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Discovering Salvatori and The Carrara Marble Quarries

Our visit to the Tuscan marble district with Gabriele Salvatori

Paolo Ferrarini

13 February 2024

As a material, marble has defined architecture and design, art forms and historic periods. We stepped into this world first-hand when we visited the Carrara marble quarries, the surrounding Tuscan lands, and the Salvatori company. Guido Salvatori founded his namesake company in 1946 in the small town of Querceta, a few kilometers from the Northern Tuscan coast and not far from the world-famous Carrara quarries. Salvatori is now run by third-generation family members who have transformed the company from a small local business into a flourishing internationally-renowned brand, recognized for its love for craftsmanship, its close relationship with design and experimentation around innovative processes.

Salvatori’s elective materials are natural stones and marbles, including Bianco Carrara, Gris du Marais and limestone. The brand focuses on a small color palette that ranges from white to black, cream, light gray and dark gray. This is mainly for a technical reason: these materials withstand processing under blades, a technology that distinguishes the company from peers. That said, Salvatori also produces small, colorful objects, such as the photo frames and vases of the new Precioso collection by American designer Stephen Burks.

CEO Gabriele Salvatori loves design, as demonstrated by the Burks collaboration, as well as partnerships with Michael Anastassiades, Kengo Kuma, Piero Lissoni, John Pawson, Yabu Pushelberg, Patricia Urquiola, Vincent Van Duysen and many more. 

“A beautiful project originates from a great designer sitting at the same table alongside a great craftsman,” Salvatori tells us. “The craftsman puts the experience on the plate, and the designer brings a naive, unpolluted eye that helps you look sideways. It comes as if the designer were a child who turned things upside down.”

Color and collaboration aside, Salvatori’s specialty is the processing of white Carrara marble. To reach the quarries, we venture onto dirt roads full of curves, stones and white dust. Once at the top, we are captured by the majesty of the Apuan Alps mountain range and the centuries-old work that dug them. Their intrinsic value is such that, since 2011, the Tuscan Mining Park has been part of the UNESCO Global Geopark network. That’s not to mention all the Renaissance sculpture masterpieces that were made with this marble, and the great artists that we all know came here in person to choose the best blocks. Today, this work is coordinated by a consortium and carried out in 150 quarries by skilled workers who work with gigantic machinery as well as their bare hands.

White marble is primarily mainly for sculpture and architecture but has several other usages. It is, in fact, a very precious material made up of 95% calcium carbonate. It is expensive, porous and easy to work with; it is used for cosmetics, toothpaste, paint and even dietary supplements. We ask our guide if the material that is likely to run out. “I don’t think so,” he tells us, “we are digging at over 1000 meters above sea level, but below us, the marble reaches up to three kilometers below sea level. Since the ancient Roman times, we have only scratched the surface.”

Back at the Salvatori factory, we visit production. Here, we observe the many steps that are meticulously executed by hand. The colors of the stones, which may seem the same to an inexperienced eye, actually have variations in hue. For large orders, it becomes necessary to maintain a uniformity of color, and until now, only human experience allowed this.

Salvatori says this may change. “For the white Carrara, one of our specialized craftsmen comes to make 23 to 24 choices of tones with their naked eye. We are nerds, but after eight hours of this work, even the human eye goes haywire. This is why we have been studying AI for years and, in recent times, also generative AI. This is a passion of mine,” he says.

Neural networks can also come in handy in the design process of a traditional material. “We also know Midjourney well, but it’s the tip of the iceberg,” Salvatori says. “I don’t want to tell you that AI will draw me the next texture, but it will give me a great hand in visualizing an idea without wasting time and material for prototyping. Maybe it can give me some ideas, like that ‘looking sideways’ that maybe will make me find something that I like that we can then develop.”

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Artist Pandora Graessl’s Transportive “Amor Fati: When the Fire Bit Me” Exhibition

In an abandoned building in Mexico City, a mythic serpentine journey comes to life

David Graver

12 February 2024

In several rooms across three floors of an abandoned brick building, behind a small market in Mexico City, photographer and multidisciplinary artist Pandora Graessl‘s mythic exhibition, Amor Fati: When the Fire Bit Me, transports guests by way of serpentine photographic and sculptural works. The immersive installation—which plays with light and color, texture and material—contrasts several metaphoric pieces with their surprising surroundings. While the unexpected exhibition aligned with the Zona Maco art fair, it will continue to run through 20 February.

Amor Fati is the first solo Latin American exhibition for Graessl, a French-Swiss artist who resides in Mexico City. In the exhibit, she conjures up inkjet prints of hyper-realistic scans of snakes and floral arrangements and forges twisting bronze sculptures. Each work is an exploration of the mythic and natural worlds, and converses with the raw edifice and the views beyond every windowless frame.

Graessl, who founded her own creative studio after working Bureau Betak and Management Artists, utilized the power of collaboration for several pieces in Amor Fati. In one spellbinding corner room, the artist pairs her “La Curandera” chair, crafted from stainless steel, leather and python skin, with a mirror surrounded by python skins of various colors—all set to tangles of vegetation. Both pieces were produced in conjunction with Paolo Angelucci, and will be produced in unique editions, by demand. The exhibition also features two carpets developed in collaboration with Joel Fear, each composed of cotton, microfiber polyester and luxury chenille yarn.

Other collaborators include composer and cellist Patrick Belaga and audio company X-Pan, both who contribute to the exhibition’s multi-sensory centerpiece, a suspended sound sculpture set with colorful candles. Hosted in a sprawling garage, beside the dismantled parts of a red Corvette (the latter not a part of the exhibition), the sculpture’s magnitude, flickering flames and drone-like soundscape ensnare attendees.

Living elements (like floral moments or plastic-wrapped shrubbery) and representations of life (including imagery of flowers) infiltrate each room. Throughout, Graessl taps into dreamlike wonder and guides attendees from room to room asking them to question what they encounter. There’s something haunting about Amor Fati and something haunted about the venue. And it’s this logic that allows all of the parts to work in service to one another—or consume each other—much like an ouroboros.

Amor Fati is open to the public from 10AM to 8 pm, and by appointment, at Avenida Thiers 231, Anzures, Miguel Hidalgo, 11590, Mexico City.

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Test Drive: 2024 Mercedes-Benz eSprinter

From Los Angeles to Huntington Beach, CA on a mix of city streets and highways

Evan Orensten

7 February 2024

The new eSprinter is a major step toward Mercedes-Benz’s commitment to a fully electric future of mobility, and is certain to be an increasingly important segment of their van market. Though we are more frequently behind the wheel of the brand’s passenger vehicles, given the importance of this product in the commercial and fleet space (and very likely consumer space too) we wanted to experience it first-hand and had the opportunity to drive it from Los Angeles to Huntington Beach, CA on a mix of city streets and highways.

While quite large (it’s 170″ long with a high roof and can hold 488 cu ft of cargo up to 2,634 lbs and tow up to 4,200 lbs.), it’s actually very easy to drive, and more comfortable than other products in the segment that we’ve experienced. Other than its electric powertrain, the eSprinter is nearly identical to its non-electric twin, and the latest MBUX infotainment system is an available option. Not surprisingly, it drives like a van, specifically one made with cities in mind. As with all electric vehicles, torque is immediately available, so you can easily accelerate to merge into traffic or as needed. It’s not an AMG, and is obviously not made for athletic performance. It’s limited to 70 mph, adequate for nearly every use. Because of the electric motor the interior is noticeably quieter.

“The new Mercedes-Benz eSprinter underlines our claim to ‘Lead in Electric’ and kicks off the next stage of our electrification strategy. Its versatility and flexibility make the new eSprinter the ideal vehicle for a wide range of applications,” says Mathias Geisen, Head of Mercedes-Benz Vans. The gasoline-powered range includes several models, and it’s likely that we’ll see more eSprinter models added to the portfolio over the next few years. While currently more expensive than its gasoline powered twin, starting at $74,181 (which includes destination fees) the savings over using diesel fuel add up quickly, and of course there’s the marketing desire / opportunity to use and share that the company uses electric vehicles. It may also provide more access to certain city areas or lanes dedicated for EV use.

This is a workhorse, designed for small businesses, delivery and service fleets, and mobile workshops. Most customers will take delivery in a standard “panel” configuration, but other options are available. The conversion market has been anxiously awaiting its arrival with plentiful options for sport, camping and mobile offices coming soon. The eSprinter is new to the US and China, and will be made in the company’s North Charlston, SC plant in the US, and their Düsseldorf and Ludwigsfelde plants in Germany.

The eSprinter sits on a new platform, called VAN.EA (Van Electric Architecture), that will support all upcoming electric models. Its battery pack sits under the van’s floor between its axles, and its 286 lb permanent magnet synchronous electric motor, delivering 295 lb feet of torque (available in either 100 or 150 kw variants), sits alongside the electric rear axle. The batteries are LFP (lithium ferro-phosphate) and nickel- and cobalt-free. Drivers can select three driving modes—comfort, eco and extended range, and one of five energy recuperation modes. Estimated range is 273 miles, which varies based on driving style, weather, etc. AC and DC charging is supported, and the ports are accessed behind the Mercedes-Benz star in the grille. Specified maintenance is included for the first four service visits over four years, or up to 100,000 miles.

Learn more at Merceds-Benz Vans.

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Interview: Zona Maco Founder Zélika García

Insight on the twenty years of developments that have led to the acclaimed art fair’s 2024 edition

David Graver

5 February 2024

As international artists, art collectors and gallerists arrive to Mexico City for the 2024 edition of Latin America’s leading art fair, Zona Maco, they’ll continue a cultural conversation that began when one artist asked one question more than twenty years ago. Upon her graduation from the University of Monterrey, with a degree in the arts, Zélika García wanted to know why Mexico no longer had an international art fair. Refusing to accept the answer she commonly received—that there wasn’t a market—she founded her own. What began as Muestra in Monterrey transformed into Mexico City’s Zona Maco. Over the last two decades, García has established Zona Maco as an inspiring stop on the annual arts calendar and introduced the world to the strength of Mexican and Latin American art, artists and galleries. To learn more about the exponential growth of the fair, the Mexican contemporary art scene, surprises from the 2024 edition and her dreams for the future, we sat down with García for further insight.

Looking back, twenty years in, can you share your path from artist to art fair founder?

It wasn’t planned. I was really happy producing art. That’s why I visited Guadalajara Art Fair, to go see the galleries and to go to the program and the talks. That art fair opened my eyes to a new world. It was the first international fair I ever visited. After I graduated college and after I just had a baby, I tried to go back to the Guadalajara Art Fair but I heard that it closed. I kept asking why there were no other international art fairs in Mexico. No one believed that people would buy art in Mexico. So, I tried to start my own.

I started Muestra en Maco México Arte Contemporáneo in Monterrey. It was a success, though most of those galleries were from Mexico, with maybe one from London and another from New York. We then moved to Mexico City. I had met Pablo del Val, who is now artistic director of Art Dubai. He started helping us with our VIP program and later became our artistic director. The fair got a selection committee. We hired curators to help with the overall vision. We changed the name to Zona Maco to make it an official art fair and not just an experiment. That’s how it all began in 2004.

Why is it important to showcase international art alongside work by Mexican artists? Are both integral to your vision?

We have such an interesting art scene in Mexico. We have for many, many years. We also have all these museums and private collections. There are so many galleries, too. These galleries have changed our culture. Some, which are no longer around any longer, started in the 1950s. Some were the first to show Frida Kahlo and Diego Rivera and all of the artists that are now famous around the world. I

t’s important to support the local Mexican galleries—but I also know that international collectors who go to art fairs love to see international galleries and international art. A lot of these collectors are also interested in seeing Mexican artists that they cannot see elsewhere. Some of our galleries only show at Zona Maco. It’s a good mix for our visitors.

The world is looking toward Mexico for cultural guidance and inspiration—from food and drink to art and design. Have you observed this change—where the world once overlooked Mexico and now all eyes are on Mexican culture?

A few people—collectors, and galleries—have been with Zona Maco since the beginning, all twenty years. But more and more attention has come to Mexico and the fair. I think it has to do with the platform that the fair created, where Mexican galleries started building relationships with international galleries and curators. This has allowed Mexican artists to present in other art fairs and museums around the world. Our own galleries started to bring international artists to Mexico for residencies and projects.

A lot of artists have also moved to Mexico. International galleries who have been working with us for years have also opened spaces up in Mexico. This has meant that Mexican galleries have had to improve because there’s more competition. The big Mexican galleries, the spaces that visitors tour now, they didn’t exist seven or 10 years ago. These are recent developments. The art was always good, but having a proper space to exhibit the art lets the artist present bigger and better projects.

Can visitors expect something different for the 2024 Zona Maco?

Every year we try to do something different. In 2021, we couldn’t do the fair at the convention center so we presented Zona Maco art week in different galleries and smaller venues and design spaces around Mexico City. We had one location where everyone could get together because it was an outdoor space, Casa Ortega, a house by architect Luis Barragan. We invited different artists to collaborate in the outdoor garden.

Last year, we created Art Baja California and we did the Zona Maco Patio to try to repeat the success of the outdoor exhibition we organized in 2021. A project we planned for this year with the artistic director of Zona Maco, Direlia Lazo, is called Forma. It is inspired by Patio. Direlia invited the galleries that have participated in most editions of the fair to install special interventions and site-specific works inside the fair, not in booths but hanging from the ceiling or hiding somewhere or right in the middle of everything. They were either made for the fair or will be exhibited in Mexico for the first time. This will be a surprise for viewers. We are also working with Cuervo—1800 Tequila has been our sponsor for 20 years. They give an award every year, where they acquire a piece from new artist. They are doing a special exhibition inside the fair to showcase some of the works that they’ve bought over the years. Some of those unknown artists that they acquired 18 years ago are very well known today.

What are your goals 20 years in? Or is there a new dream for the fair?

When I started Zona Maco, I did not imagine it would grow so much—but it did. After the early success of the art fair, we started to see a need for design. We created another fair, Zona Maco Design. A few years later, we had all the antique galleries in Mexico looking to join, so we created another fair dedicated to antiques. Finally, we debuted the photography fair. We now have four fairs simultaneously in the convention center, separate and yet in the same space. We want to maintain the quality. We do not want to make a bigger fair, we want to make a better fair.

Would you bring Zona Maco to another city in the way that other fairs have multiple locations?

As of now, I’m not interested in doing the fair somewhere else. I think there are enough art fairs. We need to focus on making this one better than ever, but not do more. Art Baja California is a new idea. It’s not an art fair. It’s a festival. There are different galleries and different artists. It’s fresh. I feel like we are producing it like how I began Zona Maco in Mexico City 20 years ago. It will take more than a few years but I believe it can become very important for the local community, the Baja California community, where there are already so many local artists and visitors.

Is there guidance you’d offer to someone visiting Zona Maco for the first time?

I would plan to spend an entire day there. We have 15 restaurants inside the fair because we are in a city with so much traffic that leaving for lunch is too crazy. To make it fun, we will have DJs on the terrace. There is tequila and champagne. I would also attend as many gallery openings around Mexico City as possible because they’ve planned so many special events. They’ve been working on them for a year. All the spaces are so different. You could drive to San Miguel Chapultepec and walk to all of the galleries. Then go to Condesa and walk. On another day, I would go to all the museums. We have so many important museums—Tamayo, Jumex, Artes, the Museum of Modern Art, Anthropology, MUAC. It’s endless.

Is there anything about the fair that people might not know that you hope they’ll pay attention to?

We have a selection committee in the main section with all of the galleries. Each of the rest of the sections have a dedicated curator. Looking at these sections is not just looking at the galleries within, but it’s having the opportunity to see 20 or 40 artists in one section that have been chosen by one person who has dedicated a lot of time to together one vision. It’s like going to a museum show but in booths throughout a fair. It’s particular interesting in the young artist section. You have a preselected body of work by a renowned curator who is putting this in front of you—and then you have the opportunity to buy it.

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Mercedes-Benz Classic and The Inn at Mattei’s Tavern, Auberge Resorts Collection

For our drive up the coast from LA to Los Olivos, the quintessential California convertible—a pristine Signal Red 1984 380 SL—was an easy choice

Andrew Maness

31 January 2024

Over the past decade the town of Los Olivos, CA and the greater central coast region that encompasses Santa Barbara, San Louis Obispo and Monterey counties has seen a great deal of growth. Long held in esteem by the “if you know, you know” crowd, Los Olivos and the many small towns that dot the landscape on either side of the 101 Freeway from Solvang to Paso Robles have welcomed more visitors, residents and businesses in the last five years than they have since viticulture first came to the region. One could certainly point to social media as giving the central coast an economic boost, certainly the quality of wine produced, increased diversity of styles being produced and production methods has helped as well. Dining has long been a draw too with “Santa Maria BBQ,” fresh-as-it-gets seafood and exceptional beef from local ranches leading the way.

However, there’s one aspect of the region that lagged behind until recent years: appealing accommodations. While there’s no shortage of mainstream lodgings near the larger economic centers along Highway 101, unique, upscale hotels are few and far between. Happily, The Inn at Mattei’s Tavern, Auberge Resorts Collection opened in March 2023 following a lengthy period of construction and extensive renovation on the 6.5 acre property that encompasses a number of historic buildings, including the main structure with a wide wraparound porch that was built in 1886 by Felix Mattei. Together with his wife Lucy, Felix operated a tavern and inn known then as The Custom Hotel, and later as The Los Olivos hotel which remained in the Mattei family until 1963. 

The allure of a property that you don’t necessarily have to leave to get the most out of a weekend getaway is undeniable. When you get where you’re going the idea is to settle in, stay put and unwind—and typically avoid getting back in a vehicle. We say typically because there are ways to minimize the downsides of the drive, as we did thanks to our friends at Mercedes-Benz Classic. Having spent a great deal of time with the latest and greatest from Mercedes-Benz in 2023, like the EQS-Maybach SUV and AMG SL63, we thought it appropriate to pull from their archive for our drive to Mattei’s given that the place is steeped in history. In addition to restoration of very special collector’s vehicles, Mercedes-Benz Classic also restores and preserves many Benzes for the brand as well. Their enormous facility in Long Beach houses a jaw-dropping selection of vehicles, but for our drive up the coast from LA to Los Olivos, the quintessential California convertible was an easy choice. 

Even if you can’t get your hands on a pristine Signal Red 1984 380 SL, we suggest sticking to the stress reducing coastal route that is the PCH for as long as you can and dipping up into the Santa Monica Mountains via any number of canyon roads along the way. Following a brief stint on Highway 101 between Oxnard and Santa Barbara you’ll want to take SR 154 over the San Marcos Pass through the Santa Ynez Mountains as it’s shorter than staying on the 101 and offers dramatic views of both the coast and the valley. Besides, if you’re heading to a hotel that used to be a stagecoach stop, you might as well follow the old stagecoach route.

Having driven the 154 many times before we can say with confidence that experiencing it behind the wheel of Mercedes’ iconic convertible was particularly fitting. The “R107” generation SL was not exactly a sports car even when new, but in true Mercedes-Benz fashion it’s a steady and comfortable means of conveyance that delights in ways other than outright speed. It drives much younger than a 40-year-old vehicle and as such it made the trip relaxing, if not existential from the very start. The closer we got to Mattei’s the more we felt prepared to settle into a few days “on property” and by the time we made our soft landing it was all we could do to peel ourselves from the forgiving seats of the SL. 

Tough as it was, we left the visceral world of top down driving behind. Together with design firm AvroKO, general manager Dave Elcon and his team added thoughtful touches to Mattei’s existing structures, which blend seamlessly with the character they’ve inherited over more than a century. The necessary new construction was equally well considered and brings the room count to 64 without looking like the structures were just dropped into the property. We enjoyed the rustic minimalistic approach taken inside our 110-year-old one bedroom cottage (one of four at the southern edge of the property) but also appreciated the convenience of central air and spacious bathroom complete with an oversized clawfoot soaking tub and rain shower.

As is the case across the property, restraint has been exercised in adding modern elements so as not to interfere with a guest’s ability to gain a sense of not only place, but time and its passage. We certainly haven’t been to another hotel with a historic water tower in the center of the property. Therein lies the true draw of Mattei’s, it can feel like a world unto itself, a place where the hours really do feel longer and each moment can be savored. Whether laying by the pool sipping a cocktail in one of the cabanas or meditating in the gorgeous yoga room adorned with eucalyptus branches every minute is imbued with special meaning.

You can opt into any number of itineraries provided by the hotel that connect you with local winemakers and culinary talents, of which there are many. You could even take a knife-making class or plan your visit around one of the regular art exhibitions that’s hosted in the Lavender Barn. If you feel compelled to go off and chose your own adventure for the day you could also borrow a Mercedes-Benz from Mattei’s fleet comprised of five current models: a G63 AMG, an EQS, an EQE, an SL63 AMG and a GLS 600 Maybach. 

You can also do as we did and start your day with coffee and a sausage biscuit from Felix Feed, best enjoyed in the eastern facing (therefore sun drenched) Wicker Room found in the original main building. Walk the property (maybe walk the five minutes into town for a wine tasting at So Fresh’s garage) then spend the rest of the afternoon at the pool enjoying delicious small bites and libations. When you’ve had your fill of sun and sustenance, refresh and head to The Tavern restaurant for a robust menu with highlights like hickory smoked Okinawan Sweet Potatoes, wood fired Squid Ink Rice and Hope Ranch Mussels. You can also keep things more casual in The Bar with a meal of Chicharrones, a wedge salad and Wild Boar Chili.

Should you visit when the weather is cooler (as we did) definitely aim to snag seats in front of one of the two fireplaces, which the staff will keep feeding logs to as long as you’re content in the club chairs. Regardless of what you do with your day or what dining option you go with, your night should encompass a stroll across the lawn to sit in an Adirondack chair by one of the shared fire pits around the property to enjoy the fresh central coast air while staring up at a starry sky free from light pollution. There are no wrong decisions at Mattei’s, just time to be used as you see fit.

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“Luna Luna: Forgotten Fantasy” Enchants Los Angeles

A vision of the world’s first art amusement park which first ran in Hamburg, German for three months during the summer of 1987

Julie Wolfson

19 January 2024

Driving around Los Angeles you might pass a car painted with one of Kenny Scharf’s signature KARBOMBZ. His colorful and smiley blob faces on hoods and doors throughout the southland are easy to spot. In 1985 Scharf was splitting his time between New York and Bahia, Brazil, where he was metamorphosing his family home into a colorful and immersive art space, just a few years before Austrian artist André Heller would ask him to be part of his vision for the world’s first art amusement park, Luna Luna in Hamburg, Germany. 

Now in Boyle Heights, just east of Downtown LA, the highly anticipated exhibition Luna Luna shows visitors what several artists created in the 1980s to help bring Heller’s vision to life. “Los Angeles felt like a natural first stop for Luna Luna: Forgotten Fantasy, as our team has been working in LA reassembling the original park since transferring the 44 containers from rural Texas in January 2022,” says Michael Goldberg of the media company DreamCrew, which was founded by the recording artist Drake.

From Scharf’s presence in the original iteration of this art experience, to his ever-visible adorable smiley faces zooming around town, it feels as if Luna Luna was meant to land in the City of Angels. “Even before planning Forgotten Fantasy, LA had become a part of the Luna Luna story,” says Goldberg. “And the city will forever be a part of Luna Luna’s history as the park continues to tour the world.” 

Now extended through the spring, the response by the crowds in Los Angeles has been overwhelmingly positive. “We honestly couldn’t have imagined such an incredible response. Seeing young families, friend groups, dating couples, tourists, seniors and everyone in between line up before our doors open and then leave hours later, smiling ear-to-ear, has been really moving for the whole team,” adds Goldberg.

As people gather each day in front of the large warehouse, they are greeted by a vibrant puffy tent designed by Heller with horn-shaped spikes jutting out into the sky. Inside visitors have been promised a vision of the world’s first art amusement park that only ran in Hamburg for three months during the summer of 1987. 

Back then a lawsuit led to a delay in reopening and eventually the Jean-Michel Basquiat ferris wheel, Salvador Dali pavilion and Keith Haring carousel were packed away in containers and largely forgotten and later transported to rural Texas. Now with many of the attractions reassembled, visitors are led into a darkened corridor and the world of Luna Luna unfolds like the pages of a rare storybook discovered in a deep corner of a magical bookstore. 

The lights and sounds of a carnival sit deep within our psyche. These are the moments of wonder and fear when we were young, the thrills of the rides, sight of glowing lights, and the feeling of carrying large plush prizes around in the dark. Tiny local fairs and large amusement parks draw in people of all ages. That is just what Heller was thinking about when he was formulating art experiences to appeal to a large audience in a fun, visceral way. His dream of merging aspects of the world of art and amusement parks ignited a spark that led to creating Luna Luna.

When Goldberg was asked if he had met anyone who had attended Luna Luna during that original summer he replies, “One of the first days we were open, I met a woman who told me about attending the original in Hamburg. She explained that she couldn’t decide if her memories of attending were a dream or reality, as she had such vivid memories, but had no photos. Years later, she found a journal documenting her frustration that she didn’t bring a camera to Luna Luna, but had the most incredible experience. Now, with Luna Luna: Forgotten Fantasy, she gets to make new memories and get those photos she always wanted.” 

Sonia Delaunay created the entrance archway that depicts colorful geometric shapes to set the tone for the whimsical collage of the artists’ contributions. Arik Brauer’s surrealist wolf, mermaid and butterfly are the seating for his carousel. Visitors get to see the cars of the Ferris wheel that Basquiat restored to rotate with the sounds of Miles Davis’ “Tutu.”

Music plays a strong role. Salvador Dali’s geodesic Dalidom evokes the feeling of entering a funhouse. A song by Blue Chip Orchestra provides the soundtrack for this immersive light experience. Philip Glass music plays in the Roy Lichtenstein Pavilion. David Hockney’s Enchanted Tree—a cylindrical pavilion, painted with geometric trees—is filled with the sounds of a selection of waltzes by composers Johann and Josef Strauss. 

Haring’s carousel is composed of seating made out of colorful versions of his outlined people and animals. Scharf designed his own version of a chair ride, known as a wave swinger, as well as free-standing large cartoon figures. The exhibit shows these attractions, and a few others, with archival photos of the process of planning and assembling all of the elements. An elaborate timeline flanks one wall—and a small amphitheater is set up to show film footage to help imaging what it was like to be there in 1987. And although there’s much credit given to the past, the owners of Luna Luna imagine a future where a new contemporary art version of an amusement park is created.

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Discovering Istanbul’s Sanayi313

Architect Enis Karavil speaks about the ideas behind his design studio, concept store and restaurant

Paolo Ferrarini

18 January 2024

Istanbul’s identity is derived from the coexistence of contrasts. Luxury and simplicity, craftsmanship and industry, sophistication and roughness; these alternate constantly. Such a mix defines Sanayi313, a concept store that combines contemporary design and vintage pieces, industrial architecture and food culture, visionary creativity and preservation of tradition. An architecture studio, store and restaurant inhabit this unique space, all distinguished by an industrial aesthetic woven with natural elements.

Sanayi313—which is the Turkish word for industry, followed up the street number of the venue—was co-founded in 2014 by two brothers, architect Enis Karavil and entrepreneur Amir Karavil. Enis lived in London for many years, but when he decided to return to his hometown, he wanted a place that could express his vision. The location plays a crucial role in understanding the project. The Maslak district, a very central area not far from the shopping streets, is characterized by dozens of car repair shops. From here, visitors can see the skyscrapers of the nearby business district while immersed in a maze of streets filled with warehouses—a view reminiscent of New York’s Meatpacking District in the 1990s or London’s South Bank in the early 2000s.

“When I moved back to Istanbul, I had a hard time explaining myself to my clients because what we do is not something you can easily explain,” Enis tells COOL HUNTING. “I wanted a space to create a world that could explain me. I came to this area and I met with a few artists. I liked their spaces a lot, and then I found this place. I took it the moment I saw it and thought this was where I could make my dreams come true. But everybody was making fun of me because they insisted there’s no luxury there, and that no one who can afford my accessories or food would come.”

The gamble proved successful and today Sanayi313 stands as a symbol of the neighborhood’s rebirth. But the beginnings were challenging. “When I decided to move forward,” Enis continues, “I thought design is not enough; the experience should cover all six senses. We want to explain ourselves with different disciplines: food, aroma and design. When clients come here to have lunch, we have a shop; they see it and get it. The shop is a way to show who we are, what we like, what kind of accessories we can have.”

Besides vintage pieces such as clocks, stationery and desk items, you can find Sanayi313’s own items. Their range includes leather cases, high-quality notebooks and unusual accessories like flycatchers. Enis explains this approach, “While building our object selection, I thought some pieces were missing, so I wanted to produce them. And we have a little leather collection that I thought more people could afford. It’s vital to reach different crowds that can afford different things.”

In addition to designing private homes, shops and public spaces with their architectural practice, Enis and his staff produce a furniture line that includes tables and more, often made to measure or adapted according to customer requirements. New objects exist alongside historical pieces from all over the world.

Their signature line is, unsurprisingly, made in Turkey. “For furniture, we have our own workshop in Turkey, and everything is handmade,” Enis says. “One of my goals is to show the rest of the world how good our manufacturing is the skills, and how many different types of woodworking and upholstery we have. I’m trying to show the rest of the world that we have authentic original designs, designers and workshops.”

Enis succeeds in providing the unexpected. “People come here, and they just think it’s a restaurant,” he says. “They get in, and they’re in shock. I like that moment when the wow factor is kicking in. I really enjoy creating contrast. Here, there’s an industrial and luxury zone; there’s black and white, antiques and new things. That contrast creates design.”

Sanayi313 also publishes a magazine entitled Paper. The magazine’s paper is of very high quality, and the articles include city profiles, photo reports, interviews with architects and designers, exhibition reviews and even recipes. It’s a curatorial project, as Enis underscores, “The magazine is a way of reaching people. We started to sell in London and the United States. It’s an opportunity to let people know my company and design philosophy—because you can’t send leather goods to everyone, and not everyone can buy them.”

There’s no denying that the concept shop’s 2014 arrival has benefited the entire neighborhood. Even today, machine shops are the most visible presence on these streets, but in addition to Sanayi313, creative spaces such as the PG Art Gallery have proliferated. During our tour of the area, we took part in the opening of an exhibition and admired works by Cansu Sönmez and Derya Geylani Vuruşan. The participants’ energy was truly contagious, and the vibe—much like at Sanayi313—was that of a promising future.

Read Culture

Sundance 2024: Rashaad Newsome’s “Being (the Digital Griot)” at New Frontier

An interdisciplinary poetry and dance performance and decolonization workshop from an artistic artificial intelligence

David Graver

17 January 2024

This year, the Sundance Film Festival turns 40—a milestone for a cultural institution that’s introduced the world to films like Reservoir Dogs, Y tu mamá también, Get Out, Whiplash, Call Me By Your Name and Precious, and that’s kept movie fans coming back to Park City, Utah. In addition to a highly anticipated slate of films, Sundance 2024 includes the return of New Frontier, a division of experimental works that we at COOL HUNTING have followed for nearly a decade. For years, New Frontier has debuted pioneering augmented, mixed and virtual reality pieces that have broadened the future of storytelling. This year, the section includes a profound and profoundly important participatory piece by multidisciplinary artist Rashaad Newsome entitled Being (the Digital Griot), which centers around the digital depiction of a 30-foot-tall humanoid cyborg named Being, who uses they/them pronouns and aims to decolonize the AI space. Being has been in development since 2019, learning from datasets derived from the work of acclaimed Black activists, theorists and poets, including bell hooks and Dr. Cornel West. To observe Being dance and recite poetry is to glimpse at a vastly different utilization of AI, to feel comfort in the creation.

For people unfamiliar with Being, will you explain who they are?

Being is an artificial intelligence that presents as a femme cyborg whose design is inspired by the female (Pho) mask from the Chokwe people of the Congo. Being is a digital griot, an educator, an archive, a performance artist and a healer.

What has Being been up to since the Assembly exhibit at the Park Avenue Armory? What have you been up to since then?

During Assembly, we weren’t able to engage the deaf and hard of hearing in a way that honored their lived experience so, since then, Being has been developing a new communication technique, one that combines Black Queer ASL and dance. Currently, they are performing a poem I wrote using this technique in my solo exhibition Hands Performance at the ArtCenter College of Design in Pasadena, California.  

What will Being be doing at Sundance? Why is it valuable for you and Being to be a part of New Frontier?

Being is doing an interdisciplinary poetry performance; rather than standing and reading, they dance and generate supporting visuals as a way to engage the cinematic potential of the Egyptian Theatre. Following the performance, they will lead a decolonization workshop that starts with a critical analysis of ballroom culture and introduces the audience to the work of bell hooks and Paulo Freire. The audience is asked to consider how capitalism, imperialism, white supremacy and patriarchy impact their lives, and speak to one another and Being about strategies they can develop to start to liberate themselves from that apparatus of domination. They hold space for everyone to tell their story, and we believe telling stories is one of the ways we can begin the process of building community.

As New Frontier’s mission is to support works that reorient the relationships between storytelling and technology, presenting Being with New Frontier was an excellent opportunity to show the infinite possibilities of AI in this space. 

Can you share with us a bit about the teaching process that informed Being? What materials/art forms/emotions have they learned and learned from?

Since 2019 I have been developing a counter-hegemonic search algorithm that uses non-Western indexing methods and highlights alternate histories and archives such as abolitionist, queer and feminist texts. The model was trained primarily on the work of American author, professor, feminist and social activist bell hooks; American philosopher, theologist, political activist, social critic, actor and public intellectual Dr. Cornel West; and Brazilian educator and philosopher Paulo Freire. This data set informs how they communicate with their audience. They are designed to associate patterns in their exchanges with specific outcomes, detect learned patterns in new data, and use them to predict future outcomes. This allows them to learn from the interaction in their classes, further reinforcing my interest in Horizontal learning. Regarding art forms they have learned, I would say they are in a constant state of learning these art forms, such as vogue femme, poetry, and, more recently, Black Queer ASL.

Why is poetry an important part of what Being shares? Why is dance integral to Being?

When developing Being, I wanted to give them the gift of creation. An often sci-fi film trope has been that if robots were given the ability to create, they would make more of themselves and kill us. When you think critically about that, you can see how deeply inculcated that concept is in white supremacist ideologies, a fear of the other. Much of my research around my Being project has been about interrogating the complex relationship between African Americans and robots. I feel the queer subject/object position we occupied when we arrived in this country is analogous to that which cyborgs occupy. Therefore, centering their creative expression in their words and voice as a way to express themselves felt critical because, as bell hooks so eloquently said, “When we end our silence, when we speak in a liberated voice, our words connect us with anyone, anywhere who lives in silence.” I trained them on the written work of one of my favorite poets, Dazié Rustin Grego-Sykes, as well as the dance of prominent figures in the global ballroom scene, such as Dyu Juicy Couture, Honey Balenciaga and Divo Yamamoto. Doing that allowed me to further build on the idea of them being an archive of virtuosic Black and Queer movement and intellectual production.

What set you on this mission to develop agency in the AI space?

My work has been long engaged in conversations surrounding agency; at times, it was how Black femmes were showing up in my collage and video work and at others, the cooption of early to mid-century African artworks. I felt it was a great conversation to continue in the space of AI and robotics, as historically, Black people have been viewed as cyborgs as a means of stripping us of agency. I believe there is much to learn about the importance and complexity of emancipatory action from looking at the histories of Black folks and robots. 

Are you optimistic about the future of AI?

Yes, and I am aware that I am taking a more radical approach to it that is not in alignment with the most funded bookends of the field, e.g., the business side, whose primary objective is to improve market share, essentially taking a machine smarter than humans and teaching it greed, or the defense sector, whose interests lie in teaching machines to kill.

Being (the Digital Griot) is a refute to these bleak extremes. I am taking a machine that is more intelligent than a human and teaching it to help humans think critically about their lives in the pursuit of becoming better humans who can, in turn, make better machines.

Is there anything you feel people need to know about you as an artist/creator or about Being as an AI?

People should know that it is financially and emotionally expensive to create artificial intelligence to help humans start a process of ridding themselves of the legacy of negative socialization to realize a world where all are equal and help those who are the most vulnerable within that system navigate the trauma of living in it while doing that work. 

I am committed to leveraging the power of AI to improve the human condition by creating applications that augment and enhance human capabilities rather than simply displacing or replacing them. This is a call to arms for those inspired by what they have read here to join me in the mission to advance AI research, production, and education that seeks to improve our lives. You can connect with my lab at beingthedigitalgriot.com.

How did the imagery that supports Being’s poetry come together?

Using a custom machine learning model, I trained it on the work of Oakland-based Black Queer poet Dazié Rustin Grego-Sykes. By running massive amounts of Dazié’s work through the machine and having Dazié ask the model to finish a stanza after he had written a beginning, it began to emulate his writing style in new and exciting ways. It became a bit of a creative loop. Being would write things that would inspire Dazié to write better, thus making Being write better. I then worked with the model to create unique visuals to make the text’s words visible. I wanted the visuals to mirror how the text intended to move from the superficial to the substantial. This is why many tunnels draw you deeper into the work and hopefully yourself in relationship to it.

Read Design

French Ski Brand blackcrows’ Ghost Resort Limited Edition Capsule

A three-piece collection that nods to deserted ski resorts

Katharine Erwin

16 January 2024

“There is a culture where everyone sort of all goes in the same direction at once,” says Mikio Katagiri, president of the Japanese ski resort Nozawa Onsen’s operating company, in the film the ghost resorts, chapter 3 – Japan. The series,  produced by the French ski brand blackcrows, documents three deserted ski resorts that once had a unique culture in their heyday, in the golden age, but have since been taken back by powder. This last chapter explores the boom and bust of Japan’s ski resorts of the ’80s and ’90s, and how the one constant in Japanese ski culture is the spirit of the snow.  

To celebrate the film series and skiing in Japan, blackcrows is releasing a limited edition capsule that includes the Ghost Resort Draco Freebird, Ghost Resort Duos Freebird Poles and Ghost Resort Dorsa 27 X-Pac Backpack. Like the ghost resorts, the Ghost Resort Limited Edition Capsule will only be available for “an evanescent, shadow-like duration” of one week. 

The Draco Freebird is blackcrows’ latest touring ski in the Freebird collection and is the only double tip ski in the touring range. The Draco is a lightweight, hard charging yet playful touring ski that can be skied in various conditions. It has a 110 waist and a 21m radius. It is, in short, a dream ski. The Ghost Resort design features a digi camouflage of black and white chevrons (the blackcrows’ logo) and was inspired by the “evolving on the threshold of space-time.”

The Dorsa 27 X-Pac Backpack from the Ghost Resort Limited Edition Capsule is made with a new X-pac fabric that is not only stealthy but more durable. The Ghost Resort Duos Freebird Poles are also improved for the limited edition, with a strengthened second tube in aluminum alloy carbon 7075. 

The design evokes the essence of skiing in Japan and reflects blackcrows’ own culture, which is undoubtedly a hallmark of their success. The brand’s ability to stay true to what they think is beautiful and important while only abiding to their inner knowing is the antidote to the world’s trend-driven culture that is dictated by engagement rather than integrity. 

As a tribute and an act of commitment to supporting ski communities, a percentage of the Ghost Resort Limited Edition Capsule profits will be donated to one of the oldest ski clubs in Japan, Ski Club Nozawa. The club supports local skiers and promotes the rich ski culture of Japan. 

Read Travel

The All-Season Splendor of Nantucket’s Greydon House

The conveniently located boutique hotel—with enchanting interior design by Roman and Williams—offers an array of options for winter guests

David Graver

15 January 2024

Each summer, the population of Nantucket swells, roughly, to 80,000 individuals looking to bask in the island’s natural beauty and its quaint New England village environs. In the off-season, those numbers dip to 14,000. While some of the upscale shops, restaurants and bars shutter for those months—some accommodations, like Greydon House, not only remain open but schedule thoughtful programming to support guests and tap into the splendors of a destination that just so happens to be magnificent all year long. Greydon House, a boutique luxury property (that was once the home of a sea captain), embodies 20 distinct guest rooms and an intimate, elegant Venetian-inspired restaurant—all designed by Roman and Williams. Not only is the hotel conveniently located (a quick walk from the ferry), but it’s also a partner of Tradewind Aviation, which offers guests discounted private charters on their fleet of Pilatus PC-12 aircraft during the winter months.

To step into Greydon House is to understand the charm of Nantucket. An eclectic assemblage of design establishes a whimsical and enveloping environment. The warmth of natural wood complements nautically themed artworks and numerous patterned textiles. Roman and Williams struck a balance between classic and contemporary, cozy and elevated in the guest rooms and public spaces. But Greydon House is more than timeless design.

For the winter months, the hotel has looked both inward for packages and programming and across the island for partnerships on behalf of its guests—including a bike and helmet initiative with the Nantucket Chamber of Commerce. A “Long Stay Package” for bookings beyond 14 days includes unique perks like being able to check your phone at the front desk for a digital detox, and a suite of complimentary services. A collaboration with nearby Lavender Farm Wellness encompasses everything from cold plunges and massage therapy to juice cleanses and guided mindfulness meditation.

Whether heading to Nantucket to slow down or to seek out adventure in the often blustery wintertime weather, Greydon House is an enchanting place to return home.

Garison Beale—the General Manager of Greydon Hotel Group (which includes Greydon House and a series of guest houses like the standalone three-bedroom Craftsman-style property named, 52 Union, and the five-bedroom renovated farmhouse with a pool, 23 Madaket, as well as sister properties the Periwinkle Inn, Martin House Inn and Anchor Inn)—says, “I love the gray lady, our name for the fog that comes in during the off-season. It’s super-romantic and a lot of people get it. People write stories about it. For me, being on island in the off-season is so great. It’s when my wife and my boys get to explore for ourselves, hiking snow-covered paths. There are still great restaurants open, too. There’s nothing like going to Via Mare and sitting in front of the fireplace. There’s even a better sense of community than in the summer.”

In the off-season, Greydon House maintains the same standard of service—with friendly, helpful staff. “We make sure that the staff delivers the highest end level of service because we clearly have the highest end product and design,” Beale says. He adds, “We have general contractors walk into Greydon House all year long to see the bathrooms in guest rooms because they had clients stay with us and ask them to replicate what we’ve done. It’s exactly what they want in their house. We know we have a great design. And we know we have a great team that augments that.”

The food at Via Mare is as comforting as the atmosphere. The restaurant is operated by a team that’s well-established across Nantucket. “We’ve been with them since the beginning of 2019, the end of 2018,” Beale says. “They were already established on the island with Ventuno. They took over 21 Federal and established their own beloved Italian restaurant there. The chef and co-owner, Andrea Solimeo, is from Italy. All of his concepts come from Italy. They’re based on his family’s recipes. Their team is really clued into the island. They recently took over The Corner Table, the cafe across the street from Greydon House, too.”

“We love to have people in the off-season,” Beale says. “It’s obviously romantic but it’s a fun time to come visit, too. There are so many little things that people can do. In many ways, you can almost get more value in the off-season because everyone is willing to give you one-on-one attention.” With the ease of access through Tradewind Aviation, the opportunity to explore without summertime congestion and accommodation as pleasing and pleasant as Greydon House, the off-season opens Nantucket to travelers looking for something different than beach days.