A Conversation with John Ike

John Ike has been practicing architecture and design for more than four decades. John first worked for Robert A.M. Stern, under whom he had studied for his Master of Architecture degree at Columbia University. He later co-founded Ike Kligerman Barkley in 1989 and remained with the firm until its closure in 2022. The firm received numerous awards ranging from the AIA New York Chapter Award, the DDB Stars of Design Award, the ICAA Julia Morgan Award, and the ICAA Stanford White Award, as well as being in the AD100 and Elle Decor A-List. As a returning member of our Design + Art Advisory Council, John joined us for a rapid-fire round of questions on dream collaborations, upcoming must-see exhibitions, and more.

Art + Design

Favorites 

If you could add one museum piece to your personal collection, what would it be? 

A Lucio Fontana ceramic chimney piece. I first saw one at Osvaldo Borsani’s house, which is now a museum. It was originally commissioned for that space, but they occasionally come up at auction. They’re just extraordinary—an amazing mix of art and craft, super impressive, and even somewhat attainable. 

Which design era or movement most inspires you right now? 

I continue to be deeply drawn to 20th-century Italian design—ceramics, glass, all of it. At the same time, I’ve been discovering incredible contemporary Japanese woodwork, particularly through Radnor’s site. Susan Clark represents a Japanese woodcarver who makes these stunning chairs, and that’s just a glimpse of the breadth of what’s happening in Japanese craft today.

Who is an emerging artist or designer you think everyone should know? 

I admire the eye of Nina Yashar. She started in her father’s rug gallery, Nilufar in Milan and branched out from collecting historical design—Italian, Swedish, and beyond—into becoming one of the leading champions of contemporary artists and craftspeople. She really supports those who blur the line between art and design.

What’s a piece in your collection that always sparks conversation?

A painting I recently acquired by Beppe Ruggeri, Pannello decorativo astratto (Cambi Casa d’Aste, Design 200 auction). It’s from the 1950s and feels almost like a sculpture—painted, layered wood that creates a dimensional surface. It’s very much in the spirit of mid-century Italian and American art, and people always stop to comment on it.

If you could collaborate with any artist or designer, living or dead, who would it be?

Fausto Melotti. He often collaborated with Gio Ponti and worked across ceramics and sculpture. I love his sense of color and the delicacy of his wire sculptures. Collaborating with him would have been incredible—but unfortunately, he’s no longer with us.

What’s your favorite space you’ve ever visited for its design or art alone?

I’m fascinated by house museums. The JB Blunk House in Inverness, CA, comes to mind, as does Wharton Esherick’s home on the East Coast. Both are places where every surface reflects the artist’s hand and spirit. House museums that are still furnished with the artist’s original work are endlessly inspiring because they so seamlessly merge art and design.

Advice

What’s a lesson you learned the hard way in collecting or curating? 

If you see something you love, don’t hesitate. Chances are it won’t be available later. I’ve lost pieces by waiting too long, and the ones I didn’t pursue are the ones I still think about. I’ve never regretted acquiring something I truly wanted—it’s the missed opportunities that stay with you. Honestly, that lesson applies well beyond collecting—whether in real estate, relationships, or life in general. 

What’s the best question to ask a dealer or gallerist when considering a piece? 

Ask about the artist and how the work fits into their broader practice. Why does the gallery believe it’s significant? If it’s an edition, clarify the size of the edition. And while you can ask about pricing history, I don’t think collecting should be primarily about investment. The real question is: does the piece resonate with you so strongly that you can’t stop thinking about it? That’s the best reason to acquire it.

What’s one myth about art or design collecting you’d like to debunk? 

That it’s about trends or investment value. Values fluctuate, fashions change. The only lasting measure is whether a piece connects with you emotionally and intellectually. That should drive the decision.

How do you decide when a piece is “worth it”? 

First, you have to be able to afford it. Beyond that, if it continues to bring you joy and meets your personal criteria—whether that’s financial viability, historical importance, or pure aesthetic pull—then it’s worth it.

Plugs

Which upcoming exhibition is on your must-see list?

The Ruth Asawa exhibition at SFMOMA.

Where can people see your work next?

For the latest on my firm, Ike Baker Velten’s work please visit our website at www.ikebakervelten.com or our Instagram @ikebakervelten.

What’s next on your own creative or collecting horizon?

I’m constantly scouring auction catalogs—mostly Italian, Danish, and Nordic—for smaller objects: ceramics, unique works, and interesting pieces of art. Less furniture these days, more objects with a personal scale and presence.