What’s Happening: A retrospective spotlighting the most distinguished projects from the “Le Corbusier of landscapes” echoes calls for better stewardship of his work.

The Download: It seems impossible to fully document the output of the late Dan Kiley, one of the 20th century’s most influential Modernist landscape architects who worked with Eero Saarinen, Louis Kahn, and I.M. Pei over a prolific six-decade career. His peers can attest: landscape architect Laurie Olin observed the enigmatic Kiley’s “thoughts are like rabbits—they just keep leaping out,” while architect Jacquelin Robertson quipped that he “looked like a cross between a leprechaun and a Tyrolean ski instructor.” Though he completed an array of rigorous, grid-like landscapes that have drawn comparisons to Le Corbusier and persist as Modernist icons, including the Jefferson National Expansion Memorial (home to Saarinen’s Gateway Arch), the Ford Foundation in New York, and the Art Institute of Chicago’s South Garden, many of his achievements have been erased, owing mostly to the ephemerality of nature.

When the centennial of Kiley’s birth went unsung in 2012, the Cultural Landscape Foundation sprung to action and pieced together a traveling photographic retrospective to celebrate his life and career. “The Landscape Architecture Legacy of Dan Kiley” landed at the National Building Museum and the New York Center for Architecture a decade ago, but returned twice as large to Brooklyn’s ABC Stone last week. Photographs by Marion Brenner, Todd Eberle, and Alan Ward not only document the current state of 27 of Kiley’s more than 1,000 landscapes, but shed light on how he created intricately textured gardens that brought out the best in Modernist architecture. Credit his biggest influences, including French classicist André Le Nôtre, the sweeping allées of Versailles and Vaux-le-Vicomte, and Walter Gropius, who revolutionized Harvard’s architecture curriculum while Kiley studied there in the 1930s.

Beyond serving as a showpiece for Kiley’s talents, the retrospective is a clarion call for greater preservation and stewardship of his work. His landscape at Lincoln Center underwent major alterations as part of a controversial revamp by Diller Scofidio + Renfro while new buildings buried his gardens at Dulles Airport, causing some of Kiley’s spiritual successors to protect his legacy. Landscape architect Raymond Jungles, for example, was tasked with maintaining the overgrown gardens in the Ford Foundation’s soaring atrium during its 2019 renovation by Gensler. Instead of outright replacing the plantings, which never reached their full potential due to pests and tough site constraints, Jungles opted for a scientific approach to restore Kiley’s vision that involved planting 40 trees that thrive in low-light conditions.

In Their Own Words: “The legacy of Dan Kiley is that his work demonstrates how place informs life and how in turn life gives meaning and value to place,” landscape architect Peter Ker Walker said in the exhibition guide. “That he has done with art, grace, and good humor to the lasting benefit of all.”

Surface Says: Photography of the Ford Foundation atrium post-rehabilitation stars in the show—a far more pleasing result than paving things over.

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The London museum’s East Wing recently reopened as the Weston Wing after a three-year restoration to convert office space into galleries and gathering spaces. Among them are two spots to dine, drink, and take in art, both designed by interiors firm Run for the Hills. The first is Audrey Green, a Breakfast at Tiffany’s–inspired café that blends the 1896 building’s original shutters and mosaic floors with a light-filled airiness and an exhibition of the museum’s ballet portraiture. Its all-day assortment of coffee, cakes, pastries, and lunch will eventually give way to bottomless brunch seatings on weekends.

A few floors down, in the gallery’s vaults, Larry’s Bar brings a bit of rock’n’roll rebellion and West End glamour to its interiors. Moody lighting plays off of the winding, vaulted arches and alcoves, while a sunlit atrium brings airiness and levity to the sensual palette of velvet, brass, and leather accents. In addition to the art on the walls, the cocktail menu pays homage to a nostalgic era of musicians and film stars with The Hepburn: a signature gin drink named in honor of Audrey Hepburn’s cabaret performances nearby in 1949.

The Seoul-based firm Mass Studies has been selected to design the 23rd annual Serpentine Pavilion, a temporary structure commissioned by the titular gallery in London’s lush Kensington Gardens. This year’s pavilion, a constellation-shaped structure titled Archipelagic Void, will consist of five “islands” (or “content machines,” as firm founder Minsuk Cho describes) designed around a central void acting as a madang, a small courtyard in old Korean houses. Assembled, the parts become a montage of ten surrounding spaces—five covered, five open—that serve various functions, from a gathering area to a place for quiet repose. “By inverting the center as a void,” Cho explains, “we shift our architectural focus away from the built center of the past, facilitating new possibilities and narratives.” The pavilion will be formally unveiled on June 5.

Rick Owens normally stages his runway shows on the monumental forecourt of the Palais de Tokyo in Paris. But in response to the “barbaric times through which we’re living,” fashion’s resident rule-breaker opted for more intimate environs when debuting his latest collection. This season, he opened the doors to his and Michèle Lamy’s home on Place du Palais Bourbon, the former headquarters of the French Socialist party, where he first sold his collections two decades ago. Sparsely populated with Brutalist furniture contrasting the historic molding and cornices, the cavernous digs proved an ideal setting to showcase comfort-inspired garments like architectural puffer jackets and cashmere, alpaca, and merino space suits.

Whether designing jewel-toned statement pieces with anthropomorphic touches or collaborating with artisans to sculpt expressive stone furniture, Stephanie Sayar & Charbel Garibeh often bring their life experience and Lebanese heritage to the fore. The Beirut-based duo’s latest body of work, currently on view at R & Company in New York, channels the Lithic stage by transforming blocks of white stone into softly formed objects and fixtures whose gentle curves and textured surfaces add welcome touches of whimsy.

When: Until March 2

Where: Marlborough, New York

What: With her assortment of inkjet prints, monoprints, and one-of-a-kind applications of materials, like beehives, on paper, Oka Doner turns the ground floor of Marlborough’s Chelsea gallery into a life-size study of what most captivates her about nature. Non-paper works include a granary installation, which houses 50 of her brass and ceramic “soul catchers.” The show unites three major sources of inspiration in her work: flora, fauna, and the human form.

Christopher Boots is a Melbourne-based designer driven by a love of nature and light. His handmade work explores the architecture and geometry of organic shapes, and is often inspired by flora, fauna, and minerals. Christopher launched his studio in 2011 and in a short time has grown to a team of 20. Among them are glass blowers, coppersmiths, ceramicists, sculptors, and bronze casters all dedicated to quality.

Surface Says: It’s easy to see why these crystal-swathed fixtures—an aesthete’s dream come true—line storefronts of luxury heavyweights such as Hermès.

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