Italian squash ratatouille, crispy artichoke hearts, and Romesco sauce. “I’m originally from Michoacán, Mexico, one of 12 kids,” he says. “I moved to America when I was 13, first to Oregon, then Salt Lake City, and started cooking. I’m from a very small village, and I remember the garden, the beans, and calabacitas. I don’t eat much Mexican food now, mostly when I visit my mom in Mexico. My style is a little different, more French and Italian, but I remember all of

us sitting at the table and enjoying beans, chile, and tortillas.” Still, when he goes out he likes to eat tacos, or mole at Sazón. “It’s not what I cook, but it’s about memories of my childhood.” Food traditions from childhood are indeed a powerful influence for chefs and home cooks alike, evoking memories at once personal and ancestral that imbue our cuisine with cultural reference points and unforgettable flavors. ¡Buen provecho! R To enjoy more of the conversation among these dedicated chefs (and for a hilarious story about Sedlar’s adventures as a guest chef in the former Soviet Union), go to and view the video of the Chefs’ Roundtable.

Chef Sedlar’s ravioli Latino. Top left and right: Chef Ángel Estrada prepares grilled Atlantic salmon with calabacitas, risotto, and basil pesto— a regular feature on the Midtown Bistro lunch menu.


BITE & BUZZ By Sharon Niederman

Food for Thought

94 TREND Fall 2016


f you’ve ever attended a Pueblo feast day, you’ve likely experienced the earthy taste of mutton stew cooked over a wood fire, the zing of a red chile sauce topping some posole, or the fragrant lure of a simple bowl of pinto beans. But few places outside of traditional Puebloan homes offer outsiders the chance to sample Native fare. One of them is the Pueblo Harvest Cafe & Bakery at Albuquerque’s Indian Pueblo Cultural Center, whose mission is to honor the traditions behind these ancient flavors while at the same time expanding the scope of what qualifies as Native cuisine.

“We walk a fine line here,” says executive chef David Ruiz. That line, a trail that leads from traditional Native fare to contemporary Native fusion, meanders through a menu designed to appeal to a diverse audience of both locals and tourists. Cultural exploration comes naturally to Ruiz, who was born in San Jose, California, and who claims the influence of both sides of his Mexican Catholic and Jewish family. As a kid he spent time on his grandmother’s small farm and was also exposed to the bounty of the Bay Area’s fresh fish and produce. He identified his path early, and by his junior year in high school was admitted to the California Culinary Institute. Upon arriving in New Mexico four years ago, he embraced Native culture while practicing his craft at the Tamaya Resort in Santa Ana Pueblo near Bernalillo. “Santa Ana feast days opened my eyes to Native cultures,” he says, “and I saw the pride taken in culture, especially the cuisine.” >


The cafe at Albuquerque’s Indian Pueblo Cultural Center combines tradition with innovation to highlight Native foodways

The cafe’s Tewa Taco, a staple of Native cuisine. Opposite: Chef Ruiz in the kitchen, and his red chile tuna tartare, made with yellowfin tuna, avocado, tomato, and micro-celery. 95


In November 2015 Ruiz took over Pueblo Harvest Cafe from Michael Giese, who last year was named New Mexico Restaurant Association’s Chef of the Year, and he continues to build on that legacy. “The previous chef and I have different styles,” he says. “He had a great flavor profile, whereas for me it is more emphasis on fresh ingredients, more of an eye on plating, bolder flavors and colors.” Standards like green-chile stew, posole, mutton stew, and enchiladas headline the menu alongside dishes that play with traditional flavors, like blue-corn fried chicken and green-chile salted rack of lamb. Chef Ruiz further deconstructs and reimagines traditional flavors by plating a lamb chop with carrot coulis, sous vide potato, grilled sweet Tropea red onion, and micro-celery. His Cubano sandwich is traditional, but he puts a Native spin on it by adding greenchile mustard and black-cherry coulis. And he reconceives the traditional rectangular, fruit-filled horno-baked pie as a round pastry served a la mode with homemade ice cream. The Pueblo Harvest Cafe, built in the round with wooden

96 TREND Fall 2016

pillars and stucco walls suggesting a kiva, has been part of the Indian Pueblo Cultural Center for 30 years. With dignity and taste, as well as subtle allusions to the complex Pueblo worldview, the 40-year-old cultural center avoids any taint of Disneyfication; rather, it provides an immersive experience that’s simultaneously accessible and mysterious. For nontribal visitors, it is a doorway into a culture that’s geographically nearby but whose millennia-old traditions remain intriguingly foreign. Visitors can browse the exhibits, jewelry, and pottery and visit the gift shop, but it’s at the cafe where that history and way of life are transformed into a firsthand sensory experience. The Indian Pueblo Cultural Center is developing additional programs that celebrate Pueblo foodways. A “Power Up” grant from Public Service Company of New Mexico supports the creation of a native garden on the Center’s grounds, and, says food and beverage director Boris Revilla, “Pueblo Harvest Cafe is gearing up to become a hub for developing new Native chefs and helping Native cultures play a larger role in


Ruiz pays tribute to the “three sisters” of Native cuisine with a smoked corn soup topped with black bean fritters and a side of blistered tomato calabacitas. Opposite: the weekend Party on the Patio event features local bands and a happy hour menu that includes fresh horno-baked pizzas.

mainstream cuisine. In the coming year, and looking ahead, we plan to reach out to local communities, set up an internship for aspiring chefs, and develop educational programs across the 19 pueblos of New Mexico. These initiatives will focus on teaching nutrition, gardening, and farm-to-table practices to kids and elders alike.” While Native-grown ingredients are not now available in sufficient quantity to serve the cafe’s patrons, its Tewa taco, posole, and red chile stew are made with Hatch green chile, Chimayó red chile, and blue corn from Los Lunas. As many ingredients as possible are sourced from southern Colorado and northern New Mexico, while locally owned produce company Just the Best delivers fruit and vegetables. Revilla says that plans are in the works to source Native beef as well.

Visitors to IPCC can also learn the art of Pueblo bread baking. Leticia Chavez, better known as Mama T, commutes from San Felipe Pueblo to lead the program. Teaching goes hand in hand with community building, as the frybread classes attract young and old, Pueblo residents and chefs. Classes in baking bread in the horno are often scheduled by request from groups, while frybread and salsa making classes are currently offered. Ruiz is also trying to build community with the 505 Food Fights, a series of chefs’ charity competitions. “The 505 Food Fights started,” he explains, “because I noticed when I moved here that the chef community wasn’t tightly knit and there was a lot of segregation. I developed it so chefs from Santa Fe to Albuquerque could come together and compete in a non-corporate environment. It’s a chance to network with



of them together, he says, “made Grandma really happy.” “We are encouraged to be creative here,” Wilson says, “and we all get along really well. Cooking brings people together. And happy people make tasty food.” “Some of our recipes will never change,” Ruiz says. “Our red and green chile, our Tewa taco, our Feast Day stew—these are at our heart and will always be showcased on our menu.” On the other hand, the cafe’s monthly pairing dinners featuring beer, wine, and spirits introduce new ideas to the cuisine. One recent dish, created for a Kentucky bourbon pairing, deconstructed the mouth-puckering weirdness of the Kool-Aid-soaked pickle into an intriguing combination of pickled cucumbers, cherry gastrique, Kool-Aid powder, black cherry foam, and a smoked red chile–cured egg yolk. “I want to turn this into a hub of creativity for Native fusion cuisine,” he says, “to keep some old ideas while taking classic dishes and presenting them in a new way. New Mexico—and the Southwest—have a certain perception of Native food. But you can elevate it as far as your mind can go.” R

Ruiz keeps his offerings fresh with special tasting dinners and by changing out the à la carte menu and wine list each March, July, and October. Local prickly pear and watermelon highlight the cocktail list, and beers are selected exclusively from regional breweries.

98 TREND Fall 2016


other chefs. What I want is to become the hub for the new young talents in the Pueblos. We’re looking for apprentices to help perpetuate Native culture through food.” Assisting Ruiz in this endeavor is his sous-chef, Burt Wilson. During his 15 years at IPCC, Wilson has worked with a Native chef, a German chef, an old-school Italian chef, and Chef Michael Giese, who was so “Texas style,” he says, “he could chicken-fry anything.” Raised in Gallup, Wilson, who is of Zuni and Navajo heritage, also acquired his love of cooking from his family, particularly through gatherings and celebrations where everyone had fun together—he fondly remembers his grandmother’s blue-corn mutton tamales. His palate further expanded when he joined the Navy and his subsequent travels exposed him to the foods of Japan, Korea, Sri Lanka, and Australia. Such is Wilson’s affinity for playing with ingredients in new and often surprising ways that his Tewa taco was featured earlier this year on the Travel Channel’s Bizarre Foods, Delicious Destinations with Andrew Zimmern. Bobby Flay also visited a few years back, and the photo

Eldorado Weddings

Eldorado Hotel & Spa has unveiled La Capilla de Oro chapel, an artistic non-denominational wedding space. Key design elements include porcelain flooring, LED-lit recessed candelabra shapes and a hand-carved gilded alter by master craftsman Augustin Parra.

Located in Eldorado Hotel & Spa, A Heritage Hotels & Resorts Property 309 W. San Francisco St., Santa Fe 505.988.4455 |

CAVA Santa Fe Lounge

Live Entertainment | Inspired Cuisine Extensive Wine List

AGAVE Lounge

Exciting Cuisine | Craft Cocktails Weekend Brunch | Happy Hour

Nidah Spa

World-Class spa treatments Relax and rejuvenate with treatments only found in Santa Fe

Santa Fe Wine & Chile Fiesta


Thanks to all these Great Santa Fe Restaurants For Another Great Grand Tasting 315 Restaurant 401 Fine Dining Agoyo Lounge Anasazi Restaurant Andiamo! Arroyo Vino

The Compound Coyote Cafe Del Charro Derailed Dr. Field Goods El Farol

Atrisco Cafe Bad Ass Sandwich Bistro at Marriott Bouche Bistro Boxcar Casa Chimayo Club at Las Campanas

Eloisa Gabriel’s Geronimo Iguana Cafe Il Piatto izanami Jambo Cafe

Jinja Bar & Bistro Joseph’s Culinary Pub

Old House

Red Sage

Julia l’Olivier

Omira Grill Ortiz at Hilton Osteria D’Assisi

Restaurant Martîn Rio Chama Rowley Farmhouse Ales

La Boca La Casa Sena La Plazuela Legal Tender The Lodge

The Palace Restaurant Pizzeria da Lino Pranzo Italian Grill Pueblo Artist Cafe Pyramid Cafe

San Francisco St B&G Santa Fe Bar & Grill Santacafé

Loyal Hound Luminaria Maria’s Midtown Bistro

Quail Run Raaga Radish & Rye The Ranch House

Sazon The Shed Shohko Cafe State Capital Kitchen Strike, Bowl & Brews Taberna La Boca

The Teahouse Terra at Four Seasons TerraCotta Wine Bistro Tesuque Village Markt Thai Cafe Tomasita’s Tortilla Flats Vanessie Vinaigrette Whole Foods



DESIGN PROFILES Inspired partnerships inform Santa Fe’s built environment



Manderfield on Canyon Road PRIVATE RES IDEN CE | S AN TA F E

Located in the heart of Santa Fe’s historic art district, this 1927 Territorial Revival public building was originally designed as Manderfield School by acclaimed New Mexico architect John Gaw Meem and McCormick Architects. In its new incarnation, the property offers immaculate, light-filled condos with a monumental sense of scale and luxurious feeling rare in Santa Fe residential projects of this type. Each condo features private access, private courtyards, and covered parking. Many of the building’s original features and architectural details have been incorporated to maintain its historic status. Maple flooring throughout was beautifully replicated by the original flooring supplier, whose greatgrandson now runs the company. Architectural Alliance is honored to have served as the architectural component of the top-flight team—the “Manderfamily”—responsible for this award-winning adaptive reuse project. The team also includes Clare Maraist with Keller/Williams, Prull Custom Builders, Jane Smith Interiors, and Allbright & Lockwood.

612 Old Santa Fe Trail, Santa Fe | 505.988.5269 | 102

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The adaptive reuse of the Manderfield School began with building the perfect team. While having a vision for the property was simple, the key to the project’s success was gathering a group of professionals—architects, builders, designer, and realtors—who worked together seamlessly, with responsibility and mutual respect. Built in 1927, Manderfield tells an important story as part of Santa Fe’s past. Every corner of every space within the one-and-a-half-acre site became a dedicated and careful conversation about how best to tell this story. Retaining the original classrooms, central hallway, and eight-foot-tall original window design was essential in maintaining the building’s integrity and historical value while giving it exciting new life as residential condos—comfortable and livable, yet with sumptuous style enhanced by furnishings from Marc Galante’s Mediterrania showroom. Manderfield on Canyon Road is the proud recipient of the 2016 Parade of Homes Adaptive Reuse Award, as well as awards for Best Master Suite and Best Kitchen.

211 E. Palace Avenue, Santa Fe | 505.988.2428 | 104

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Manderfield O N CAN YON ROAD | S ANTA FE

“Love at first sight.” That’s how interior designer Jane Smith describes her instant desire to curate Manderfield’s beautifully repurposed historical residences. With 12-foot ceilings and hand-troweled white plaster walls, each space conveys its own sense of monastic serenity, inspiring Smith to create an eclectic yet harmonious design. The Spanish antiques and reproductions arrived from Mediterrania. She also chose paintings by Armond Lara and Mark Spencer, bronze sculpture by Michael Wilding, rugs from Arrediamo, and photos by Alessandra Hess, Mark Shepherd and Jean Pagliuso as well as from Circle Antiques. Accessories from Array Home and Santa Maria, bedding by Praneet Bedi, and pottery from House of Ancestors Antiques completed the design. “I take an artistic approach to blending interiors,” Smith says. “An amalgam of the old and the new, using textures and natural elements to create a feeling of comfort and ease in my rooms. My spaces always reflect my clients’ lifestyles and personal aesthetics.” | 970.618.1221 | 106

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ALLBRIGHT & LOCKWOOD What do you get when you combine the full redesign and repurposing of a historic John Gaw Meem schoolhouse with a visionary developer, respectful architect, and meticulous builder? A dream design project for Allbright & Lockwood and a chance to reimagine tile, lighting, and hardware in five condominiums and three casitas, each with its own personality. As Allbright & Lockwood’s team spent long hours in conversation with the developer and builder, a picture of each unit evolved. It always began with the tile, while choices for decorative lighting and cabinet hardware sometimes arose simultaneously in moments of inspiration. The exterior hardware formed a cohesive design element uniting the condominiums, leaving the casitas’ exterior hardware to be individualized. For Allbright and Lockwood, the project represents the firm’s perfect expression of purpose: to work in close collaboration in the creation of tile, lighting, or hardware designs that respect and enhance a client’s vision.

621 Old Santa Fe Trail, #5, Santa Fe | 505.986.1715 |



The Art of Bedroom Design PRIVAT E RE SIDENCES | SANTA F E

Las Campanas Contemporary 108

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Camino del Monte Sol

What more essential room could there be in a home than the bedroom— a haven of rest and sanctuary from the busyness of the world? Paul Rochford and Michael Violante are masters of design that’s comfortable and tranquil, yet also luxurious and au courant. They call it casual elegance. The pair’s sought-after bedroom remodels frequently feature intense pops of color against a soothing neutral background. Or, depending on the client’s requests, a sleeping chamber may emphasize pale, serene earth tones. A comprehensive textile library provides a rich selection of fabric and upholstery choices for all tastes. Rochford and Violante often employ wood, stone, and other natural materials that connect an indoor space with the beauty of the outdoors. In their hands, even a small bedroom can acquire the chic style and sense of spaciousness for which the designers are known.

405 Paseo de Peralta, Santa Fe | 505.983.3912 | 110

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Camino del Monte Sol

La Tierra Classic



Casa Cielo


Successful design should engage the environment, create fluency between history, landforms, and architecture, and express rhythm with textures and interest throughout the seasons. The terrain surrounding Casa Cielo provided a compelling yet challenging set of design parameters to which landscape architect Solange Serquis of Serquis + Associates responded with imagination and time-tested skill. The home’s design, by James A. Satzinger, AIA, allowed it to be well positioned within the natural landscape, inspiring the theme of integration—from the smallest detail of crushed stone joints meeting flagstone to the flow of the natural world into the designed environment, materials and spatial concepts were seamlessly blended. What emerged incorporates diverse native flora into planned outdoor living spaces that represent an extension of the adjacent natural beauty. With a 15-year presence in Santa Fe, Serquis + Associates was selected in 2015 as the only U.S. landscape architect in the prestigious Japan Garden and Flower Show, also known as the Gardening World Cup.

15 Camino Esperanza, Santa Fe | 505.629.1009 | 112

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Casa Cielo



JAMES A. SATZINGER, AIA SATZINGER DESIGN, INC. Thoughtfully sited within a west-sloping ridge, Casa Cielo’s residence and guesthouse maximize a connection with the natural landscape, seasonal solar exposure, and distant mountain and valley views. Subtle manipulation of the terrain yielded an arrangement of building forms reminiscent of European hill towns and ancient Native American earthen berm or cliff dwellings. The home’s linear floor plan wraps around a south courtyard and a north portal, affording balanced natural light and ever-changing views while facilitating movement between interior and exterior spaces. What rises from the ground is a hierarchy of materials, textures, and colors well rooted in tradition, yet expressive of modern composition and serenity. Sustainable building practices and materials, storm water catchment and drip irrigation, energy-saving LED fixtures, and photovoltaic solar electrical generation all contribute to superior efficiency and Home Energy Rating System (HERS) ratings—in other words, 21st-century living at its finest.

1801 Camino Cruz Blanca, Santa Fe | 505.988.4631 |



Casa Cielo


With a nod to such inspiring modernist forerunners as architect and designer Alexander Girard and sculptor Betty Gold, Casa Cielo’s interior design by HVL Interiors flaunts a bold, playful sense of color and a focus on art. Furnishings were curated from local retailers and artisans and include modern steel tables and a Le Corbusier chaise longue. The saturated, high chroma palette of purples, yellows, oranges, and fruity greens mixed with graphic patterns complements architect James Satzinger’s signature soft contemporary finishes, as well as custom tile selections from Statements in Santa Fe. The home was planned with perfect lighting for an exceptional collection of fine art, including works from notable artists represented by GF Contemporary, Webster Enterprises, and La Mesa of Santa Fe.

453 Cerrillos Rd, Santa Fe | 505.983.3601 | 114

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Project Team: Architects: Gluckman Tang Architects and Lorn Tryk Architects, PC; Builder: Apple Construction and Denman & Associates; Electrician: G.L. Runer Electric, Inc.; Tile and lighting supplier: Statements In Tile/Lighting/Kitchens/Flooring; Tile Installer: Hunter Tile Inc.; Interior design: Violante & Rochford Interiors

Contemporary Elegance T ESUQ UE RES IDENCE | SANTA F E


STATEMENTS Handsome, understated flooring that unites indoor and outdoor living spaces, and cutting-edge recessed lighting to showcase the homeowners’ art collection: these were two essential requirements in the design of this spectacular contemporary Tesuque home. Statements In Tile/Lighting/Kitchens/ Flooring responded with custom-fabricated flamed and brushed granite flooring, simple and stately for indoors, and durable enough for our high-desert climate. For lighting, the firm employed its extensive experience to meet the project’s needs with state-of-the-art recessed lighting throughout the home. The 2016 Parade of Homes recognized Apple Construction with a special Award for Elegance.

1441 Paseo De Peralta, Santa Fe | 505-988-4440 |



Luz del Dia


Marsha Hunter and Brian Johnson first met as aspiring opera singers. They wanted their new home’s indoor-outdoor living space to double as a recital hall for unamplified music performances, so Tierra Concepts and Studio Dionisi enlisted the expertise of a professional acoustic consultant. Along with birch acoustic ceiling panels, proportions of the walnut, gypboard, and mud plaster surfaces were carefully balanced to amplify, soften, and distribute sound. In addition, the homeowners can “tune” the room by adjusting three of the four walls, providing flexibility for the needs of singers, musicians, and audiences. Heavy drapes and sliding steel and wood panels open or close, while glass pocket doors that constitute two full walls expand the space even more. When the glass doors are hidden away, the indoor/ outdoor room incorporates a Zen courtyard in one direction while in the other direction, beyond the grand piano, are stunning Sangre de Cristo views.

1512 Pacheco St., Suite D206, Santa Fe | 505.780.1157 | 727 Galisteo St. #3, Santa Fe | 505.699.2372 | 116

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Builder: Tierra Concepts, Inc. Designer: Stephen Beili of Studio Dionisi Inc. Interior designer: Annie O’Carroll Interiors Landscape architect: Kenneth Francis of Surroundings Acoustic consultant: Felicia Doggett of Metropolitan Acoustics Cabinet designer and supplier: Joan Viele of Kitchen Dimensions



Luz del Dia


As interior designer for Marsha and Brian’s home, Annie O’Carroll played the key role of pulling together its various finishes. Working with natural, eco-friendly materials, from paint to wood to mud, she crafted a strong palette of colors and textures that provide calming backdrops, allowing the home’s special qualities to shine. In the kitchen, a fuchsia island draws attention to the center of the room, while the paler-hued prep counter and outdoor furniture connect indoor and outdoor spaces. Joan Viele of Kitchen Dimensions creatively arranged the kitchen’s layout to be functional and beautiful, applying skills that have served countless homeowners, contractors, designers, and architects in her more than 25 years as a cabinet designer and installer. Here, food storage and small appliances are tucked away behind walnut doors, handy for use but out of view.

1512 Pacheco St., Suite A104, Santa Fe | 505.983.7055 | 150 S. St. Francis Dr., Santa Fe | 505.986.8820 | 118

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SANTA FE BY DESIGN Enhancing this bath in Marsha and Brian’s home are stunning custom plumbing fixtures, cabinet hardware, and bath accessories thoughtfully selected by Santa Fe By Design’s team. The firm’s knowledgeable sales team delved deeply to find solutions for the homeowners’ concerns about aging, particularly with the tub and shower, while ensuring that the space serves as a beautiful and serene retreat. The room’s simple lines were kept intact through the use of an integral tub-fill system, which fills the tub from within, leaving the deck area unencumbered by a visible spout. Handsome grab bars were selected to match the room’s style while offering security to the bather. Santa Fe By Design’s attention to such details shows the impeccable vision and creativity of the company when it comes to innovative and custom building projects.

1512 Pacheco St., Suite D101, Santa Fe | 505.988.4111 |




The best of mid-century Santa Fe and contemporary touches transformed a dark 1950s kitchen into an open, inviting space, thanks to a full remodel by D Maahs Construction. Walls between the kitchen, dining and living areas were removed, resulting in a roomy-feeling yet compact kitchen. Among the special touches: textured melamine cabinetry with aluminum and frosted-glass doors, and aluminum edge banding to highlight the crown molding. The new floor is composed of large-scale textured porcelain tile with a complementary backsplash tile. The original tongue and groove ceiling and vigas remain, while new drop lighting and a tubular skylight illuminate the nowbright space. LED under-cabinet lighting completes the ambiance. D Maahs Construction, LLC specializes in residential remodeling, kitchen and bath design, and custom cabinetry, with superior customer service.

1512 Pacheco St. Suite A-206, Santa Fe | 505.992.8382 | 120

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The Power of Simplicity




TREND Fall 2016

SAMUEL DESIGN GROUP Samuel Design Group took what was once a dark and dated kitchen from the early 1990s and transformed it into a sleek, sophisticated, and functional space. Small slate-tile flooring was replaced with large-module calacatta porcelain, also used throughout the home. The island grew from four feet to ten. Upper cabinets were removed and the resulting wall space was graced with 2"x12" glass tile, replacing a previous backsplash of Talavera clay tile. Newly installed cabinets reflect a more European flair, with a horizontal rather than vertical grain. Many of the appliances “disappeared,” integrated into the kitchen’s overall look by using the same face on all the front panels. Lighting became more efficient through LED components. And with the removal of a peninsula separating the kitchen from the adjoining breakfast room, the designers created an open, beautiful space that’s easy to negotiate.

607 Cerrillos Road, Santa Fe 505.820.0239 |


ADVERTISERS ANTIQUES, HOME FURNISHINGS, RUGS, & ACCENTS Casa Nova 505-983-8558..........................................72 Casa Navarro 505-820-9266..........................................29 Mediterrania 505-980-7948..........................................16

Custom Software Development

Business Computing Support

Moss Outdoor/Dedon 505-989-7300..........................................73

System Architecture

C++, Java, Python, or web software running PHP, Drupal or WordPress

Please go here to fill out a project questionnaire: Upcoming Events: Every Wednesday at 9:00 a.m. Noventum sponsors donuts at 1,000,000 Cups. 1,000,000 Cups is an event held in 70+ cities around the U.S. in which different entrepreneurs speak, drink coffee and (in Albuquerque!) eat donuts. For upcoming speakers, and more information check out the 1,000,000 Cups site here:

Karen Melfi 505-982-3032............................................11

Niman Fine Art 505-988-5091...........................................1

Spirit of the Earth 505-988-9558............................................14

Patina Gallery 505-986-3432.........................................27

True West Gallery 505-982-0055.........................................126

Santa Fe Weaving Gallery 505-982-1737.........................................12


Violante & Rochford Interiors 505-983-3912........................2–3, 108–111


Annie O’Carroll 505-983-7055....................................6, 118 Architecture Alliance 505-988-5269..........................15, 102–103

Allbright & Lockwood 505-986-1715...................................7, 107 Custom Window Coverings 505-820-0511.........................................20 D Maahs Construction (DMC) 505-992-8382........................18, 120–121 Kitchen Dimensions 505-986-8820...................................6, 118

Jane Smith Interiors 970-618-1221..................................25, 106

Santa Fe by Design 505-988-4111.................................19, 119

Samuel Design Group 505-820-0239..........................10, 122–123

Statements in Tile/Lighting/Kitchens/ Flooring 505-988-4440.................................35, 115

Satzinger Design, Inc. 505-988-4631............................9, 112–113 Serquis & Associates 505-629-1009....................................8, 112 Studio Dionisi 505.699.2372............................6, 116–117 Tierra Concepts 505-780-1157..........................21, 116–119 Violante & Rochford Interiors 505-983-3912........................2–3, 108–111 Wiseman Gale Duncan Interiors 505-984-8544..........................................13 ARTISTS & GALLERIES Chasm Fine Art 720-938-6430.........................................BC

200 Broadway Blvd NE Albuquerque, NM 87102 505.750.1169

Hunter Kirkland Contemporary 505-984-2111.........................................31

Selby Fleetwood Gallery 800-992-6855.........................................36

HVL Interiors 505-983-3601....................................9, 114

We can create or modify software for you!

The Golden Eye 505-984-0040............................................39

Samuel Design Group 505-820-0239..........................10, 122–123



Christopher Thomson 505-470-3140.........................................40


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Woods Design Builders 505-988-2413.......................................4–5 EDUCATION & EVENTS Academy for the Love of Learning 505-995-1860.........................................37 Santa Fe Concorso 505-577-5548.......................................125 Wine & Chile Fiesta EYEWEAR, BEAUTY, & HEALTH The Beauty Bar 505-983-6241.........................................33 FASHION, JEWELRY, & ACCESSORIES Decontie & Brown 207-922-0903........................................IFC

Bell Tower Properties/Keller Williams 505-919-8089...................................17, 104 Los Alamos National Bank 505-662-5171............................................28 Manderfield on Canyon Road 505-919-8089...........................17, 101–107 Pacheco Park 505-989-8484, 505-780-1159.............22–23 RESTAURANTS, FOOD, DRINK, & LODGING AGAVE Lounge 505-988-4455............................................99 Angel Fire Vodka 505-469-7284..........................................127 CAVA Santa Fe 505-988-4455............................................99 Geronimo 505-982-1500..........................................IBC Heritage Hotels and Resorts 877-901-7666............................................99 Midtown Bistro 505-820-3121............................................85 Museum Hill Café 505-984-8900............................................85 Saveur Bistro 505-989-4200............................................88 SOCIAL MEDIA & SOFTWARE Noventum Custom Software Development 505-750-1169..........................................124

EXPERIENCE THESE ROLLING WORKS OF ART FRIDAY, SEPTEMBER 23 5:00–8:00 p.m. Friday Night Gathering Vintage cars and airplanes; music, food, and spirits. Santa Fe Municipal airport SATURDAY, SEPTEMBER 24 8:00–10:00 a.m. Mountain Tour Leaving from the Santa Fe Plaza SUNDAY, SEPTEMBER 25 10:00–3:30 p.m. Judged Concorso Held on the grounds of The Club at Las Campanas


visit for information, schedule, and tickets. The Santa Fe Concorso is an all-volunteer 501(c)(3) nonprofit organization.



I will love the light for it shows me the way, yet I will endure the darkness because it shows me the stars. —Og Mandino 128 TREND Fall 2016

Ghost Corral: 324 U.S. Cavalry forged iron corral posts circa 1850-1880, nine 3'x3' fabricated steel platforms. Present configuration: 27'Lx3'Wx5'H




Profile for Trend

TREND Fall 2016  

TREND Fall 2016