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NEW YORK

London

Daressalam

Vanderbilt Studio

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DAVID ADJAYE-1966 als Diplomatenkind in Tansania geboren- aufgewachsen in Kairo und Saudi-Arabien- Studium in London- Zusammenarbeit u.a. mit Chassay Architects und David Chipperfield- 1996: Bürogründung mit William Russel- 2000: Trennung von Russel und Gründung von Adjaye Associates in London, weitere Büros in New York und Berlin- lehrt an der Princeton University of Architecture

2001: Dirty House, London2002: Nobel-Museum, Oslo2005: Olafur Eliasson Pavilion, Venedig2006: Pitch Black, NY2008: Museum for Contemporary Art, Denver

Manhatten

Queens

Bronx

Staten Island

BROOKLYN

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NEW YORK TIMES - Style

Double Vision

By ALIX BROWNEMPhotographs by NIKOLAS KOENIGPublished: September 3, 2006

The artists James Casebere and Lorna Simpson know that appearances can be misleading. Casebere creates architectural models out of foamcore and mat board, which when photographed look like actual buildings. Simpson’s politically charged work in photography and video manipulates size and scale and ultimately the way image and viewer interact. Even the couple’s new studio in the Fort Greene neighborhood of Brooklyn is not exactly what it appears to be.MultimediaThe four-story building, on the site of a former carria-ge house, is the first American project by the London-based architect David Adjaye, who was recently commissioned to design the new Denver Museum of Contemporary Art. The three met through a mutual friend, the curator Thelma Golden; the couple were intrigued by the architect’s mysterious exteriors and attracted to his way with light and space. “David’s buildings are enigmatic in their skin,” Simpson says.

The studio’s intimidating facade is something of a trademark for Adjaye, whose Dirty House, designed for the British artists Sue Webster and Tim Noble, is clad in the dark paint used to protect mailboxes from graffiti, while his Elektra House glows from behind a seemingly impenetrable black wall. The Vanderbilt Studio, as the Brooklyn building is called, is armored in polypropelene panels that are normally used for shipping containers. As with Adjaye’s other buildings, the exterior wall provides a protective screen from the city. Just inside, an entryway, which Adjaye says was inspired by entryways typical of Japanese architecture and traditional rural structures, creates a threshold between the street and the studio. “It also has practi-cal implications,” Adjaye says, referring to what might inelegantly be described as an air shaft. “But the primary idea is to create a transition from the outside world to the world of thinking and creating.”

Each artist has a generous light-filled studio and a cozy mezzanine office tailored to the demands of his or her respective media and creative personality. Casebere’s is vast and cavelike with double-height ceilings in the work space to accommodate large-scale models. Simpson’s features a perfect cinemascope window looking over the serene rear courtyard; its crumpled ceiling is punctuated with multiple sky-lights tracking from east to west. “Jim’s is a much more classical space,” Adjaye says. “It’s about symme-try and light.

Lorna’s studio is more about framing and editing, editing being a very important quality in her work.” There is not much in the way of furniture — a few Jens Risom chairs, a comfortable Stickley sofa. Adjaye also designed all of the built-ins — desks, a daybed and plentiful bookshelves and storage.

For Adjaye, who is interested in how private buil-dings can be designed to respond to the complexities of urban life, it was important that the Vanderbilt Studio function as a work space without wholly fee-ling like one. Its inverted pyramid roofscape, a nod to the local gabled architecture, coyly suggests that this mysterious black box might even contain a house. Or perhaps just the idea of one. “We love being here,” Simpson says. “It’s nicer than home.”

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