- What: Apartment Therapy Design Evenings
- Who: Mira Nakashima-Yarnall — daughter of George Nakashima and creative director of Nakashima Studios
- Members: 2,735(rsvp on Meetup.com)
- When: Wednesday, April 6: 6:30pm - 8:30pm
- Where: NEW LOCATION! ABC Carpet & Home | 888 Broadway NYC
Mira Nakashima-Yarnall, daughter of George Nakashima and creative director of the Nakashima Studios, joins Apartment Therapy this April!
We’ll hear how Mira has extended the Nakashima tradition, not only by producing George’s “classic” lines, but also by reviving some of the older ones, and by continuing the evolution of new design solutions. Mira will share her designs, named “Keisho” (“continuation” in Japanese), which preserve the methods and techniques embraced by her father, such as working from the same wood-pile, where the wood itself determines its own contours, dimensions and understructure.
As always, we're hoping to kick off the evening with three short design presentations. If you're a design student/designer and would like to show one great design at our design evening, please email Herma at email@example.com.
Please RSVP on Meetup.com, and make sure to include the first and last name of you and your guest by 3pm on April 5th.
Mira Nakashima was born in Seattle, Washington in 1942, was incarcerated in Idaho during the war, but grew up in New Hope, Pennsylvania, where her father, George Nakashima over time built his home and studio. Mira earned her Bachelor of Arts in Architectural Sciences and General Studies at Harvard University in 1963, and then went on to complete a Master of Architecture at Waseda University in Tokyo, Japan in 1966. After raising a family in Pittsburgh, she returned to the Nakashima Studio in 1970 and apprenticed to her father until his passing in 1990, when Mira became the creative director of the Nakashima studios.
She was the curatorial assistant for George Nakashima’s retrospective show “Full Circle” at the American Craft Museum in 1989, a 1993 traveling exhibit in Japan named “The Soul of a Tree” after her father’s book published by Kodansha in 1983, for “When Nature Smiles” at the Tenri Gallery in Soho in 1994, and “The Modernist Moment” at the James A. Michener Museum in 2001. In 1998, Mira’s first “Keisho” show of new designs was sponsored by the Moderne Gallery in Philadelphia, and in New York in 2006, Perry Rubenstein and Cristina Grajales opened a show featuring Redwood root burls.
She has collaborated with architect Michael Gabellini to produce installations in New York, San Francisco, Dallas and Hamburg, with David Hovey in Scottsdale, Arizona, and received a Gold Medal for Excellence in the Decorative Arts from the National Arts Club in New York in 2008.
In 2003, Harry N. Abrams published Mira’s book on the Nakashima legacy, “Nature Form and Spirit” which was accompanied by a series of exhibits across the country. In 2007, Carol Sauvion’s PBS film series “Craft in America” including a segment on Nakashima aired, and the accompanying craft exhibits traveled the United States until 2009. We have also had exhibits in Seoul, Korea in 2006 and 2010.
Mira has continued her father’s dream to construct Peace Altars for each of the continents of the world (the first one was installed at New York’s Cathedral of St. John the Divine in 1986) by building a second one for the 50th Anniversary of the United Nations in 1995 and installing it at the Russian Academy of Art in 2001. A third one was built, dedicated, and sent to Auroville, India in 1996, and a fourth one is promised to the Desmond Tutu Peace Centre in Cape Town, South Africa when fund-raising is accomplished.
Mira has extended the tradition not only by producing George’s “classic” lines, but by reviving some of the older ones brought to light by the secondary market, and by continuing the evolution of new design solutions. Mira’s designs, named “Keisho” (“continuation” in Japanese) translates to mean preserving the methods and techniques embraced by her father and working from the same wood-pile. The wood itself determines its own contours, dimensions and understructure. We are still guided by George’s belief that "A tree is perhaps our most intimate contact with nature — each tree, each part of a tree, has its own particular destiny, its own special yearning to be fulfilled."