Lifestyle
Outside: vinyl siding. Inside: a bear
A stuffed bear, its chain broken, is just one of the objects in “Mrs. Christopher’s House.”
Rebecca Kiger/Troy Hill Art Houses
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Rebecca Kiger/Troy Hill Art Houses
You’d never know, from walking around this quiet, residential neighborhood in Pittsburgh, that inside one of the houses is a (taxidermized) bear. Or a full-sized lighthouse. Or a secret passage through a fireplace.
Outside, there’s vinyl siding. But the insides of the four Troy Hill Art Houses are art installations that yank visitors into four very different worlds.
The latest, “Mrs. Christopher’s House,” which opened this fall, is from conceptual artist Mark Dion, whose work has been shown at the Tate Modern, and the Museum of Modern Art in New York. He’s best known for thinking about how we collect and display objects, what it says about us and how we think about the past.
Conceptual artist Mark Dion lives in upstate New York.
Jorge Colombo
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Jorge Colombo
Dion created “Mrs. Christopher’s House” to be a time machine, he said. And indeed, inside, visitors explore several different period rooms: there’s the medieval door that hides the taxidermized bear, sleeping in a bed of straw, its chain broken; a re-creation of a 1960s living room decorated for Christmas; and an art gallery from the 1990s with piles of mail on the desk and photographs of taxidermized polar bears on display in natural history museums around the world.
Then there is the “Extinction Club.” The wallpaper is all drawings of extinct animals, like the woolly mammoth and the Tasmanian tiger. And in the corner, there’s a cage with a door open — and a dead canary at the bottom.
“It’s very much making reference to the tradition of the of the miners canary,” Dion said. “And, you know, something’s gone terribly wrong when the bird stops to sing.”
The “Extinction Club” looks like a gentlemen’s club from the 1920s — but the walls are covered with images of extinct animals like dodos and Tasmanian tigers.
Rebecca Kiger/Troy Hill Art Houses
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Rebecca Kiger/Troy Hill Art Houses
A visit to Japan
Dion and three other artists were commissioned to create whole-house works of art for the Troy Hill Art Houses by collector Evan Mirapaul. In 2007, Mirapaul visited Naoshima, an island on the coast of Japan that has transformed seven of its abandoned houses into “art houses.”
“I don’t think I’d seen anywhere else where an artist was able to engage with an entire building, and have the entire building be the work,” Mirapaul said.
Also, he said, he liked that the art houses were in a residential neighborhood. “You’d walk down a little lane and you’d see, you know, Mrs. Nakashima working in her garden. And then next door would be the James Terrell house. It just kind of coexisted in a way that I thought was both satisfying and important.”
When he moved to Pittsburgh from New York, “I stole the idea wholesale . . . and started inviting people,” he said. “And here we are.”
A working lighthouse
Lenka Clayton and Phillip Andrew Lewis stand next to the base of their working lighthouse, built within a Pittsburgh row house.
Jennifer Vanasco
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Jennifer Vanasco
The houses are intended to be permanent installations, instead of temporary gallery exhibits. That was one of the reasons that artists Lenka Clayton and Phillip Andrew Lewis chose to build a full-sized, working lighthouse inside the Pittsburgh house they were given, which they call “Darkhouse Lighthouse.”
“I come from Cornwall, where there where a lighthouse is a very familiar part of the architecture,” said Clayton.
Lewis added that they wanted to make something that could serve a function in the future. “So we had this idea that in like 300, 500 — or five years from now, when the ocean rises, this lighthouse could sort of be unveiled, sort of like a time capsule.”
The ocean could wash up to the lighthouse’s doorstep, the light could be activated, and it “could be a beacon,” Clayton said.
Visiting the Troy Hill Houses
The outside of artist Robert Kuśmirowski’s “Kunzhaus” looks ordinary…except for the graveyard he installed in the back.
Tyler Banash/Troy Hill Art Houses
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Tyler Banash/Troy Hill Art Houses
All four houses — “Mrs. Christopher’s House,” “Darkhouse Lighthouse,” Polish artist Robert Kuśmirowski’s “Kunzhaus” and German artist Thorsten Brinkmann’s “La Hütte Royal” (that’s the one with the secret passage) are open to the public for free by appointment. Curators guide visitors through the houses.
Tours take about one hour each, but Mirapaul said they are meant to be viewed again and again.
“People ask me, how do I choose the different artists for the pieces? I don’t have any strict criteria,” Mirapaul said. “But the one of the things that’s very important to me is that an artist can create a work that is layered and complex enough to reward multiple visits.”
People come back “two, three, five, eight times,” he said. “And that thrills me.”
Mark Dion’s diorama imagining what Christmas 1961 may have looked like in “Mrs. Christopher’s House” — back when it actually belonged to Mrs. Christopher.
Rebecca Kiger/Troy Hill Art Houses
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Rebecca Kiger/Troy Hill Art Houses
Edited for air and digital by Ciera Crawford. Broadcast story mixed by Chloee Weiner.
Lifestyle
‘How to Rule the World’ explores education and power at Stanford University
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
Ben Margot/AP
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
How having zero points in tennis — or ‘love’ — came to sound so sweet
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
Kirsty Wigglesworth/AP
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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