07 september 2018

Lorna Simpson #2

Pitch Black, New York, 2006.

"This four-story building in Brooklyn houses the studios and offices of the artists Lorna Simpson and Jim Casebere. The front and side façades are clad in black polypropylene panels, while the rear is almost entirely made of glass. The canted profile of the sidewall is a response to a nearby church and gabled rectory house, and speaks to the sectional organisation of the spaces it encloses. The design strategy had two main aspects: first, to separate the artists’ zones of thinking and creating from the outside world with a narrow light well; and second, to measure the verticality of the building by distinguishing each floor according to its position in the section.

Inside, each artist has their own studio and office; these spaces respond to the individual needs of their practices, with scale and proportions reflecting their choice of media. The ground-floor studio is a classically inspired, double-height atelier space, which accommodates large-scale models and supports the traditional notion of the artist’s act of creation. The cutout aperture of the mezzanine level office allows for the review, contemplation, and appraisal of the works from above. The second attic studio relates to the artist’s work with film and photography. Whereas the ground floor studio enjoys a view of the courtyard that includes the elevations of nearby buildings, the window of the upper gallery is set back below the oversailing roof and, as in a cinematic view, directs the gaze at an oblique angle toward the ground. The ceiling of this space is punctuated by seven east-to-west skylights within the truncated pyramid of the roof."
(bron: Adjaye Associates)

In the Studio with Lorna Simpson. (bron: The Paris Review, foto's: Menelik Puryear)

Lorna Simpson in her Brooklyn studio. (bron: Vogue)

Created in 2006 by architect David Adjaye, artist Lorna Simpson’s four-story studio in Brooklyn comprises offices and gallery spaces. The double-height ground-floor salon is outfitted with a vintage sculptural tête-à-tête.

The third floor, seen here from the top of the staircase.

The Zen-inspired rear garden.

“When we were introduced to David, his practice was already shifting toward larger public commissions, and we weren’t sure he would be interested in doing a small residential-type building,” recounts Simpson (who is no longer married to Casebere). “Later we met him in the Giardini, at the Venice Biennale, and he kind of said, ‘Okay, here’s what it’s going to look like,’ and he drew it on a napkin. It evolved from there, and we had a budget but we gave him full rein.”

The four-story studio, a crisp gray-concrete structure featuring a strikingly patterned dark-polymer front façade, was completed in 2006. A decade on, the building is now used exclusively by Simpson, and its purpose has evolved. “A lot of my work up until the last three years was created in this building,” explains Simpson, seated in the studio’s dining area across from a self-portrait by the legendary Cameroonian photographer Samuel Fosso. These days Simpson uses another location nearby as her primary artmaking space, freeing up the Adjaye building for offices and meeting areas, presentation galleries, and a place to reflect upon works in progress.
(bron: Galerie Magazine, foto's: Michael Mundy)

> Lorna Simpson

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