Architecture

Inspiration and Tools for Architects

AI doesn't replace rigor; it rewards it.

The post Architectural Intelligence: Drafted by Design, Not by Prompt appeared first on Journal.

Jeronimo Tani is a speaker at RELEASE [AEC] — the first tech event designed to help professionals stay on the cutting edge of innovation and master the tools of the future. As technology, digital solutions and artificial intelligence continue to reshape the AEC sector, a unique event like RELEASE [AEC] is more essential than ever. The inaugural edition will be held in Paris on November 17, 2025. The event is 100% free for AEC practitioners: register today! AEC is entering a decisive decade. Within five years, every top-performing team will have an AI lead organizing data, guiding workflows, and overseeing agent safety. Artificial intelligence is shrinking the distance between an idea and its execution. Those who learn to direct it with clarity will deliver more value with smaller teams in less time. The window is open now; wait, and the baseline will rise around you. The task is simple to state and demanding to practice. Through these words, I share eight lessons from experience to help navigate the shift toward intelligent design: AI will not replace the designer, but it will reshape what great design looks like for the next generation. Intelligent Design Concept Series – Reshaping our coastlines – Biomimicry and additive manufacturing, creating structures that don’t just block waves but support marine life, filter water, and restore ecosystems, Miami, Florida – 3d printing coastlines, Video | Image via author. When AI flashed onto my screen in the summer of 2022, I felt equal parts lift and unease. It showed a glimpse of what it is capable of today. One prompt can sketch a room, draft a contract, even echo my tone. Years spent refining my eye as architect and designer were suddenly amplified yet called into question. If a model can summon beauty on demand, where does our craft stand? How do we keep soul in the work, the poetry of a line, the spark of emotion that makes a space breathe? How do we resist uniformity and protect what makes us human? The next competitive edge is not a single tool; it is a way of working. Three summers into the ChatGPT aha-moment, most firms are not short on curiosity, yet they still lack a map. Leaders, architects, and designers want to use AI but do not know where to begin. Tools multiply faster than understanding; adoption is high, fluency low. There is a quiet hesitation inside many studios. They know AI is here, but no one wants to risk changing the workflow. So they stay curious from the sidelines, experimenting without committing. Invest where AI gives compounding returns: systems, quality, and reuse. I have seen teams spend days creating mockups and spreadsheets that AI could prototype or structure in minutes. The real cost is not just time. It is decision fatigue, delayed starts, and creative work that never begins because the setup is too heavy. The firms that turn AI from a test into a workflow gain momentum. Treat AI like a skilled employee; clarity in direction equals clarity in results. Vague prompts yield vague results; instead, write a brief for the model the way you brief a junior designer. State the goal, audience, constraints, references, and criteria for success. Ask for several options, then critique. Strong loops beat long prompts, and over time you will build a personal library of dependable chains. Turn your mind into a clear instruction engine. If you can brief precisely what you want to a model, you can explain it to a colleague, a client, and a team. Today AI drafts contracts, proposals, sketches concepts, surfaces references, structures spreadsheets, or estimates costs. Tomorrow it will auto-populate scopes of work, fee brackets, and legal boilerplate that match your risk profile. Next AI agents will string tasks across platforms, track schedules and budgets, and warn you when something changes. Craft still matters. Perhaps more than ever. Code and emotion – Fragments of culture | Image via author Like the Renaissance masters we must bridge art and science, code and emotion. Materials and fabrication, from quarry to finish and joint. Performance and comfort. Line, proportion, light, acoustics, thermal flow, sequence, circulation. There is no alternative to deliberate practice; tools extend reach but cannot replace rigor. Fluency with multimodal AI opens faster exploration and sharper decisions, while story turns work into meaning. The designer of the next decade will speak to the board and to the public, translate strategy into places and services, and keep teams aligned. Stay human, stay curious. Authentic human experience becomes more valuable as AI output floods every feed. What stands out is not polish, it is presence. Emotional intelligence, point of view, and community building are not soft skills; they are the new strategic core. Creative discipline today means knowing what you want and why it matters, moving from noise to signal, creating with taste, the human ability to recognize what resonates. As Rick Rubin says,“The goal of art isn’t to attain perfection. The goal is to share who we are and how we see the world.” Our edge is the conscious, lived experience. AI can simulate beauty, but it does not feel wonder. It does not care. That is still the designer’s role, to bring emotion, judgement, and intention into the work.Build with intention, include more of humanity in the loop. AI multiplies what we put into it, but only we can choose what to care about. One person can now create more value than ever. With AI as leverage, for the first time a single person can design a space, generate art, prototypes, systems, videos, and narratives at a pace that once required a team. The bottleneck is no longer capacity, it is clarity. The tools are here, the window is open, and those who act now are shaping what comes next. You do not need to know everything; you simply need to begin. Fei-Fei Li reminds us, “We have time, but we must act now.” The future is unwritten, yet the tempo has begun. Start now, start small, real wins beat big plans that never ship. Pick one project and list the repetitive tasks that slow you down. Select one or two that AI can absorb this week. Write a clear brief, run the loop, measure the gain, and share the result with your team. Then lock the win into a repeatable workflow. If you are a student, pair every studio assignment with an AI plan: what to accelerate, what to check, what to visualize, what to learn. Master your craft, master your tools, master your story, then use AI to multiply all three. The shift to intelligent design cannot be navigated alone. I am learning, experimenting, and building in real time, and I invite you to join me. If you want help integrating AI into your work, wish to collaborate on an idea, or simply want to explore what is next, reach out. The future of our field will be shaped by those willing to think together, test together, and build with intention. Jeronimo Tani is a speaker at RELEASE [AEC] — the first tech event designed to help professionals stay on the cutting edge of innovation and master the tools of the future. As technology, digital solutions and artificial intelligence continue to reshape the AEC sector, a unique event like RELEASE [AEC] is more essential than ever. The inaugural edition will be held in Paris on November 17, 2025. The event is 100% free for AEC practitioners: register today! The post Architectural Intelligence: Drafted by Design, Not by Prompt appeared first on Journal.

From infinite loops to mirrored voids, these designs prove that stairs don’t always have to go somewhere.

The post Recursive Staircases and Spatial Paradoxes: M.C. Escher-esque Architecture appeared first on Journal.

Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. Few artists have captivated the architectural imagination quite like M.C. Escher. Known for his mathematically precise lithographs and woodcuts — images that twisted perception and redefined logic — Escher’s work explored impossible geometries, recursive staircases and spatial paradoxes. From his famous print Relativity, where gravity seems to operate in multiple directions, to the endlessly looping staircases of Ascending and Descending, Escher’s art challenges the viewer’s assumptions about reality itself. Yet, though his images are clearly architectonic in nature, Escher treats architecture as a medium of visual play, conceptual layering and spatial contradiction. And so, his 2D optical illusions do not lend themselves to easy translation into 3-dimensional built form. Where Escher used flat surfaces to simulate spatial impossibilities, architects must grapple with physical and programmatic constraints. If architects were ever to win a commission where such confounding spatial experiences are desired, their challenge would not merely be to mimic illusion, but rather to construct experiences that play with perception while remaining functional, navigable and inhabitable. Today, several designers and architects are taking up that challenge, crafting interiors and buildings that evoke Escher’s artistic sensibilities. Whether through staircases that loop and fragment, mirrored surfaces that multiply space, or sculptural forms that resist logical reading, these projects explore the blurred boundary between what is seen and what is built. This article showcases contemporary architectural works that channel the spirit of Escher — not merely as homage, but as a jumping off point for spatial and structural experimentation. Chongqing Zhongshuge Bookstore By X+LIVING, Chongqing, China Spatial spectacle is the obvious phrase to describe the Zhongshuge Bookstore, where mirrored ceilings and layered staircases form a vertiginous visual labyrinth. In the iconic “ladder hall,” stairs that double as amphitheater seating and bookshelves are stacked in tessellated symmetry. A mirrored ceiling intensifies the illusion, creating an infinite cascade of steps and stories that evokes M.C. Escher’s impossible geometries. Meanwhile, reflections create a lively interplay between repetition and spatial inversion that tricks the eye, while circulation, seating and shelving all merge into a singular architectural element. The result is both playful and disorienting — a theatrical space where visitors are suspended between reality and illusion, much like the logic-defying prints that it evokes. HAIKOU GAOXINGLI INSUN CINEMA By One Plus Partnership Limited, Haikou, China Photos by Jonathan Leijonhufvud Undulating curves, inverted arches and looping forms amount to a spatial illusion worthy of M.C. Escher’s sketchbook in this surreal brick lobby. Designed by HONG Designworks, the room is built entirely of sand-colored bricks laid in meticulously bent, stacked, and curved geometries that rise from the floor and hang from the ceiling, blurring the lines between furniture, architecture and sculpture. Visitors sit within the waveform forms, becoming part of the topography. No element is ornamental — curves serve as seating, counters, circulation paths and spatial dividers. The effect is both playful and monumental: a rhythmic, continuous field of warped brickwork that captures the flow of water, time and memory. House of schools JKU linz By querkraft architekten, Linz, Austria Photography by Hertha Hurnaus. At first glance, the central atrium of House of Schools 1 resembles an Escher drawing translated into concrete. Layered staircases, shifting sightlines and exposed structural elements form a dynamic visual grid, where vertical and horizontal axes blur. Designed by Franz&Sue, the five-story academic building features a 30-by-30-foot (10-by-10-meter) concrete column grid that allows for open, reconfigurable interiors, enhancing spatial legibility while creating an architectural playground of stacked voids and diagonal movement. The raw concrete and steel surfaces amplify the building’s spatial rhythm, while the atrium becomes a theatrical core, connecting offices and seminar rooms across levels. Floating walkways and crisscrossing stairs invite perpetual movement and new perspectives that mirror the recursive, dreamlike geometry that made Escher’s work so timeless. Dream & Maze By Studio 10, Guilin, China Photos by Chao Zhang Studio 10 transforms two guest rooms into immersive spatial illusions directly inspired by M.C. Escher. In the “Dream” room, a pale pink-and-white palette softens a world where staircases lead nowhere, planes blur between two and three dimensions, and all real-world elements are hidden behind blacked-out doors. Light, shadow, and depth are manipulated to create a space that feels serene yet surreal. In the “Maze” room, forest green surfaces frame gravity-defying stairs and gilded doors that suggest portals to imagined realms. By concealing functionality and heightening illusion, Studio 10 invites guests to step into a paradoxical environment — one where Escher’s impossible geometries are not just visual tricks, but fully inhabitable architecture. The Wine: Ayutthaya By Bangkok Project Studio, Ban Run, Thailand The Wine Ayutthaya explores new possibilities for spatial movement through a lattice of spiral staircases, interwoven platforms and shifting vantage points, amounting to an architectural homage to M.C. Escher’s layered, looping logic. Designed by Bangkok Project Studio, the structure is crafted entirely from steel-reinforced plywood, arranged in an exposed waffle system that merges floors, walls and roof into one continuous grid. Inside, five spiral staircases spiral upward to four offset platforms, each framing distinct views of the Chao Phraya River. Circulation doubles as structural support, blurring boundaries between form and function. Light filters through the perforated plywood skin, softening interiors and scenting the air with wood and wine. This spatial choreography transforms a humble material into a layered, immersive experience. Puma House By Nendo, Tokyo, Japan At Puma House Tokyo, staircases lose their function and gain new meaning. Designed by Nendo, this multipurpose showroom and press space is wrapped in sculptural, fragmented stairs that climb columns, wrap corners and float mid-air. These architectural “non-stairs” serve as display plinths for Puma’s sneakers, transforming the interior into a rhythmic field of movement and suspension. Echoing M.C. Escher’s impossible constructions, the design creates visual disorientation through its recursive geometry and skewed spatial logic. The rich wood treads contrast with raw concrete and minimalist fixtures, adding warmth while referencing stadium seating and podiums. Here, form follows concept: motion, athleticism, and abstraction converge in a dynamic space that encourages both visual play and physical exploration. THE KNOWN, an installation By Crossboundaries, Shenzhen, China In this disorienting installation at the Pingshan Art Museum, CROSSBOUNDARIES suspends a concrete stair upside down within a mirrored chamber, creating a visual paradox characteristic of Escher’s Relativity. Named THE KNOWN, the artwork reflects on industrial modularity and urban perception, using concrete, steel and glass to construct a recursive environment where reflection renders orientation meaningless. Four mirror planes generate an infinite spiral of steps — real and illusory — blurring distinctions between up and down, subject and object. The piece critiques the manufactured nature of urban space while inviting viewers to question their spatial assumptions. It’s not just an architectural moment; it’s a meditation on perception, where the stair becomes both symbol and illusion, looping endlessly within the confines of a perfectly constructed uncertainty. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. The post Recursive Staircases and Spatial Paradoxes: M.C. Escher-esque Architecture appeared first on Journal.

These A+Product Awards-winning elements aren't simply furnishings; they are the new tools of spatial authorship.

The post Between Fixture and Framework: 8 Products that Behave like Architecture appeared first on Journal.

The winners of the A+Product Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to Architizer's A+Product Awards Newsletter. The separation between architecture and object owes much to modernism’s insistence on order. Buildings were structured and furniture was placed, that was the way of it. One carried permanence and programme, the other decoration and function. This strict hierarchy has become embedded in the procurement processes, in how drawings are divided, in how contracts are written and even in how budgets are allocated. But the distinction has never comfortably reflected how space is occupied or experienced. Today, that division is being dismantled — not theoretically, but through the day-to-day practice of architecture. While buildings arrive as developer shells or modular frames, the work of defining space has shifted inward. Interiors have become the primary medium of architectural authorship. And within them, products are assuming a role beyond simply furnishing. They are shaping sightlines, defining circulation and anchoring purpose. The result is a category of product that operates with spatial consequences. These pieces define thresholds without doors. They organize flow without corridors. They create shape, form, structure and shadow. They carry mass, alignment and sequence. They are objects that ask to be placed rather than positioned, designed with the instincts of an architect but the constraints of a product designer. It is these A+Product award winners that lead the way in this emerging industry, setting the benchmark for beautiful items that sit somewhere between furniture and fragments, structural yet modular and movable. Silver Sterling Coated Staircase By Marretti Jury Winner, Best of the Year, Architectural Design, 2025 A+Product Awards With its polished steel surface and fluid geometry, Marretti’s freestanding staircase acts less like a building component and more like a sculpture. Bold and bright, it takes control of the room through mass and also precision, while curving through the space as a continuous, autonomous volume. The inner and outer balustrades, one helical steel, the other structural glass, contribute to a tightly resolved architectural language. It’s a single object that alters the reading of an entire plan and shifts the experience of any space. Arcade By TURF Design Jury Winner, Finishes, Acoustics, 2025 A+Product Awards Rather than concealing services or capping off a space, Arcade uses the ceiling as a site of architectural storytelling. Vaulted modules in recycled PET felt introduce repetition, depth and curvature above the eye line, generating enclosure and rhythm without structure. The geometry is borrowed from formal architecture, but the system is modular, acoustic and fully demountable. It allows designers to organise interior space from above, establishing atmosphere in environments where walls are absent and structural features are lacking. Otto Screens and Dividers By Nienkamper Jury Winner, Furnishings, Contract Furniture, 2025 A+Product Awards Unlike many partitions, Otto doesn’t divide space with its mass. It is material articulation that does the work here. Its incision-cut timber panels — both curved and linear — read like structural surfaces rather than temporary partitions. The ability to integrate storage and shelving into the curve gives each screen real functionality, transforming an open area into a legible layout. Otto works particularly well in workplace and hospitality settings, where architectural permanence is often not feasible, but order is essential. Gather and Tiers By Foster + Partners x Escofet Jury Winner, Furnishings, Outdoor Furniture, 2025 A+Product Awards Few site furnishings are conceived with this level of intention. Gather and Tiers are not freestanding benches and plinths scattered across a landscape, but modular elements designed to shape occupation and flow. With calibrated heights and tapered edges, the pieces suggest routes, resting points and enclosures in a way that echoes the logics of architecture and urban design. The concrete forms are restrained but highly legible, inviting use without dictating it. Outline By Landscape Forms Popular Choice Winner, Lighting, Exterior Lighting, 2025 A+Product Awards There’s a logic at play in Outline, despite its minimal form. It behaves like a colonnade — not in scale, but in function — marking edges, reinforcing alignments and establishing rhythm across public or semi-public space. The variation in height between luminaires and bollards allows for compositional freedom, letting designers control visual density and emphasis. Class By Vibia Jury Winner, Lighting, Exterior Lighting, 2025 A+Product Awards Sometimes architectural behavior comes through restraint. Class does not mimic structure, but it borrows its posture. The fluted glass column and slender base suggest verticality, order and repetition. All the devices that architects rely on to define sequence and boundary. The fixture’s lighting is gentle, but its spatial impact is not. It reads as a punctuation mark across thresholds, elevations or landscapes, carrying a clarity that elevates the space around it. Chronos By BARRISOL Jury Winner, Technology, Smart Design & Technology, 2025 A+Product Awards Chronos challenges the assumption that a wall or ceiling must remain static. Its polymer membrane changes appearance when lit, shifting from an opaque black surface to a glowing translucent field. This single element accommodates lighting, acoustic control and projection, allowing a space to change function without changing form. It offers architects a way to build flexibility into surface treatments, expanding the role of material beyond finish into ever-changing performance. SG6 Kitchen Design By SieMatic Popular Choice Winner, Kitchen & Bath, Cabinetry & Millwork, 2025 A+Product Awards SG6 was developed for contemporary homes where open-plan layouts need spatial clarity without structural division. The system includes curved kitchen islands, wall-mounted panels and modular shelving that are designed to sit away from the perimeter of the room. By standing independently, the units act as spatial organizers that separate cooking areas from dining or living zones, guiding movement and establishing visual hierarchy. The components are detailed like furniture but scaled and composed to behave like fixed elements. This allows designers to define space with architectural precision, without relying on walls. The winners of the A+Product Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to Architizer's A+Product Awards Newsletter. The post Between Fixture and Framework: 8 Products that Behave like Architecture appeared first on Journal.

A rural museum that dissolves boundaries between archive, home and public square.

The post The Anti-White Cube: How a Museum for Rural Memory Turns the Typology on Its Head appeared first on Journal.

The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. For many years across different cultures, museums have helped people remember who they are. They keep important stories from the past, help us understand the present and imagine the future. Most people think of museums as large, fancy buildings with shiny floors and old treasures. But what really matters is how museums help people feel connected to their roots. The modern museum, however, is often known as a space with pristine white walls, where memory is frozen behind a vitrine and framed for passive contemplation. There is a widespread assumption that they are cosmopolitan, urban landmarks. For the past several decades, museums have been designed as flashy monuments that are often set apart from the rest of the city and directed at international audiences. Yet, museums are not just places for storing objects; they are tools for remembering. They hold onto the memories of people, places and everyday life, especially in communities where traditions are fading. In this way, museums become living parts of a culture. They can spark pride, belonging, and understanding, not only of history, but of identity. This idea is even more potent in rural areas, where change often comes quickly and quietly. In villages, old buildings disappear, elders pass away, and stories that were once told by word of mouth can be lost in just one generation. A museum offers a way to protect those stories, not by freezing time, but by carefully bringing the past into the present through design, storytelling and shared experiences. One great example of this is the Rural Memory Museum in Fengwu Village, which was awarded as the Popular Choice Winner in the Architecture + Localism category for the 13th Architizer A+Awards. In a village where much had been forgotten, this museum brings memory back to life, not just by looking back, but by giving people a space to gather, reflect and reconnect and build a shared future. A Village in Need Rural Memory Museum by IARA, Fengwu Village, China | Popular Choice Winner, Architecture + Localism, 13th Architizer A+Awards Fengwu is in Huangshan City’s Yixian County, close to the famous ancient villages of Xidi and Hongcun. It has beautiful scenery, but it has faced many challenges. Unlike its neighbors, Fengwu didn’t have historic buildings to protect. Over time, many people moved away, the population grew older, and the village became quiet. Public spaces were empty, and local traditions started to disappear. In 2023, a project called “Fengwu JI” began. The goal was to bring life back to the village using good design and by including the community. Architecture wasn’t just about building things, it was about telling stories and healing the soul. Central to this project was the Rural Memory Museum, designed by IARA. Unlike the detached, climate-controlled galleries of urban institutions, the Rural Memory Museum invites dust, footsteps and dialogue; it is less a container for objects than it is a stage for life. A New Life for an Old Site Rural Memory Museum by IARA, Fengwu Village, China | Popular Choice Winner, Architecture + Localism, 13th Architizer A+Awards At the center of the village, there used to be a building called Yingfengli, which no longer exists. All that remained was a square with workout equipment and no shelter from the sun or rain. The new museum was built on this same spot, not to copy the old building, but to bring its spirit back in a new way. The architects used the same shape and size as the original building. They chose local materials and styles to ensure the museum would fit naturally into the village. It doesn’t try to stand out, it feels like it belongs. But still, it makes a quiet, strong statement: this is a place for memory. The elevated base and J-shaped plan allow the building to function as a hybrid typology — a veranda, museum and plaza — blending domestic and civic qualities. It’s a spatial concept that echos those of traditional homes in this part of China, but instead of turning inward like old courtyards, it opens up to invite people in. It shares space with nearby homes and a clinic, showing how public spaces can be flexible and shared. Building with History Rural Memory Museum by IARA, Fengwu Village, China | Popular Choice Winner, Architecture + Localism, 13th Architizer A+Awards From the outside, the museum’s white walls look just like the old village buildings. Inside, it uses light wood to create a calm and warm feeling. The design mixes old and new, grey roof tiles and wood bring the past to mind, while modern techniques make it fresh. The walls are made from river sand, lime and cement, and they’ve been aged by hand to look like they’ve been there for years. The wooden panels have been burned slightly, a method that protects the wood and gives it a deep, rich color. These materials help people feel the past through touch, not just sight. Inside the museum, there are three main spaces that each tell a part of the village’s story. The Rural Memory Hall is a gallery filled with stories and personal objects donated by villagers, highlighting everyday life and traditions. The Future of the Village Hall is a bright, open room with large windows that offer views of the landscape, inviting visitors to reflect on what lies ahead. Lastly, the Time Box is a small, dark screening room lit by a single lightbulb, creating a peaceful space for thoughtful moments and quiet reflection. Rural Memory Museum by IARA, Fengwu Village, China | Popular Choice Winner, Architecture + Localism, 13th Architizer A+Awards In spirit, the museum recalls the civic humility of Lina Bo Bardi’s SESC Pompeia or Wang Shu’s Ningbo History Museum — spaces that make memory tactile, not abstract. The Rural Memory Hall, now home to personal items donated by villagers — things that tell stories about their lives — is especially touching. Where most museums separate artifact from user, this one repositions everyday objects as cultural anchors — creating what the architects call the ‘Poetry of Life.’ It gives new meaning to everyday things, and helps people feel proud of their shared history. Even before it officially opened, the museum became a popular gathering place. Two big community meals were held under its roof. Now, people use the space for weddings, funerals, festivals and more. It’s a museum, but also a public square and a cultural heart. At the grand opening, the whole village came together again to share a meal. It was more than a celebration, it was a sign that something important had returned. The village had found its spirit again. Memory had come home. The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. The post The Anti-White Cube: How a Museum for Rural Memory Turns the Typology on Its Head appeared first on Journal.

LOHA activates an interstitial LA site with staggered modules, pocket parks and air-filtering greenery for public life.

The post Liminal Urbanism: LOHA’s Affordable Housing Project Creates Beauty on the Edge appeared first on Journal.

The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available for pre-order. Secure your copy today. In 2018, the City of Los Angeles made available some of their over 1,700 city-owned parcels to affordable housing developers, in an attempt to resolve the housing crisis. Similar to other infrastructure sites, the plot is surrounded by heavy traffic corridors and freeways, post-industrial abandoned buildings and a former railroad, challenging the project’s integration into the immediate urban fabric and raising questions on how to create livable, connected environments within a liminal landscape. Lorcan O’Herlihy Architects [LOHA] tackles these questions through their collaboration with non-profit developer Clifford Beers Housing and the new 35,000 square foot (3,250 square meters), 54-unit housing project and adjacent paseo, known as the Isla Intersection, which took home the Jury Winner prize for the Concepts +Prefab and Modular category. Situated on a 19,814 square-foot (1,840-square-meter) triangular site, the project is organized along the spine of Broadway Street as a series of sixteen staggered boxes. Embracing Liminal Space Isla Intersection by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California | Jury Winner, Architecture +Prefab and Modular, 13th Architizer A+Awards The word “liminal” is derived from the Latin word limen, which means threshold — an in-between spatial condition that hosts both movement and stillness, function and ambiguity, belonging and estrangement. The term was initially coined in anthropology, following the work of Arnold van Gennep and Victor Turner, and describes a ritual where people exist within a temporary, transitional stage. Liminal space became a rather popular term in psychology, media theory and cultural studies, while recently, popular culture has been depicting it as a dreamlike condition, for example, in the form of an abandoned airport, an empty school mall — all of which evoke a sense of nostalgia or emptiness. Yet liminal space in architecture has a more pragmatic connotation. It refers to transitional circulation zones, such as hallways, stairwells, lobbies and corridors; infrastructural spaces, such as underpasses, train stations, flyovers, alleyways and rooftops; abandoned buildings or ruins; and finally, urban edges, such as waterfronts, borders, city peripheries and zoning seams. Even though these are spaces filled with pausing, uncertainty and flux, they often offer a critical insight into how we inhabit, traverse and design space. Creating Slow ‘Space’ Isla Intersection by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California | Jury Winner, Architecture +Prefab and Modular, 13th Architizer A+Awards In LOHA’s project, each box is comprised of a three 20-foot-long by 8-foot-wide (6-by-2.5-meter) modular container, made with recycled steel and welded together to form a single 480-square-foot (45-square-meter) unit. The units are then stacked and arranged into towers that are connected by a series of walkways to create a single unified building. Finally, the towers are scattered along the edge of the plot, creating a series of pocket parks that result in a communal outdoor space in-between the buildings. The most significant aspect of the project was to create a housing condition that was both compartmental and solid, thus shielding the site from the surrounding location challenges, while constructing a porous and hospitable environment for the residents. For example, following careful site mappings, the design shifts heights in certain corners, mirroring the residential neighborhood adjacent to the west-facing paseo and creating a “slow space” amongst this more pedestrian-friendly part. Designing With Care Isla Intersection by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California | Jury Winner, Architecture +Prefab and Modular, 13th Architizer A+Awards The ground level across this façade provides a number of storefront spaces for retail and offices, while maintaining the project’s residential, green identity. Specifically, this marketplace and paseo also serve as a “living lung,” helping to filter diesel particulates and air pollutants, while trees, shrubs and vines are carefully chosen to offer a respite from the overwhelming amount of concrete present onsite. Cities are constantly becoming, denser, more fragmented and increasingly shaped by data, goods and capital, leaving almost nothing to chance. As a result, liminal space has become obsolete, often ignored or treated as a cacophony with a “polished” and incredibly measured urban fabric. Isla Intersection disproves this approach, designing this specific “threshold” with care and intention rather than treating it as a byproduct of a larger scheme. For instance, by incorporating roof farms along its design, it becomes part of a larger network of urban farm in Los Angeles, by bringing affordable produce to what many consider a “food desert.” Rethinking the Liminal Without Overdesigning Isla Intersection by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California | Jury Winner, Architecture +Prefab and Modular, 13th Architizer A+Awards The project serves as an excellent example for how architects can rethink liminal spaces. Yet, I want to end with a word of caution as many of these abandoned sites are often “over-designed,” gentrified and even highly commodified — where the allure and the mysterious aesthetic of the abandoned ruin is reimagined as a trendy pop-up venue, stripping it of its raw, open-ended attribute. Consequently, architects have to figure out a way to engage with liminality without over-resolving it, celebrating the fluidity and uncertainty that comes with each threshold. Isla Intersection provides direction as well as ambiguity, slowing down the pace rather than strictly limiting it. It allows visitors, passerby and inhabitants to experience the space through multiple narratives and modes of occupation. It resists the impulse to fully “complete” or sanitize the in-between and embraces the multidimensionality of liminality, a condition that is both adaptable and open-ended as well as rooted in place. The latest edition of “Architizer: The World’s Best Architecture” — a stunning, hardbound book celebrating the most inspiring contemporary architecture from around the globe — is now available for pre-order. Secure your copy today. Featured Image: Isla Intersections Supportive Housing and Paseo by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California | Jury Winner, Architecture +Prefab and Modular, 13th Architizer A+Awards The post Liminal Urbanism: LOHA’s Affordable Housing Project Creates Beauty on the Edge appeared first on Journal.

If you've designed with LaCantina Doors, this is your opportunity to join a celebrated legacy of boundary-pushing design.

The post Call For Entries: Enter Your Projects in the 2025 Best of LaCantina Competition! appeared first on Journal.

Get ready to share your most luminous, light-filled architectural designs — the 8th Annual Best of LaCantina competition is now open for entries! Presented by LaCantina Doors in partnership with Architizer, this highly anticipated annual program celebrates the transformative power of architectural design that blurs the boundaries between inside and out. Whether you’re designing modern residential retreats, dynamic commercial hubs, or compact urban renovations, LaCantina’s innovative folding, sliding and swing door systems offer unmatched design potential. If your project features LaCantina Doors and was completed between 2019 and today, this is your opportunity to gain industry-wide recognition and join a celebrated legacy of boundary-pushing design. Participation is completely free, and entries are open through Midnight PT on September 12, 2025. Winners will be announced later this year! Get started by hitting the button below: Submit a Project Note: You’ll need an Architizer account to enter. If you don’t have one yet, click “Need an account?” on the submission page to sign up, then return to the form. Prizes That Provide a Spotlight Like No Other Last year’s winning projects. Learn more about each project here. Images courtesy of the architects / LaCantina The competition’s top honor, “Best in Show,” comes with a Grand Prize Trip for Two to the 2026 AIA Conference on Architecture in San Diego, taking place June 10–13, 2026. The winner will receive travel, accommodations, and full event access to architecture’s biggest stage. New for this year, the Best in Show Winner will also be invited to join a live online panel talk hosted by Architizer, where they’ll have the chance to present their project, share their process and inspire peers across the profession. If you are a LaCantina Doors specifier, this competition provides a powerful platform to shape the conversation around architectural innovation and the evolving potential of indoor-outdoor spaces. Additional prizes for the “Best in Show” winner include: A Feature Editorial on Architizer.com Promotion across to 4.75M+ via Architizer’s global social media network Placement in Architizer’s weekly newsletter (124k+ subscribers) A featured project spotlight on LaCantinaDoors.com Invitation to be a juror for the 2026 Best of LaCantina competition And more! See the full prize offering on the competition site. Winners across all categories will be also published in a special editorial feature announcing the winners on Architizer.com, shared widely via our newsletter and social platforms. Also returning this year is the Reader’s Choice Award, a public vote powered by Architizer’s 1.6 million+ Instagram followers. Finalists for this award will be handpicked by Architizer’s editorial team and voted on by the global architecture community, providing a huge global platform for visibility and engagement. Submit a Project Note: You’ll need an Architizer account to enter. If you don’t have one yet, click “Need an account?” on the submission page to sign up, then return to the form. Design Across Every Typology — Choose Your Category Cortina 10 by KA Designworks, Mountain Village, Colorado, 2024 Best of LaCantina “Best in Show” winner. Collaborators: Aceto Landscape Architects. Photo by Dallas and Harris Photography The Best of LaCantina competition is open to U.S.-based architects, designers, custom home builders, design-build firms, and interior designers. Projects may be located anywhere in the world and must feature one or more LaCantina products. Winners will be selected for each of the following categories: Best in Show Best Commercial Best Rural Residential Best Urban Residential Best Suburban Residential Best Compact Best Renovation Most Innovative Best Planned Concept Built projects must have been completed between January 2019 and today, while the Planned Concept category welcomes unbuilt or in-progress designs. Enter the Competition Note: You’ll need an Architizer account to enter. If you don’t have one yet, click “Need an account?” on the submission page to sign up, then return to the form. Meet the 2025 Jury A selection of former winners of the Best of LaCantina Competition; images courtesy of the architects / LaCantina This year’s competition will be evaluated by a dynamic panel of design leaders and industry tastemakers. Television host and builder Joshua Temple brings his real-world expertise in construction to the panel, offering a lens on projects across all typologies. He’s joined by Kelly Ladwig, a top real estate expert with Zeitlin Sotheby’s International Realty, who understands the market value of thoughtful design. Representing the product and manufacturing side, Chase Clark, Product Line Manager at LaCantina Doors, brings an inside view on material performance and engineering precision. Rounding out the panel is Paul Keskeys, Publisher and Editor in Chief of Architizer, who brings a critical editorial perspective on how good design can shape space and the built environment at large. From carefully crafted homes to large-scale commercial spaces, your project has the potential to inspire the architectural community and beyond. If you’ve brought a bold vision to life with LaCantina Doors, now is the time to share it with the world! Start Entry Note: You’ll need an Architizer account to enter. If you don’t have one yet, click “Need an account?” on the submission page to sign up, then return to the form. The post Call For Entries: Enter Your Projects in the 2025 Best of LaCantina Competition! appeared first on Journal.

These Austrian designers are pioneering leaders in sustainability, social housing, cultural programs and more.

The post 30 Best Architecture and Design Firms in Austria appeared first on Journal.

These annual rankings were last updated on August 1, 2025. Want to see your firm on next year’s list? Continue reading for more on how you can improve your studio’s ranking. Bordering Germanic, Mediterranean and Eastern European lands, Austria’s architecture hints at its neighboring cultures — even while remaining regionally specific. Home to picturesque landscapes, Austrian design is greatly attuned to its environmental contexts, while its urban spaces are more so linked to Europe’s general architectural program. Vienna, for example, demonstrates an expansive portfolio of Baroque and Gothic gems. Italian influences were prominent in the nation throughout the 18th century, evident in the famed Belvedere Palace and the Salzburg Cathedral. Most impressive and best known is the nation’s regional rendition of Art Nouveau. Austrian architectural history cannot be told without citing the great Secession Movement, which included the stylized designs of notable architects Joseph Maria Olbirch and Otto Wagner. From the Maison des Majoliques to the famed Secession Building, one will encounter a variety of ornate structures distinct to Austria and made possible by Secessionist thinkers. And today’s contemporary design program continues to reflect the nation’s history, culture and landscape, generating a paradigm that seesaws between variety and tradition. Of course, the country is a pioneering leader in social housing. With so many architecture firms to choose from, it’s challenging for clients to identify the industry leaders that will be an ideal fit for their project needs. Fortunately, Architizer is able to provide guidance on the top design firms in Austria based on more than a decade of data and industry knowledge. How are these architecture firms ranked? The following ranking has been created according to key statistics that demonstrate each firm’s level of architectural excellence. The following metrics have been accumulated to establish each architecture firm’s ranking, in order of priority: The number of A+Awards won (2013 to 2025) The number of A+Awards finalists (2013 to 2025) The number of projects selected as “Project of the Day” (2009 to 2025) The number of projects selected as “Featured Project” (2009 to 2025) The number of projects uploaded to Architizer (2009 to 2025) Each of these metrics is explained in more detail at the foot of this article. This ranking list will be updated annually, taking into account new achievements of Austria architecture firms throughout the year. Without further ado, here are the 30 best architecture firms in Austria: 30. BERKTOLD WEBER Architekten © Kurt Hoerbst Our architecture is always evolving from the context. We strive for architectural solutions that offer an atmospheric added value beyond the pure purpose in addition to the spatial and functional requirements. The use of adequate materials and the integration of sustainable and ecological aspects are also an integral part of our work. We work with pleasure on creative design processes. The spectrum of our construction tasks ranges from public buildings to residential buildings to single-family houses. Advice activities for municipalities and cities in local planning issues as well as urban planning studies as the basis for strategic orientations complement our field of activity. Some of BERKTOLD WEBER Architekten’s most prominent projects include: HOUSE AT THE OWL FOREST, Kremsmünster, Austria EAT PLAY (D)WELL – Elementary school daycare Montfort, Rankweil, Austria “A Childrens´ Nest” Kindergarten Mühlgasse, Lannach, Austria The following statistics helped BERKTOLD WEBER Architekten achieve 30th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 1 A+Awards Finalist 2 Featured Projects 1 Total Projects 3 29. archinauten _ dworschak+mühlbachler architekten © archinauten _ dworschak+mühlbachler architekten zt gmbh archinauten _ dworschak+mühlbachler architekten is an architecture firm based in Austria. Their work is mostly centered around residential and commercial architecture. Some of archinauten _ dworschak+mühlbachler architekten’s most prominent projects include: WELIOS – OÖ Science Center Wels, Wels, Austria House N, Urfahr-Umgebung District, OÖ, Austria Faux Pli – Spar Gmunden, Gmunden, Austria House GT, Linz, Austria The following statistics helped archinauten _ dworschak+mühlbachler architekten zt gmbh achieve 29th place in the 30 Best Architecture Firms in Austria: Featured Projects 4 Total Projects 4 28. spado architects © spado architects spado architects is an architectural practice run by Harald Weber and Hannes Schienegger in Klagenfurt am Wörthersee, which focusses in all its projects on the connection between people and space and the effect of space on people. Their architecture is largely the result of scrutinising and understanding the task at hand, intensive engagement with the location and a research-based examination of the past and future. Together with their team, they take the lead from the task to completion. Some of spado architects’ most prominent projects include: Bau Sallinger add-on and Alteration, Liebenfels, Austria house ANY, Austria BETonring, Sankt Veit an der Glan, Austria House WER, Carinthia, Austria House SPI , Kärnten, Austria The following statistics helped spado architects achieve 28th place in the 30 Best Architecture Firms in Austria: Featured Projects 4 Total Projects 13 27. GERNER GERNER PLUS. architekten gerner und partner © ARGE Gerner Gerner Plus AllesWirdGut GERNER GERNER PLUS. stands for unusual solutions and sophisticated spatial contours, often with spectacular views. They develop their buildings in close cooperation with the client and the location. In addition to residential buildings, the firm’s range of construction projects now also includes wineries, commercial and industrial buildings, social and health centers with innovative programs, headquarters of numerous companies and renovations – such as the general refurbishment of Vienna’s subway stations. Some of GERNER GERNER PLUS. architekten gerner und partner’s most prominent projects include: PÖT – Single Family Home Addition, Pöttelsdorf, Austria HILL – Leo Hillinger Winery, Jois, Austria Copa Cagrana – Stromkilometer 12,5 (river miles 12,5), Vienna, Austria WERITAS – Regional Visitor and Wine Center, Kirchberg am Wagram, Austria 4×4 der HOLZPILOT | 1. Wiener WohnBAUMprogramm, Vienna, Austria The following statistics helped GERNER GERNER PLUS. architekten gerner und partner zt gmbh achieve 27th place in the 30 Best Architecture Firms in Austria: Featured Projects 4 Total Projects 27 26. Tp3 Architekten © Mark Sengstbratl Since the founding of [tp3] architekten we have been working on the idea and implementation of sustainable building concepts. Therefore the symbiosis of ecological, social, economic and aesthetic aspects, as well as energy-optimized façades and ground plan typologies play an important role. Location, content and form merge into one unit. We regard urban, economic and technical parameters as catalysts for new ideas and unconventional solutions where the location and required profile assignment represent starting points for our considerations. Sustainability, passive house concepts, ecological designs, lifecycle considerations and preserving resources are more than slogans – they are an integral component of our architectural practice. Some of Tp3 Architekten’s most prominent projects include: Post City Linz Haus HENTER, Reichenau im Mühlkreis, Austria Residential Building HGH, Steyregg, Austria Haus ICP, Sankt Valentin, Austria Residential Building ASH, Linz, Austria The following statistics helped Tp3 Architekten achieve 26th place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 1 Featured Projects 3 Total Projects 25 25. Ludescher + Lutz Architekten © Ludescher + Lutz Architekten We are interested in the context, even the non-measurable aspects — the atmosphere, the protagonists and the possibilities of the project. The spark must fly so that we can get to the essence of the project. This essence preserves and unfolds its aroma at the respective location. For us, designing means having space and time for something that wants to emerge beyond our imagination. We take the time to consider our approach and ask ourselves many questions as we work. For us, consensus means that there are no longer any doubts about the idea. We are happy for our clients when the result is right. Some of Ludescher + Lutz Architekten’s most prominent projects include: Weingut Schmidt am Bodensee | Windery, Hattnau, Wasserburg (Bodensee), Germany Haus am Felsen, Bregenz, Austria Jagd- und Forsthaus Tannau | Hunting Lodge, Tettnang, Germany Johann | Hotel und Gasthaus am Alten Markt, Lauterach, Austria Ernas Haus | Micro-Living am Winderhof, Dornbirn, Austria The following statistics helped Ludescher + Lutz Architekten achieve 25th place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 1 Featured Projects 4 Total Projects 8 24. Hammerschmid Pachl Seebacher Architekten © Hammerschmid Pachl Seebacher Architekten Hammerschmid, Pachl, Seebacher- Architekten was founded in Graz in 2006. The main focus of the design approach is on both the content and context of the task at hand. Thus, the architects pay careful attention to harmonizing their designs with the existing conditions, such as the topography or the existing building structure. High-quality workmanship is a central aspect of the firm’s efforts, which is fostered through the authentic dealing with material and construction. Some of Hammerschmid Pachl Seebacher Architekten’s most prominent projects include: Medical practice in Ramsau, Liezen, Austria Annakapelle Schladming, Schladming, Austria S House, Bad Leonfelden, Austria Stoaninger – Mühlviertel Destillation, Pfarrkirchen im Mühlkreis, Austria The following statistics helped Hammerschmid Pachl Seebacher Architekten achieve 24th place in the 30 Best Architecture Firms in Austria: Featured Projects 4 Total Projects 4 23. LORENZATELIERS © Christian Flatscher LORENZATELIERS – internationally active Austrian architecture offices for urbanism, architecture and design. They handle master plans, project development and building planning all the way to its culmination in property handover. Their work is anchored in ethical standards, a humanistic world view, all-embracing accountability and responsibility. Some of LORENZATELIERS’s most prominent projects include: Asfinag Office Building, 10, Rennweg, Innsbruck, Austria ‘Am Inn’ Office Building – Redensification in the Industrial Area, Niederndorf, Austria BORA Wing, Raubling, Germany BORA Flagshipstore, Herford, Germany IVB operational service building, Innsbruck, Austria The following statistics helped LORENZATELIERS achieve 23rd place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 1 Featured Projects 5 Total Projects 7 22. Pichler & Traupmann Architekten © Pichler & Traupmann Architekten ZT GmbH Pichler & Traupmann Architekten was founded by Christoph Pichler and Johann Traupmann in 1992 and since that time has been working on a variety of commissions. The work of Pichler & Traupmann is documented in numerous publications and has been awarded distinct prizes. Christoph PICHLER was born in 1964. He studied architecture at the University of Applied Arts, Vienna and at Harvard University, USA. From 1992-1996 he teached as university assistant and from 1996-2019 as lecturer at the technical universities of Vienna and Graz. Johann TRAUPMANN was born in 1958. He studied theology in Vienna and architecture at Vienna University of Applied Arts. He was teaching from 1992, first as a lecturer and from 2002 to 2024 as assistant professor at Vienna University of Applied Arts. Some of Pichler & Traupmann Architekten’s most prominent projects include: Güssing Agriculture School, Güssing, Austria Extension “Wohnothek am Ratschen”, Deutsch Schützen-Eisenberg, Austria Future Art Lab of the Vienna University of Music and Performing Arts, Vienna, Austria Eybesfeld Outdoor Swimming Pool, Jöß, Austria Wohnothek, Deutsch Schützen, Austria The following statistics helped Pichler & Traupmann Architekten achieve 22nd place in the 30 Best Architecture Firms in Austria: A+Awards Winner 1 A+Awards Finalist 1 Featured Projects 5 Total Projects 10 21. Caramel © Hertha Hurnaus Caramel architekten is an architecture & planning design consultancy based in Vienna, Austria. Since 2002, the firm has worked on significant cultural, public and housing projects throughout Austria. Some of Caramel’s most prominent projects include: Post City Linz 500m² Wohnzimmer, Vienna, Austria House P, Klosterneuburg, Austria Wohnbau am Krautgarten, Vienna, Austria House CJ_5, Vienna, Austria The following statistics helped Caramel achieve 21st place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 1 Featured Projects 5 Total Projects 22 20. BEHF Architects © Bruno Klomfar Established in 1995, BEHF Architects is an architectural office based in Vienna that has achieved international acclaim. It is headed by Armin Ebner, Susi Hasenauer and Stephan Ferenczy. With about 120 employees, BEHF Architects is one of Austria’s largest and most efficient architectural offices. Some of BEHF Architects’ most prominent projects include: Wein & Co, Vienna, Austria Telegraf 7, Vienna, Austria Hotel DAS TRIEST, PORTO Bar, Vienna, Austria Retail Centre PADO Galleries, Parndorf, Austria Reiters Reserve Premium Suites, Bad Tatzmannsdorf, Austria The following statistics helped BEHF Architects achieve 20th place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 2 Featured Projects 4 Total Projects 24 19. Gangoly & Kristiner Architects © Gangoly & Kristiner Architects Gangoly & Kristiner Architects was found in 2007 by Hans Gangoly and Irene Kristiner. Together with our approximately 20 employees at the two locations in Graz and Vienna, we cover the entire range of tasks in architecture with our services. We create (urban) studies, concepts, drafts, submissions as well as implementation and detailed planning for you. Our range includes upscale single-family homes, residential buildings, public buildings, cultural, educational, office, administrative and commercial buildings, buildings for tourism, gastronomy, sports and leisure as well as interior design. One focus is the contemporary handling of historical inventory (also in connection with monument protection). For the implementation of general planning services, we rely on a competent team of specialist planners in the areas of building services and electrical engineering, building physics, acoustics, statics and local building supervision. Some of Gangoly & Kristiner Architects’ most prominent projects include: KIBE Child Care Centre KAGes & MUG, Graz, Austria Lecture Hall Building for the Montan University Leoben Hametner House and Gallery, Burgenland, Austria Cultural Centre Bad Radkersburg, Bad Radkersburg, Austria Former Town Mill, Graz, Austria The following statistics helped Gangoly & Kristiner Architects achieve 19th place in the 30 Best Architecture Firms in Austria: Featured Projects 6 Total Projects 18 18. Illichmann Architecture © Illichmann Architecture Illichmann-architecture was founded in 2007 by Sebastian Illichmann. We see our work as architects as a spatial/design implementation of the wishes and needs of the client, including and taking into account the technical, cultural, economic and legal framework. Some of Illichmann Architecture’s most prominent projects include: V8, Vienna, Austria Houses Hinterbruehl, Austria House K-H, Vienna, Austria Bergtischler, Rechberg, Austria Extension SD, Eichgraben, Austria The following statistics helped Illichmann Architecture achieve 18th place in the 30 Best Architecture Firms in Austria: Featured Projects 5 Total Projects 16 17. Lechner & Lechner Architects © Horst Michael Lechner The architecture office Lechner & Lechner has been dealing with a wide range of architectural tasks and issues since 1987. In particular, building in a historical context and the topic of sustainable building in all its facets have been part of our core competencies from the very beginning. The functions of the European city as well as the prevention of urban escape by uniting and interweaving areas of life is one of our heartfelt concerns. With regard to the materialization of our projects, experience has been gained in many types of construction over the decades. Thanks to our focus on sustainability, we were able to realize many projects in general in wood construction and in the inner-city area with its spatial densification in wood hybrid construction. Some of Lechner & Lechner Architects’ most prominent projects include: Youthhostel Gerlos, Krimml, Austria MB 110 | Bierbrunnen, Salzburg, Austria Alpines Bauen, Kitzbuhel, Austria intergenerational interweaving, Saalfelden, Austria NVZ Itzling, Salzburg, Austria The following statistics helped Lechner & Lechner Architects achieve 17th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 1 A+Awards Finalist 3 Featured Projects 4 Total Projects 18 16. querkraft architekten © querkraft architekten zt gmbh querkraft, founded in 1998, is an architecture team with three partners and approximately 20 team members. querkraft does not have a specialized focus within the industry, but rather stands for a different approach to architecture and design. Give people space querkraft see the person as the central coefficient of the planning process. This concentration on the fundamental aspect is the drive behind our work. Challenging the assignment is always our first aspect of a project. Often the prescribed task is inaccurate and a better solution can be found through a rethinking of the assignment from first principles. Lateral thinking defines our method of working. Some of querkraft architekten’s most prominent projects include: IKEA – the good neighbour, Vienna, Austria EXPO austrian pavilion dubai, Dubai, United Arab Emirates TMW technical museum vienna, Wien, Austria ML – museum liaunig, Neuhaus, Austria Karlheinz Hora Hof with plenty of outdoor space and rooms for community, Wien, Austria The following statistics helped querkraft architekten zt gmbh achieve 16th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 2 Featured Projects 6 Total Projects 11 15. roeck architekten © roeck architekten Our architectural language is clear, reduced in design and sustainable. We see it as our task to deal intensively with the task at hand and to work out the best solution for the client. Keywords such as teamwork, responsibility, enthusiasm or handshake quality are important to us. Some of roeck architekten’s most prominent projects include: Wohnhaus HUT, Sautens, Austria Heim Santa Katharina, Ried im Innkreis, Austria OP SanKet, Innsbruck, Austria Von Zwischenraum zu Spielraum, Wenns, Austria Wohnbau Kirchenwirt, Innsbruck, Austria The following statistics helped roeck architekten achieve 15th place in the 30 Best Architecture Firms in Austria: Featured Projects 7 Total Projects 19 14. feld72 Architects © feld72 Architects The work of feld72 pivots on the interface of architecture, applied urbanism and art. feld72 has implemented numer-ous projects of various dimensions in the national and inter-national context, a huge range including master plans, buildings, studies on urban development, interior and exhi-bition design, urban strategies and large-scale interven-tions in the urban environment. The multiple award-winning works are remarkable for a socially responsible, innovative and sustainable approach to architecture and urbanism. Tracking down and reinforcing the potential in locations and (social) environments is a fundamental element of feld72 projects. Expanding the field of architecture within the context of the self-initiated project series “Urban Strategies,” the collective has been engaged ever since the office was founded in 2002 in Vienna in tackling the issues of the use and perception of the public space. Some of feld72 Architects’ most prominent projects include: Berresgasse, Vienna, Austria Kindergarten Terenten, Terenten, Italy Cooperative Housing Development in Kaltern, Caldaro, Italy NHK – Niederösterreichhaus Krems Kindergarten Niederolang, Valdaora di Sotto, Italy The following statistics helped feld72 Architects achieve 14th place in the 30 Best Architecture Firms in Austria: Featured Projects 7 Total Projects 21 13. LOVE architecture and urbanism © Jasmin Schuller LOVE – architecture & urbanism was founded in Graz (Austria) in 1998 and is being managed by three associates (Mark Jenewein, Herwig Kleinhapl, Bernhard Schönherr). Since its foundation, the team is heavily engaged in developing and realizing intelligent and innovative solutions for architectural and urban concepts. The team has already realized projects in Austria, Japan ( WEBASTO Headquarter, Hiroshima), USA, South-Korea (Masterplan Silver World) and Germany (Baufeld 10, HafenCity, Hamburg), won a number of competitions (i.e. Masterplan Silver World; Shopping Center Alpenstrasse, Salzburg (A); Hotel complex Grand Holiday, Blumau (A); Baufeld 10, HafenCity Hamburg (D), Shopping Center Gerngross (A)) and has been awarded several prizes. Some of LOVE architecture and urbanism’s most prominent projects include: Villa P, Steiermark, Austria CPS – Climate Protection Supermarket, Graz, Austria villa 3s, Graz, Austria Baufeld 10, Dalmannkai, Hamburg, Germany Footbridge on the water, Berlin, Germany The following statistics helped LOVE architecture and urbanism achieve 13th place in the 30 Best Architecture Firms in Austria: Featured Projects 8 Total Projects 21 12. Delugan Meissl Associated Architects © Delugan Meissl Associated Architects Places for people. Engaging, empowering. Delugan Meissl Associated Architects (DMAA) adds value to places through an architecture with clear contours, that intensifies given qualities by new choreographies of space. The office made a name for cultural projects like the Porsche Museum in Stuttgart, the Festspielhaus Erl and eye Filmmuseum in Amsterdam, as well as for rather unconventional residential buildings. DMAA stands for exploration and emotion, for technical refinement and an informed position, which takes social questions and ecological issues as it’s central concerns. The Vienna-based bureau was founded in 1993 by Elke Delugan-Meissl and Roman Delugan. Since 2004 they have shared the management with Dietmar Feistel and Martin Josst. Some of Delugan Meissl Associated Architects’ most prominent projects include: Taiyuan Botanical Garden, Taiyuan, China Offshore Borkum, Reede, NDS, Germany Hyundai Motorstudio Goyang, Seoul, South Korea Festival Hall of the Tiroler Festspiele Erl, Erl, Austria Eye Film Institute, Amsterdam, Netherlands The following statistics helped Delugan Meissl Associated Architects achieve 12th place in the 30 Best Architecture Firms in Austria: Featured Projects 8 Total Projects 20 11. NERMA LINSBERGER © NERMA LINSBERGER ZTGMBH Nerma Linsberger Studio was founded in 2010. Currently the studio is working on a variety of projects across Europe. Nerma Linsberger’s architecture arises from a careful figure-ground relationship and a real-time analysis of the development of the urban fabrics we live in. As one of the leading offices when it comes to sustainable social housing in Vienna, the studio sees itself as a link between the various levels of the sustainable cycle: from planning to implementation, we rely on renewable materials, efficient processes and shortened construction times to ultimately enable greater social balance with affordable living space for everyone. Some of NERMA LINSBERGER’s most prominent projects include: Wohnen im SÜSS, Vienna, Austria WILLLI Social Housing im Dritten, Vienna, Austria M GRUND Social Housing, Vienna, Austria CUUUBE Social Housing, Vienna, Austria Social Housing – Beckmanngasse , Vienna, Austria The following statistics helped NERMA LINSBERGER achieve 11th place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 4 Featured Projects 6 Total Projects 12 10. smartvoll © Jörg Seiler Smartvoll. It is not merely Phillip Buxbaum and Christian Kircher. Smartvoll is a team of unconventional thinkers and visionaries. Our focus lies unequivocally on the architectonic design process. Having the goal in mind, we always pursue new ways and try out diverging pathways to ultimately surprise with new and extraordinary solutions. No thought should be left unthought when you want to turn a vague starting situation into succinct clarity. The creative freedom during the design process is being completed by a structured realism during the realization. Although, what should never be missing, is an unpretentious environment where you can have fun and laugh. Some of smartvoll’s most prominent projects include: Community Center Grossweikersdorf, Großweikersdorf, Austria ‘The Source of Every Thing’ – Austria pavilion proposal for expo 2020 Loft Panzerhalle, Austria House H, Hallwang, Austria Land Ahoy! The following statistics helped smartvoll achieve 10th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 1 A+Awards Finalist 4 Featured Projects 6 Total Projects 16 9. Franz&Sue © Franz&Sue Franz&Sue work as a team of five partners and 50 committed staff members from ten different countries. We believe that architecture’s social responsibility does not consist solely of integrating the client’s immediate needs in the project, but should also incorporate requirements of society that, perhaps, are not defined in the commission. In the last years Franz&Sue have won over 40 architectural competitions in the fields of educational, residential and public architecture, as well as notable projects such as the new U5 metro line in Vienna and the IST Austria Chemistry Lab in Lower Austria. The architects have received the Bauherrenpreis (Clients Award, Austria’s most prestigious architecture award), the Staatspreis Architektur (Austrian State Prize for Architecture) and the Fiabci World Prix d’Excellence, amongst others. Some of Franz&Sue’s most prominent projects include: One for all – New Middle School and Upper Secondary Academic School, Deutsch-Wagram, Austria Staying on the ball – Youth academy of FK Austria Wien, Vienna, Austria Gold outside, brass inside – Musikverein Zwettl, Zwettl, Austria Home game – A multi-generational home, Eichgraben, Austria Open to all – Revitalisation and extension of the town council building, Ottensheim, Austria The following statistics helped Franz&Sue achieve 9th place in the 30 Best Architecture Firms in Austria: Featured Projects 10 Total Projects 20 8. Coop Himmelb(l)au © Sergio Pirrone COOP HIMMELB(L)AU was founded by Wolf D. Prix, Helmut Swiczinsky and Michael Holzer in Vienna, Austria, in 1968, and is active in architecture, urban planning, design and art. Some of Coop Himmelb(l)au’s most prominent projects include: Dalian International Conference Center House of Music, Aalborg, Denmark Chess Academy Baku, Azerbaijan Martin Luther Church, Hainburg an der Donau, Austria European Central Bank, Frankfurt, Germany The following statistics helped Coop Himmelb(l)au achieve 8th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 7 Total Projects 31 7. AllesWirdGut © AllesWirdGut AllesWirdGut is a Vienna and Munich-based international architecture firm covering the full range of architectural design. To date, AllesWirdGut has realized more than 60 projects in Austria and abroad. AllesWirdGut was established in 1999 by Andreas Marth, Friedrich Passler, Herwig Spiegl and Christian Waldner. Meanwhile, the office has 65 employees from thirteen different countries. As a general design/construction management firm, AllesWirdGut realizes projects of any scale, from single-family homes to corporate headquarters, from the university to festival premises. AllesWirdGut focuses on program and synergies — complementary and resources- saving functionality. Architecture is not an end in itself; what counts is usability. Some of AllesWirdGut’s most prominent projects include: HSM – Go Four It | Business Park Hanauer Straße NIB – Luxury Penthouse, Wien, Austria ERZ – The Herzberg Development, Vienna, Austria LOU – Einfamilienhaus, Lower Austria, Austria NHK – Niederösterreichhaus Krems The following statistics helped AllesWirdGut achieve 7th place in the 30 Best Architecture Firms in Austria: Featured Projects 11 Total Projects 41 6. INNOCAD architecture © INNOCAD architecture INNOCAD architecture was founded in 1999 by Martin Lesjak and Peter Schwaiger. Since then, the team has completed numerous projects of various sizes and scopes within the fields of architecture and interior design, including residential, office, ospitality, healthcare, mixed-use, educational, public and retail. Internationally renowned for their “out of the box” thinking, their analytical, pragmatic and unconventional approach seeks to create solutions with purpose and meaning. The focus is primarily on the work‘s quality and relevance, as well as adhering to a responsibility to cultivate a consistent vision — “work with your brain, act from your heart” — with an aim to practice through multiple disciplines. Some of INNOCAD architecture’s most prominent projects include: C&P Corporate Headquarters, Graz, Austria House Of Many Houses, Graz, Austria ROLLING STONES, Graz, Austria Haus Salzkammergut, Gmunden, Austria HQ Volksbank South Tyrol, Bolzano, Italy The following statistics helped INNOCAD architecture achieve 6th place in the 30 Best Architecture Firms in Austria: A+Awards Finalist 5 Featured Projects 9 Total Projects 38 5. Marte.Marte Architects © Marte.Marte Architects Brothers Bernhard and Stefan Marte cofounded Marte.Marte Architekten in 1993 in Weiler, a small municipality in the Vorarlberg province of the Rhine Valley. In addition to numerous private buildings, Marte.Marte have also completed an impressive number of prize-winning constructions in the fields of culture, education, infrastructure, and health. Their buildings are characterized by a stringent sense of abstraction, reduction and an unerring understanding of the respective location. Some of Marte.Marte Architects’ most prominent projects include: Mountain Cabin in Laternser Valley, Laterns, Austria Messe Dornbirn Exhibition and Event Halls 09-12, Dornbirn, Austria Schaufelschlucht Bridge, Dornbirn, Austria Griss Equine Veterinary Practice + doctor´s apartment , Rankweil, Austria Maiden Tower, Dafins, Austria The following statistics helped Marte.Marte Architects achieve 5th place in the 30 Best Architecture Firms in Austria: A+Awards Winner 1 A+Awards Finalist 3 Featured Projects 11 Total Projects 28 4. Bernardo Bader Architekten © Adolf Krischanitz ZT GmbH Architect Bernardo Bader founded his architectural office in 2003. The regional bond of architecture and the characteristic relationship between the interiors and the qualities of the immediate environment characterize his work: each project is a unity of nature and culture. Refined and at the same time clear, all details are worked through and perfectly executed in terms of craftsmanship. Today, Bernardo Bader Architekten continues to explore the relationship between Austrian heritage and modern design. Some of Bernardo Bader Architekten’s most prominent projects include: Haus im Feld, Sulz, Austria Kapelle Salgenreute, Krumbach, Austria Pfarrhaus Krumbach, Krumbach, Austria The Islamic Cemetery | Islamischer Friedhof Altach, Altach, Austria Metzgerstüble, Vorarlberg, Austria The following statistics helped Bernardo Bader Architekten achieve 4th place in the 30 Best Architecture Firms in Austria: Featured Projects 10 Total Projects 11 3. PPAG architects © PPAG architects PPAG consciously explores different areas, topics and dimensions of architecture. From furniture construction to urban planning, the respective findings are transversely used and developed from one project to another. Despite increasing experience answers are not repeated, but PPAG routinely explore the unknown. Central practice is to reconcile abstract design thinking with the normality of everyday use. The goal: to advance architecture for the general public. PPAG is committed to research and development in architecture: logic and science, algorithms, mathematics and aleatorics are curiously and playfully driven to the limit, while each element of their own living environment becomes a tool. In the last few years focal points have emerged in residential and educational construction. Some of PPAG architects’ most prominent projects include: Steirereck am Pogusch, Turnau, Austria Steirereck, Vienna, Austria Multy-Storey Car Park by PPAG + Milan Mijalkovic, Skopje, North Macedonia Längenfeldgasse Primary and Vocational School, Vienna, Austria Twins, Vienna, Austria The following statistics helped PPAG architects achieve 3rd place in the 30 Best Architecture Firms in Austria: A+Awards Winner 4 A+Awards Finalist 4 Featured Projects 5 Total Projects 20 2. Dietrich Untertrifaller © Dietrich Untertrifaller We are an internationally operating architectural practice with roots in Vorarlberg. We focus our architecture on the respectful use of resources, the development of socially balanced spaces and the appreciation of the cultural and architectural context. Since our founding, we have played a pioneering role in modern timber construction. Today, the office is managed by Much Untertrifaller, Dominik Philipp and Patrick Stremler and employs an international team of over 150 people at locations in Austria (Bregenz and Vienna), Switzerland (St. Gallen), France (Paris and Strassbourg), Germany (Munich and Frankfurt am Main) and Serbia (Belgrade). The entire spectrum ranging from large-scale buildings and urban structures through alterations of existing buildings to single-family homes defies specialization, constantly challenges and inspires creativity and an inquiring mind. Some of Dietrich Untertrifaller’s most prominent projects include: Fire station, Thal, Austria Erlenstraße, Lochau, Austria House D, Bregenz, Austria KUKU 23, Vienna, Austria Christian-Bucher-Gasse Elementary School, Vienna, Austria The following statistics helped Dietrich Untertrifaller achieve 2nd place in the 30 Best Architecture Firms in Austria: Featured Projects 14 Total Projects 50 1. Baumschlager Eberle Architekten © Baumschlager Eberle Architekten Monument protection and ecology. Our approach is the cornerstone of our architectural practice. Based on the values of authenticity, methodology and poetry, it is this approach that elevates our projects around the world to architectural statements. Our buildings are authentic by virtue of their sensitivity to their local environments and their enduring relevance; they are both responsive to and representative of the settings in which they are located. They are also sustainable in the broadest sense of the term. Going far beyond energy and environmental issues, our notion of sustainability encompasses cultural, social and aesthetic values. We think in centuries, not just in decades. Our methodology renders the complex process of designing and constructing a building transparent and makes our decision-making processes clear for all to understand. Some of Baumschlager Eberle Architekten’s most prominent projects include: Grande Arme-l1ve, restructuring modernism, Paris, France Peterhof, Alpe Furx – modern hospitality, Vorarlberg, Austria 2226 no cooling, no heating, Lustenau, Austria Maison du Savoir, University of Luxembourg, Esch-sur-Alzette, Luxembourg Nordwesthaus, Fussach, Fußach, Austria Top image: Le Tonkin Dieppe – A City Entrance, Dieppe, France The following statistics helped Baumschlager Eberle Architekten achieve 1st place in the 30 Best Architecture Firms in Austria: Featured Projects 21 Total Projects 75 Why Should I Trust Architizer’s Ranking? With more than 30,000 architecture firms and over 130,000 projects within its database, Architizer is proud to host the world’s largest online community of architects and building product manufacturers. Its celebrated A+Awards program is also the largest celebration of architecture and building products, with more than 400 jurors and hundreds of thousands of public votes helping to recognize the world’s best architecture each year. Architizer also powers firm directories for a number of AIA (American Institute of Architects) Chapters nationwide, including the official directory of architecture firms for AIA New York. An example of a project page on Architizer with Project Award Badges highlighted A Guide to Project Awards The blue “+” badge denotes that a project has won a prestigious A+Award as described above. Hovering over the badge reveals details of the award, including award category, year, and whether the project won the jury or popular choice award. The orange Project of the Day and yellow Featured Project badges are awarded by Architizer’s Editorial team, and are selected based on a number of factors. The following factors increase a project’s likelihood of being featured or awarded Project of the Day status: Project completed within the last 3 years A well written, concise project description of at least 3 paragraphs Architectural design with a high level of both functional and aesthetic value High quality, in focus photographs At least 8 photographs of both the interior and exterior of the building Inclusion of architectural drawings and renderings Inclusion of construction photographs There are 7 Projects of the Day each week and a further 31 Featured Projects. Each Project of the Day is published on Facebook, Twitter and Instagram Stories, while each Featured Project is published on Facebook. Each Project of the Day also features in Architizer’s Weekly Projects Newsletter and shared with 170,000 subscribers. We’re constantly look for the world’s best architects to join our community. If you would like to understand more about this ranking list and learn how your firm can achieve a presence on it, please don’t hesitate to reach out to us at editorial@architizer.com. The post 30 Best Architecture and Design Firms in Austria appeared first on Journal.

Rethinking connection through circulation, adjacency and shared thresholds — one drawing at a time.

The post Architectural Drawings: 7 Designs for Intergenerational Housing in Plan and Section appeared first on Journal.

The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. In many contemporary cities, our daily environments are shaped by age segregation, often represented by facilities such as retirement homes, kindergartens and starter apartments. These environments spatially and socially divide generations, with consequences that are felt across all age groups: isolation, loneliness, and a disconnect between young and old. Intergenerational and multigenerational living challenge this fragmentation through thoughtful architecture. While often used interchangeably, the distinction between the two is important. Multigenerational living typically refers to multiple generations of the same family sharing a home. Intergenerational living broadens the concept to include unrelated people of different ages, cohabiting or sharing communal spaces. This approach fosters daily encounters and mutual support. Many contemporary residential models still prioritize privacy and efficiency at the expense of connection. Units are often isolated, only connected by uninviting circulation spaces that leave little room for spontaneous interaction. Yet, a growing number of architects are rethinking these precepts. Drawing inspiration from vernacular traditions, such as courtyard homes or co-housing, they are designing flexible units, active circulation areas and shared amenities that foster a sense of community across age groups. These projects reflect a shifting paradigm in housing that values adaptability, mutual support, and intergenerational contact. Urban Land Institute’s 2024 report, Making Multigenerational Communities Happen, highlights a clear demographic shift. It notes how the number of people living in multigenerational households has quadrupled in the last fifty years and emphasizes that current housing models rarely accommodate this reality. The report advocates for spaces that are not only flexible but also designed to spur interaction, including shared kitchens, laundromats, communal gardens and workshops. These environments support evolving family structures while promoting broader social connections. The following projects exemplify this design direction. Some house extended families, others bring together unrelated individuals across generations. All respond to the growing need for housing models that promote connection, adaptability and mutual support in increasingly diverse urban communities. STA | zwei+plus intergenerational living By trans_city, Vienna, Austria Zwei+plus is a subsidized, intergenerational social housing project that reimagines how people of different ages can live side by side with both independence and mutual support. It is designed for “tandem housing”— two separate but mutually supportive households, whether family or close friends, living in adjacent units. Four L-shaped buildings frame lush courtyards, while the ground floor is dedicated to shared amenities — including a café, kindergarten, children’s playroom, laundromat, assisted living center, and community gardens — all designed to foster everyday interaction. A particularly thoughtful feature is the pairing of seniors with preschoolers in cooperative programs that encourage intergenerational connection through shared care and experience. Circulation areas are treated as active social zones, and one-bedroom units include “raised verandas” that face communal galleries and invite casual conversation. The housing layouts are flexible, supporting a range of household types, from two single parents sharing common spaces to families incorporating an elderly member in a semi-independent suite. Zwei+plus demonstrates how architecture can nurture social bonds, creating not just housing, but a resilient, multigenerational community. HAN – Residential Quarter Bothfelder Kirchweg/ Hanover By AllesWirdGut, Hanover, Germany Bothfelder Kirchweg blends intergenerational living with a deep respect for landscape and community. The core of the design is a shared public space that anchors the development and encourages social interaction. Five semi-public yards around this shared space act as thresholds between communal life and private gardens, echoing the spatial logic of traditional villages. The architecture prioritizes social cohesion through clusters of L-shaped buildings organized around semi-public courtyards, offering intimate outdoor spaces. The housing mix is designed to support a broad range of residents: compact apartments for families and older adults are complemented by flexible, shared spaces, such as playrooms, workshops, guest suites and laundry rooms, encouraging daily interaction and mutual support. Ground-floor units are fully accessible, reinforcing the goal of creating a neighborhood where people of all ages can cohabit. Through its approach to shared and private space, Bothfelder Kirchweg creates a small-scale community that invites residents to connect and thrive together across generations. Fox Residence By Horton Harper Architects, Cleveland, Ohio Fox Residence responds to the evolving needs of a multigenerational family, set in the historic Duck Island neighborhood of Cleveland, Ohio. Surrounded by late 19th-century worker cottages and industrial riverfront views, the home honors its context and the occupants’ needs and aspirations. Commissioned by a mother of three daughters, the house is designed to support intergenerational living. The project is composed of two buildings: a main house and a carriage house situated on adjacent lots once occupied by separate homes. A single-story connector links the two buildings, serving as the main entrance. Each generation occupies a different level within the two houses, with the ground floor of the main house serving as a shared gathering space. Within these layers, each living quarter is tailored to its occupants’ needs, offering a custom arrangement of public, private, and transitional spaces. Through thoughtful design and spatial generosity, Fox Residence offers a resilient, adaptable model for multigenerational urban living that is both rooted and forward-looking. Flexiblock By INARO Integrated Architecture Office, Helsinki, Finland Flexiblock offers a new typology that supports changing lifestyles, multigenerational living and economic adaptability, while reimagining the relationship between work and living in urban housing. The design introduces a two-level living concept, featuring a flexible workspace on the lower floor and residential space above, reflecting the planning tradition of Helsinki’s Malminkartano district, where the integration of work and living spaces has long been a cornerstone. This configuration accommodates a variety of uses, from home offices or workshops to guest rooms or living quarters for aging family members. This design approach allows for spatial adaptation according to the evolving household needs. Circulation areas in Flexiblock go beyond mere functionality; they serve as shared public spaces that foster interaction among neighbors, reinforcing the project’s goal to create a resilient, community-oriented housing model suited to the contemporary evolving demographics and work-life dynamics. Three-Generation House By BETA office for architecture and the city, Amsterdam, Netherlands Three Generation House reimagines intergenerational living in a contemporary urban setting, responding to society’s shifting economic and social dynamics. In this context, the project offers a flexible model for a young couple and their aging parents, seeking closeness without sacrificing independence. The house stacks two separate yet connected apartments. The grandparents live on the fully accessible upper unit, while the younger family occupies the lower apartment, which has an office and access to a private garden. A shared entrance maintains privacy while allowing for daily interactions such as shared meals or occasional childcare. The design anticipates future changes in family structure, enabling the home to adapt both physically and functionally to different cohabitation models. For instance, the upper apartment’s lower floor —originally intended for guests— can be incorporated into the lower unit or converted into studio spaces for adult children, allowing the layout to adapt as family needs evolve. This project demonstrates how architecture can support evolving intergenerational relationships within the constraints and possibilities of the modern city. A House For Two Generations By SUPER VOID SPACE, Tehran, Iran A House for Two Generations is a renovation project that addresses the challenges of cohabitation between a modern, minimalist son and his tradition-oriented parents. The original space was stripped down to its core and reconfigured as a clean white shell containing distinct “boxes,” each tailored to a specific function and designed to reflect the family’s diverse tastes and values. One of the boxes accommodates the kitchen and dining area, featuring warm wood and soft gray tones to create a comforting atmosphere for the mother, while preserving the son’s preference for openness and simplicity. The entrance seems to have been carved from the white shell. It pairs gray with exposed brick, a nod to the father’s taste. The son’s suite is functionally independent yet spatially integrated into the overall layout. It features a streamlined storage wall, a light-filled workspace, and blue-green accents, reflecting his personal aesthetic. The design embraces contrast as a creative driver rather than a compromise between two opposing tastes, allowing minimalist clarity and textured warmth to coexist in an intergenerational home. Single_Multi Residence By NOA Architects, Nicosia, Cyprus Single_Multi Residence rethink the boundaries between private and communal living. The building features a wide range of unit types designed to accommodate diverse lifestyles, from a ground-floor three-bedroom residence with its own entrance, garden, and parking, evoking the feel of a standalone home, to compact one-bedroom units, family-friendly two-bedrooms and a generous four-bedroom penthouse. This variety invites a vibrant community of singles, couples, and families. A rooftop terrace with a pool and barbecue area brings neighbors together. With its thoughtful balance of independence and shared experience, Single_Multi Residence offers an adaptable and engaging model for collective living. The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. The post Architectural Drawings: 7 Designs for Intergenerational Housing in Plan and Section appeared first on Journal.

In Spain's most storied wine region, this radical reimagining of the modern winery layers tradition, tectonics and passive systems.

The post Form, Function and Fermentation: Foster + Partners’ Energy Positive Winery Design appeared first on Journal.

The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. Winery architecture today is about more than just making wine. It’s about creating spaces that connect people to nature, tell a story and protect the environment. Modern wineries are designed to be both beautiful and functional, while also being sustainable. Viticulture (the cultivation of grapevines) is at the core of winemaking, and modern winery architecture increasingly reflects this deep connection to the land. Buildings are now designed not only to support wine production but also to celebrate the vineyard itself. Architecture serves as a bridge between the natural rhythms of grape growing and the cultural rituals of wine tasting, providing visitors with a deeper understanding of the entire process. Spanish winemaking dates back approximately 3,000 years to the Phoenicians, who established a trading post in Cadiz and produced wine in clay amphoras. Over the centuries, Spanish wineries have grown from simple stone cellars to grand estates and now to modern, eco-conscious buildings. These spaces not only reflect the country’s deep cultural heritage but also its growing commitment to sustainability and design excellence. So, Foster + Partners‘ new extension of the Bodegas Faustino Winery in northern Spain is exemplary of this new approach. Located in the Rioja Alavesa wine region, where the Martínez Zabala family began their winemaking journey generations ago, the winery was expanded and improved in 2024 with the help of the firm’s expertise in cutting-edge sustainable design. Their goal was to create a space that respects the past while looking toward the future. The design was crowned as the Jury Winner in the Bars & Wineries category for the 13th Architizer A+Awards. Spatial Sequencing: A Vaulted Welcome Legacy of Bodegas Faustino Winery by Foster + Partners, Oyón-Oion, Spain | Jury Winner, Bars + Winers, 13th Architizer A+Awards Legacy of Bodegas Faustino Winery by Foster + Partners, Oyón-Oion, Spain | Jury Winner, Bars + Winers, 13th Architizer A+Awards The biggest change is the new visitor centre, which is now the heart of the winery. The architects moved the main entrance to the north side of the property. This way, visitors first walk through the vineyard before reaching the building. This path helps people feel more connected to the land and the wine it produces. The center itself is a large, open space with no columns inside. Its roof is shaped like a vault and made from timber arches, inspired by the winery’s industrial history. The architects used a special design called an “anti-funicular profile” to make the structure strong while using fewer materials. The building’s natural colors help it blend into the landscape. Inside, the space is divided into two main areas on the ground floor, each with its own feel. A central core connects these spaces and leads up to a mezzanine level. From there, visitors can enjoy views of the entire building and the surrounding vineyard. Taste Over Waste: A Layered Approach to Climate Control Legacy of Bodegas Faustino Winery by Foster + Partners, Oyón-Oion, Spain | Jury Winner, Bars + Winers, 13th Architizer A+Awards One of the most important parts of the project is its focus on sustainability. The visitor centre is called a “Planet 1.0” building, which means it produces very low carbon emissions — so low that nature can absorb them. As the architects explained, “The new visitor centre is designated as a ‘Planet 1.0’ building – as its carbon emissions can easily be absorbed by the Earth’s green cover, making it a true sustainable exemplar.” The building also uses solar panels to produce more energy than it needs. Any extra energy is sent to the older winery buildings. Large roof overhangs help keep the building cool by blocking the sun and big windows and a skylight bring in natural light, reducing the need for electric lighting. Natural materials inside the building make it feel warm and welcoming. Old Vines, New Ground: Architecture for Agriculture and Atmosphere Legacy of Bodegas Faustino Winery by Foster + Partners, Oyón-Oion, Spain | Jury Winner, Bars + Winers, 13th Architizer A+Awards Outside, the landscape has been redesigned with local plants that support biodiversity. The land has also been shaped to help manage heavy rain, which is becoming more common. Green plants have been added to the walls of the older buildings to provide shade and reduce energy use. The winery’s operations have also improved. Loading areas and harvest stations were moved to better locations, and old, unused buildings were removed. This makes room for future updates and new technology in winemaking. So, the new design of Bodegas Faustino is more than just a building project. It’s a thoughtful mix of history, nature and innovation. It shows how wineries can honor their past while building a better, greener future. The winners of the 13th Architizer A+Awards have been announced! Looking ahead to next season? Stay up to date by subscribing to our A+Awards Newsletter. The post Form, Function and Fermentation: Foster + Partners’ Energy Positive Winery Design appeared first on Journal.

Why generative tools may, paradoxically, be architecture's best hope for reconnecting with the physical, emotional and environmental.

The post Precision Fatigue: Escaping the Sterility of Digital Perfection in Design appeared first on Journal.

Ismail Seleit is a speaker at RELEASE [AEC] — the first tech event designed to help professionals stay on the cutting edge of innovation and master the tools of the future. As technology, digital solutions and artificial intelligence continue to reshape the AEC sector, a unique event like RELEASE [AEC] is more essential than ever. The inaugural edition will be held in Paris on November 17, 2025. The event is 100% free for AEC practitioners: register today! For years, my relationship with the computer was about control. I was obsessed with knowing the perfect sequence of commands to translate a thought in my head into a digital reality. But my head doesn’t work that way; it’s messy. Thoughts collide and visions are in constant flux. By the time I could force an idea through the rigid logic of software, the idea itself felt obsolete. This process demanded precision far too early, funneling all possibilities into a narrow channel and limiting the playfulness of design. We started to think like the machines we were using, where everything became an array of copy-pasted elements, and even complex designs were just modulations on a simple, predictable surface. This new way of working with AI is the complete opposite. Naturally, my first instinct was to handle it as I always had: to try and force it to generate precise, “buildable” things. It refused. That refusal was annoying at first, but then I began to understand. There are more critical things than precision, especially in the beginning. It’s like writing this article. I have a destination in mind, but I am not counting the words or agonizing over sentence structure on the first pass. I have to focus on what matters first. From Designer to Precision-Policer — And Back Again Over the years, the pendulum in architecture has swung too far toward technicality. You can’t even start drawing if two lines are microscopically off-parallel or a dimension doesn’t read “500.000000 mm.” Our role shifted from designer to precision-policer, and we praised this as the highest virtue. I’m not saying perfectionism is bad, but our tools have skewed our priorities to the point that nothing on a resume seems to matter more than the “software skills” section. It feels like we are designing for computers, not for the physical world — a world which, by the way, is messy and has nothing to do with perfectly straight lines that snap at 90 degrees. As the architect Hassan Fathy called it, we were practicing “T-square architecture,” void of aesthetic or expressive quality. Now, it has become even more obsessively lured into the sterile world of digital precision. This was different. Suddenly, I could communicate an idea. I could describe the feeling of a building in a particular context, and the computer would respond. There was no need to memorize a sequence of commands to produce an empty shell and then wonder if it ever matched the thing in my head. I could write down my thoughts, and the machine would not only help me visualize them but also suggest things I hadn’t asked for: things that I hadn’t commanded. It was a humbling experience. I could spend an afternoon in a conversation with the computer, a conversation held not just in text, but through images. And the dialogue wasn’t about the mathematical formula for a perfect hyperbolic form; it was about feeling, light, materiality, composition and philosophy. This is where the challenge — and the point — lies. Trying to tame these generative models to serve me like the old software was missing the lesson. I had to let go. If I knew exactly what I wanted, I would just model it the old way. But the truth is, what I want is never that clear, and our current tools fail us in that ambiguous, fertile space. Natural Selection: Returning to the Story and the Idea The process is inherently messy, and that’s what makes it feel right. It embraces unpredictability, intuition and the beautiful accidents that happen when ideas get lost in translation. It feels more grounded in the reality of how we ought to design for the physical world. This is where we can draw a powerful analogy from nature. Evolution doesn’t work from a perfect blueprint; it thrives on messiness. It uses random mutations — mistakes, essentially — to explore possibilities. Most of these variations fail, but some lead to brilliant, unexpected adaptations. The sterile perfection of “T-square architecture” is like trying to design a forest by copy-pasting one perfect, computer-generated tree. A real forest is a chaotic, resilient, and beautiful system born from imperfection. Working with generative AI feels like stepping into the role of natural selection. You guide the process, apply pressure and curate the outcomes, but you don’t dictate every step. You let go of the need for absolute control and allow for emergent complexity. Suddenly, the emphasis returns to the story and the idea. This is what makes you shine in a sea of accessible, shiny images. You can now easily spot a generic image lazily generated from someone else’s prompt, the same way you can spot a ChatGPT-written email. The process remains genuine because the story still counts, and we instinctively value human-created narratives. This doesn’t mean you can’t use the tools to co-create. You are reading this article after it has passed through an LLM, not only for punctuation and editing but also because the ideas themselves were solidified in a conversation I had with it. The Importance of Low-Rank Adaptations (LoRAs) Screenshot All of this has made me realize how much meaning an image holds beyond its geometry and textures. It’s the subtleties that evoke a feeling in the first second you see it. This is why teaching the model is crucial. A base model has seen everything, so it will naturally resort to the most generic, “average” scenario. In a highly specialized and image-obsessed field like architecture, that’s the last thing you want. This is where LoRAs, or Low-Rank Adaptations, come in. In essence, they are tiny, specialized models that you train and attach to the main model, like plugins. They add a specific bias, transforming a generic AI that knows billions of images into a specialist that deeply understands a specific concept, your concept. They are easy to train, versatile, and can be mixed together. If trained well, they are powerful enough to completely change how you work. If you can conquer the image space in architecture, you’ve cracked 40-50% of the workflow, especially in the early phases. This is a breath of fresh air for the industry. Because it is so novel and disruptive, it will take time to see a full shift. But it made me realize how much we needed it. Sometimes, you have to let go to get precisely what you want. Ismail Seleit is a speaker at RELEASE [AEC] — the first tech event designed to help professionals stay on the cutting edge of innovation and master the tools of the future. As technology, digital solutions and artificial intelligence continue to reshape the AEC sector, a unique event like RELEASE [AEC] is more essential than ever. The inaugural edition will be held in Paris on November 17, 2025. The event is 100% free for AEC practitioners: register today! The post Precision Fatigue: Escaping the Sterility of Digital Perfection in Design appeared first on Journal.

Dedicated to modern design

Echo Villa, by Peny Hsieh Interiors, in the mountains of Taipei blends sculptural curves, a neutral color palette, and organic materials.

Echo Villa is a private residence in Taipei, Taiwan that bridges architecture and nature. Spanning over 10,650 square feet (990 square meters), the expansive home was recently reimagined by Peny Hsieh Interiors. Instead of dominating its surroundings, the villa is nestled into the mountainside, following the natural terrain while framing scenic views of the picturesque landscape that inspired the design. From the entryway, the home’s spatial concept becomes clear: everything bends, curves, and flows in response to the landscape beyond its walls. In lieu of sharp angles and rigid separations, the designers opted instead for continuous lines that move gracefully across ceilings, down walls, and into custom-built furnishings. These sculptural forms echo the undulating contours of the nearby hills, establishing a sense of visual continuity throughout the home. At the core of Echo Villa’s aesthetic is a curated material language that amplifies its connection to nature. Mineral-toned plaster gives the walls a sense of geological depth, while natural teak flooring offers warmth and brings a soft, organic tone to the interiors. Curved, built-in elements are complemented by handcrafted furniture, textured fabrics, and custom concrete finishes, creating an atmosphere that is tactile, grounded, and calm. The restrained color palette – primarily soft neutrals and earth-inspired hues – serves to heighten the serenity of it surroundings. Every design choice, from surface treatment to decorative accent, is carefully calibrated to allow the materials and architecture to speak for themselves. Glass, metal, and textiles are introduced with subtlety, balancing the solid, grounded elements with lighter and more reflective ones. Lighting plays a crucial role in enhancing the villa’s spatial experience. Daylight is gently filtered through the home’s sculptural architecture, shifting with the sun throughout the day. At night, indirect lighting lines architectural transitions and recessed curves, emphasizing the fluidity of the spaces and allowing textures to glow softly. The dramatic foyer boasts an almost 30-foot-tall ceiling height softened by a custom-blown glass lighting fixture that organically floats mid-air. The organic shapes of each fixture give nod to the drifting mountain mist. Adding another layer of refinement, Echo Villa features an impressive collection of contemporary artworks and furnishings, each chosen to reinforce the home’s core concept. Pieces by Draga & Aurel, Bruno Moinard, Christophe Delcourt, and Paul Bik punctuate the interiors. Their presence blurs the line between art installation and home environment, enriching the living experience for the homeowners. In the primary bathroom, curved walls flank the open space with a black stone bathtub as the central focal point of the room. To learn more about Peny Hsieh Interiors, visit penyhsieh.com. Photography by Peny Hsieh Interiors, courtesy of v2com.

Butterfly Studio transforms a Kraków apartment for a young couple who desired a retro-inspired, colorful space that was also timeless and functional.

In the heart of Kraków, Poland, a young couple found their dream home not just in a location, but in a design brought to life by Butterfly Studio. The 84-square-meter (approximately 900-square-foot) apartment was completely reimagined by architects Anna Baranowska and Joanna Felczuk to reflect their clients’ love for vibrant colors and retro aesthetics – without sacrificing livability. At the core of the design was the careful attention to functional planning. The designers reworked the original layout by eliminating one room to create a more expansive, flowing living area. This move allowed for the inclusion of a L-shaped sofa and a versatile extendable dining table, supporting the couple’s desire for a social and flexible environment. The kitchen was reconfigured as an inviting gathering place – featuring a custom island that trades typical bar seating for concealed storage. Throughout the apartment, color plays a key role in the overall design scheme. Shades of green, rust, blue, and burgundy span surfaces, balanced by textural contrasts and graphic details like a checkered rug and patterned entry tiles. Lighting also plays a sculptural role – whether it’s pendant lamps over the sofa or the artistic glow of hallway fixtures. The entryway sets the tone upon entry with a striking burgundy built-in wardrobe and a rounded bench that doubles as both sculpture and seating. The geometric motif is echoed throughout the space – in the softly curved kitchen island and the rounded media cabinet – creating visual cohesion across rooms. One of the home’s biggest design challenges, a long and initially awkward hallway, was turned into a statement zone. Playful wall sconces cast abstract reflections, while thoughtful millwork in muted tones introduces texture and dimension. A dark anthracite wall brings contrast, giving the corridor its own dynamic identity. In the bedroom, tranquility reigns. Soothing green walls are topped by a terracotta-hued ceiling, wrapping the space for a warm, cozy feel. A bespoke headboard – complete with a built-in vanity on one side – adds functionality. Each of the two bathrooms features its own distinct character while maintaining harmony with the rest of the apartment. One channels an earthy, tactile aesthetic with terracotta tiles and concrete-like plaster, while the other makes a bolder statement with burgundy floors, denim-toned cabinetry, and cool blue tiles. Behind the scenes, clever storage solutions – like a woven-front laundry unit – keep things clean and clutter-free. For more information, you can find Butterfly Studio on Instagram, Facebook, and Behance. Styling by Eliza Mrozińska. Photography by Mood Authors.

Bo Lee Architects, in collaboration with Rockhill Construction, leverages the power of sunlight in the design for a Cobble Hill Townhouse.

Sunrooms, solariums, and conservatories – the history of these light-soaked spaces dates back thousands of years originating as ancient temporal structures that allowed early civilizations to commune with the stars. Whether in practical application or through aesthetic appeal, contemporary iterations tap into the primordial desire for access to elements like light, air, and the natural landscape. Brooklyn-based Bo Lee Architects (BLA) – in conscious collaboration with Rockhill Construction and a pair of deeply invested homeowners – leverages this architectural device in their design for the Cobble Hill Townhouse, located within the same borough, anchoring this residence in both space and time. What began as a modest brownstone constrained by its context is now a thoughtfully expanded, thriving household that prioritizes simplicity, playfulness, and functionality as it responds to changes in need. “The couple’s focus on creating a home for their growing family aligned perfectly with our belief that design should enhance daily life while remaining approachable and unpretentious,” shares principal architect Bo Lee. “This synergy allowed us to work together to craft a space that is as beautiful as it is meaningful.” In fact, several significant milestones shared by the couple shaped the project in ways both big and small. Discovering they were expecting their first child during the design phase inspired BLA to prioritize flexible layouts and adaptable rooms that could acclimate to family planning. And with both professionals working from home and pursuing advanced degrees, dedicated workspaces became essential, seamlessly integrated alongside communal spaces to support the couple’s shifting schedules without sacrificing openness or comfort. “The solarium is this project’s lynchpin, however. It absorbed the existing terrace off the rear and covered it to make it part of the interior, increasing the footprint and rendering this space useful all year long,” says Rich Ferraioli, Chief Operating Officer of Rockhill Construction and a trusted industry partner to BLA. “This feature is atypical in New York and required all of us to work together to make it happen.” The transformative renovation, encompassing some 4,000 square feet, boasts visual access to nature while balancing expansive entertainment spaces with a series of intimate nooks ripe for discovery at the turn of a corner. Things like a proper parlor or playroom commingle with the library, office, and piano room. A generous media room is offset with a spa bath. And a sprawling kitchen floor accommodates a wide variety of family dining rituals before guests and residents alike retire to one of the five bedrooms or three full bathrooms for a bit of privacy. In summation, the spatial and programmatic schemes are able to positively effect change as it facilitates meaningful daily rhythms of gathering, connection, and recreation. In addition to sunlight, environmental mindfulness permeates the structure in a variety of subtle, unsuspecting ways. Locally produced, eco-friendly material finishes were used in construction wherever possible. Solar panels from Brooklyn Solar crown the roof, adding an energy-efficient system to this now-modernized urban retreat. And custom cabinetry made from wood like white oak incorporates expressive shelving, subtle accents of forest green and yellow that complement the casework while adding warmth to the space. “The clients have shared that their favorite parts of the new home are the solarium, family room, and backyard,” Lee adds. “These spaces have become the heart of their home, offering areas to both work and relax, connect, and enjoy both the indoors and outdoors.” More than a renovation, Cobble Hill Townhouse is a quiet study of life’s impermanence and a joyful ode to change – perhaps a lesson, too, for those too fickle to realize that with trust, clarity, and a willingness to see constraints as opportunities, even the narrowest brownstone can offer endless room to grow. To see this and other works by the collaborative studios, respectively, visit boleearchitects.com and rockhill.nyc. Photography by Garrett Rowland.

Managing Editor Joseph Sgambati III returns for Take 5 to share an eclectic mix of inspiring design from home furnishings to art to books + more.

1. The Pavone Armchair by Marc Ange Why paint the peacock? I love seeing classic pieces, from fashion to home furnishings, pulled from the archives and revived in a way that remains true to the original vision. The Pavone Armchair marks a reintroduction of now-iconic seating by Marc Ange for Visionnaire’s latest campaign, The Art of Belonging, which ruminates on the concepts of home, identity, and emotional space. It’s a fabulous blend of theatrical design with poetic symbolism – a potent creative amalgam I much appreciate, if you couldn’t tell from my proclivity for floral language – drawing inspiration from ancient bestiaries and the peacock’s delicate allure. The striking chromed elements, curved backrest, and individually upholstered cushions are a breathtaking homage to the bird’s grandeur. Photo: Joseph Sgambati III 2. FAINA: The Shape of Vitality & Drevo Amid ongoing unrest and the war in Ukraine, FAINA – a live collection of furniture, lighting, and decor by designer Victoria Yakusha – staged a powerful dual exhibition entitled The Shape of Vitality at the Ukrainian Institute of America. It also marked the brand’s first-ever retrospective presented alongside a new body of impressive work. Walking the showcase, I traced more than a decade of the studio’s design legacy through works imbued with the spirit of memory, resilience, and ritual that were almost palpable. Her latest release, Drevo, was especially compelling in the way each element contemporized timeless Ukrainian folk traditions through artistic gestures from classic craft. Neither replica nor relic, this collection of engraved steel panels references the Tree of Life, which is a protective and sacred ancestral symbol within the culture. Together, the exhibitions reflected on design as a form of cultural endurance, where every material choice, contour, texture, and shadow became an act of remembrance and resistance – the kind of art we so desperately need. Photo: Joseph Sgambati III 3. Bankston Zzzigurat Candle Holder from the Super Collection by Sans-Arc Knicknacks, trinkets, or tchotchkes – no matter your word choice, the artful objects that line our bookshelves or decorate flat surfaces are important parts in transmuting our personalities into tangible aesthetic elements, in my humble opinion. Candlestick holders are particularly powerful pieces and my favorite for punctuating any decorative landscapes. The Australian brand Bankston, situated somewhere between architectural hardware manufacturer and purveyor of taste, has produced a limited run of these tabletop heroes. Designed in collaboration with Adelaide-based architecture firm Sans-Arc Studio, the Super Collection Zzzigurat Candle Holder – a special edition object with a limited run, which I am lucky enough to enjoy – follows the collection’s striking tiered form with a silhouette inspired by the ancient Mesopotamian structure. It integrates seamlessly into my broader collection of design objects, and graces my space with a geometric touch that’s both elegant and subtly whimsical. Photo: Courtesy of Quiet Town 4. Ronchamp Linen Shower Curtain by Quiet Town Le Corbusier’s Notre Dame du Ronchamp boasts an iconic design that stands out from the late architect’s aesthetic as well as the International Style, which was prevalent at the time. Perhaps that is why it remains one of my favorite buildings from my architectural studies. While I’m not a fan of his later works or politics, this sculptural form has inspired generations of other creatives – and now housewares. Quiet Town, the makers behind personality-packed bathroom accessories, presents the Ronchamp Linen Shower Curtain, in an homage to the famous French chapel. The cheeky design references the structure’s peculiar fenestration, which features varying shapes in a variety of sizes designed to bring light into the space at different angles. Courtesy of Metropolis Books / Gordon De Vries Studio 5. Fire Island Modernist: Horace Gifford And The Architecture Of Seduction: Expanded Edition book by Christopher Rawlins Like humans, architecture often explores its sexuality, but in this case, its queerness. As the 1960s unfolded into a decade of transformation, the late Horace Gifford designed a series of beach houses that redefined both the physical and cultural landscape of Fire Island, long considered a ‘gay paradise.’ I’ve had the privilege of connecting with Christopher Rawlins and watching his latest endeavors unfurl. Rawlins, an award-winning architect, now takes up the mantle to preserve Gifford’s iconic mid-century architecture, which remains steeped in the LGBTQ community’s ongoing social history. Originally published in 2013 and out of print, this new edition reintroduces that legacy to a new audience with expanded insight. Now the primary steward of a fragile history, Rawlins revisits a pivotal era and the unsung architect whose work reflected – and helped shape – a generation’s ideals, pleasures, and eventual losses. This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Senior Shelter by i29 Architects is a 1,076 sqft home designed for multigenerational living offering privacy and a future-proof design for aging in place.

Surrounded by lush trees, i29 has completed a refined and future-oriented addition to a home in the Netherlands – an independent residence designed specifically for the older generation. Tucked alongside the family’s primary home, the new 1,076-square-foot Senior Shelter structure exemplifies compact, multigenerational living at its most thoughtful. Designed to foster connection while preserving privacy, the single-story black house is deliberately placed to nurture proximity between grandparents and their children and grandchildren. This goal is achieved through sensitive site integration, spatial balance, and a minimalist yet warm aesthetic that encourages both togetherness and autonomy. With its exposed-rafter roof and minimalist, low-slung profile, the Senior Shelter blends effortlessly with its natural surroundings while quietly asserting a sense of purpose. The architects opted for waxed-wood facades and an extended roof clad in sandwich panels to create shaded walkways and overhangs. The structure’s modest scale and elongated rooflines help it blend into the landscape, reducing its visual impact. At the heart of the home, a central patio anchors the plan, bringing natural light into the interior and serving as a visual and spatial connector between indoor and outdoor zones. Three fully retractable sliding glass doors offer residents the flexibility to open the interior entirely to the garden, enhancing the sense of openness and allowing for a seamless indoor-outdoor lifestyle. Additional sliding panels on the west side of the building provide shade and privacy as needed, allowing the home to adjust to changing seasons and preferences. Inside, a carefully curated material palette of oak, light gray concrete, and soft white accents creates a serene atmosphere. A continuous band of oak wall cladding wraps the interior, drawing the eye upward and around the space. This visually supports the structure’s high ceilings and exposed rafters, making the space feel more expansive than its footprint might suggest. The white ceilings and rafters offer contrast to the home’s black exterior walls, keeping the residence from feeling too stark. Custom-designed cabinetry and the kitchen mirror the linear flow of the architecture. The minimalist kitchen, dining, and living room wrap around the patio allowing each open space prime access to the outdoors and fresh air when the sliding doors are open. When closed, the occupants can enjoy different vantage points of the surrounding greenery depending on their location. On the opposite side of the house, accessed through glass doors, is the Senior Shelter’s bedroom and bathroom. The double glass doors denote the private quarters without disrupting visual sightlines from one end of the house to the other. For more information on Senior Shelter by i29, visit i29.nl. Photography by Ewout Huibers.

Nicholas Potts reimagines two Watergate apartments into a pied-à-terre, blending modernist heritage with luxurious materials and iconic design.

Few addresses in America carry the weight of history quite like Washington, D.C.’s Watergate Complex. Known worldwide as the site of the scandal that toppled President Richard Nixon, the name “Watergate” has become shorthand for political curiosity. Yet beneath the headlines and historical baggage lies a vastly underappreciated piece of American architecture – a sweeping modernist gem designed in the 1960s by Italian architect Luigi Moretti. With its signature curves, expansive terraces, and bold design language, the Watergate stands apart as one of the few truly avant-garde residential buildings in the nation’s capital. And now, the newly unveiled Watergate Pied-à-Terre project by Nicholas Potts Studio shines a contemporary spotlight on the architectural significance of this icon. Located high atop one of the Watergate’s crescent towers, this 3,000-square-foot apartment is the result of a combining two formerly separate units. Architect Nicholas Potts, known for his sensitive yet daring approach to interiors, collaborated with stylist Tessa Watson and builder BOWA to reimagine the space as a refined pied-à-terre – a luxurious home that pays homage to the building’s modernist legacy while infusing it with a fresh spirit. For Potts, the project was an opportunity to peel back years of unsympathetic renovations that had dulled the building’s original aesthetic. Over the decades, many Watergate units had succumbed to ill-fitting design trends: faux-colonial trim, builder-grade finishes, and awkward spatial planning. Potts and his team approached the design by stripping away anything that contradicted the building’s DNA and instead embracing the Watergate’s sinuous geometry, spacious volumes, and period-informed palette. The design team created the apartment’s layout around axial sightlines and generous proportions, transforming once-cramped rooms into open spaces. The plan favors entertaining and movement, with a flow that feels both grand and comfortable. The effect is one of restoration – not only of walls and finishes, but of the Watergate’s original architectural vision. Every inch of the newly unified residence reflects a commitment to both precision and glamour. The walls are clad in crotch-cut Okoume wood paneling, a rare and richly figured veneer that envelops the space in warmth. Floors of basketweave travertine lend a grounded rhythm underfoot, while moments of high drama – such as a translucent onyx wall glowing softly with integrated lighting – provide punctuation throughout the home. Custom details, like doors and hardware that were designed specifically for the space by legendary maker P.E. Guerin, ensuring that even the smallest touchpoints resonate with care and craftsmanship. Accents of Verde Antigua marble, hand-patinated metals, and gold leaf speak to a late-modern aesthetic that leans lush, not minimal. To furnish the apartment, Potts and Watson turned to an international selection of design galleries, curating a collection that feels both timeless and unmistakably of-the-moment. Pieces from The Future Perfect, Gallery Morentz, and Studio TwentySeven are artfully placed alongside vintage furnishings, including 1970s Leola ceiling fixtures by Sciolari, creating an interior narrative that bridges decades. Throughout the home, references include everything from Mies van der Rohe to the Viennese Secession – through structural lines, material choices, and a disciplined sense of symmetry. Yet the apartment feels authentic, a confident synthesis of eras, anchored in the present. For more information, visit nicholasgpotts.com. Photography by Chris Mottalini.

The Great Tree by Atsushi Shindo turns plant-based resin and wire grips into a glowing, gravity-defying installation for JAPAN SHOP 2025.

At JAPAN SHOP 2025 this year, Arakawa and Koshin Planning presented an exhibition together designed around the theme of “Ever Origin.” The brands tapped Japanese designer Atsushi Shindo who created the “The Great Tree” installation for the booth that invited visitors into the spacial experience. Spanning 32 feet in diameter and almost 40 feet tall, the shimmering structure towered above attendees, drawing them into a world where nature, technology, and material memory converge. The collaborators had a mission within the structure – to change perception of the properties of resin, the cellulose-derived material proving to be much more sustainable. The resin, which is intentionally subject to the forces of gravity, meets the wire structure, keeping these elements in direct objection to their gravitational pull. “The Great Tree” aims to explore the potential of bio-resin and acetate explorations, as well as consider the possibilities of wire networks in architecture and design. Comprising over 180 plant-derived cellulose acetate pieces and suspended with more than 600 meticulously placed wire grips, “The Great Tree” is balanced between gravity and weightlessness. These amber-tinted resin components were 3D-printed using plant-based material sourced by Koshin Planning – an intentional choice that emphasized sustainability and referenced the ancient origins of resin as natural tree sap. Rather than aim for sterile perfection, Shindo and his collaborators allowed the irregularities of the resin’s flow to remain visible. Subtle bulges, ripples, and edge pooling lent each piece a sense of life, capturing and refracting light for a dreamy effect. The ethereal effect of the resin was further elevated by Arakawa’s advanced wire grip system, which suspended the pieces in place while giving the illusion that they were floating. Known for their versatility in architectural and interior design, Arakawa’s systems – particularly the SFK-1S panel grip – acted not just as structural tools but as spatial enablers. These minimal components allowed Shindo to craft a composition with no visible support structures, enabling a sense of lightness, movement, and upward expansion. Arakawa was founded in 1973 by Dr. Hideo Arakawa, on the principle of “creating what doesn’t exist.” Developing the world’s first adjustable wire fitting system, the ARAKAWA GRIP, put the company on the map. The innovative system won the Good Design Long Life Design Award in 2022, and they have since expanded into many more cutting-edge products using this technology. Focusing on signage, display, and communication design, Koshin Planning has always centered their work on the ideal “bringing as many creative ideas as possible to life.” Based in Jingumae, Shibuya, and founded in 1981, they have decades of experience in the industry, including digital fabrication tools, and large-scale 3D printers. In 2024, the company launched SOKEI, a creative project bringing together artists and designers from diverse backgrounds. Koshin Planning aims to explore the possibility and promise of 3D printing, through both research-driven and collaborative methods. To learn more about The Great Tree by Atsushi Shindo, presented in collaboration with Arakawa and Koshin Planning, please click here.

The Salmon House by True Story is a Melbourne home featuring glass-topped showers, a dreamy pool, and a rooftop terrace with city views.

Set atop Northcote’s Ruckers Hill, Salmon House by Australian studio True Story is a striking, multi-level residence that merges sculptural architecture with nuanced interiors. Designed by True Story’s Dan Gayfer and Lewis Marash, the home is a space that responds intimately to its surroundings while redefining what it means to live well in the inner suburbs of Melbourne. From its highly visible corner lot in Brunswick East, Salmon House establishes a commanding presence with its blend of robust materials – think cast in-situ concrete, reeded glass, rich timber cladding, and custom brickwork. Yet despite its material boldness, the home maintains an undeniable elegance, rooted in its careful balance between privacy, openness, and connection to its site. The architectural layout adapts to the sloping terrain, allowing the three-level residence to cascade naturally from front to back. Strategic cutaways and sightlines throughout ensure that movement through the home feels instinctive – almost like a current guiding one from shared spaces to quiet spots, from lively gatherings to still contemplation. True Story shares: “Navigating Salmon House is not unlike salmon swimming upstream; ascending from level to level, guided by instinct and senses. It is a sensory experience, traversing diverse spaces, materials, and moments that evoke both activity and tranquillity. The journey includes time with family and friends, with gentle pauses for reflection ultimately leading to moments of solitude.: With the property occupying such a public-facing plot, local heritage guidelines heavily influenced both its visual language and spatial layout. Rather than imposing a stark contrast between the original house and the modern addition, the design team integrated narrow, textured glass as a subtle transition between contemporary and traditional forms. This understated move softens the dialogue between new and old, earning the home both architectural relevance and contextual respect. Inside, every room serves a distinct function, yet collectively they flow with cohesion. Shared living spaces – including a sunken lounge that spills out onto an outdoor terrace – are designed for connection, while private zones like the moody library and rooftop terrace offer restful escape. Floor-to-ceiling windows capture sweeping views of Melbourne’s skyline, anchoring the home within its broader urban locale. Materially, the house continues its layered narrative with finishes like Grey Ironbark flooring, sculpted concrete island benches, and custom cabinetry in warm, natural veneers. In the sunken lounge space, burnished concrete flooring runs uninterrupted from inside to out, blurring the boundary between built the interior and the landscape. At its heart, Salmon House was conceived as a space to bring a family closer together – to facilitate both communal living and solitude. A generous outdoor terrace and adjacent pool house foster year-round socializing, while zones like the study and library offer refuge and focus. The pool itself acts as a connective element, tying the home and landscape into a singular experience. Adding to the home’s indoor-outdoor connection are the glass-topped showers, which are open to the sky and connected to the outdoors while maintaining complete privacy. These secluded bathing spaces allow natural light to pour in, creating a tranquil bathing experience that blurs the line between indoor comfort and the surrounding environment. The complexity of the project required coordination across multiple disciplines. True Story worked closely with the structural engineer, builder, and pool specialists to integrate the residence’s many components – from the subterranean basement to the elevated rooftop terrace. The result is a unified living environment that’s warm, welcoming, and the epitome of what a family home can be. For more information on Salmon House and True Story, visit truestory.au. Photography by Dean Bradley. Interior styling by Lou Wester.

Noah’s Nest by Archiro Vietnam blends tradition with modernity, featuring indoor rock beds, lush greenery, and a spiral staircase that brings nature indoors.

In the center of Vietnam’s Tiền Giang province, Noah’s Nest is a modern home steeped in tradition. Designed by Archiro Vietnam for acclaimed actor Lâm Thanh Nhã, this compact yet thoughtfully envisioned residence gracefully fuses local heritage with contemporary architectural ideals. Built with a modest 603-square-foot layout, Noah’s Nest is designed to honor the owner’s roots while leaning into modern Vietnamese architecture. Rather than relying on imported, industrial materials, the home showcases locally sourced elements such as baked clay bricks, bamboo poles, straw mats traditionally used in rice storage, and ornamental stone mortars. These choices go beyond aesthetic appeal – they ground the home in the cultural fabric of the Mekong Delta, paying tribute to Tiền Giang’s agricultural identity. The deliberate contrast between rustic textures and clean, modern lines creates a space that feels both familiar and fresh. This balance between tradition and modernity allows the home to blend into its rural surroundings while asserting its unique architectural identity. Despite its compact interior space, the home is designed to feel open and expansive, thanks to strategic skylights and integrated greenery. Natural ventilation flows freely through the structure, reducing reliance on artificial cooling in the tropical climate. Indoor plants and outdoor views are incorporated throughout the layout, emphasizing biophilic design and fostering a healthier living environment. The philosophy behind Noah’s Nest extends beyond materials and form. With its unfinished walls and open windows, it’s a living structure – one that, like a nest, requires attention, love, and shared responsibility. These intentional imperfections give the home character and remind its inhabitants of the evolving nature of family life. For its actor owner, the home is a creative sanctuary. The tactile familiarity of childhood materials, combined with the peaceful rhythm of rural life, offers a space for introspection and inspiration. Here, away from the demands of city living, Nhã can tap into new ideas for his craft, contributing to the growth of Vietnam’s film and artistic culture. A unique feature throughout the home is its use of integrated indoor rock beds, which serve both functional and aesthetic purposes. On the ground floor, a rock garden anchors the open-plan living area, wrapping around a spiral staircase that leads to the upper level. This sculptural focal point is softened by lush greenery, blurring the lines between architecture and nature. Upstairs, a second rock bed becomes the base for a floating bathtub, positioned directly across from the bed in the spacious primary suite. Enveloped by tropical plants and natural textures, the bathing area feels like a private spa retreat – bringing tranquility and biophilic design into the heart of the home. The home’s exposed brick construction is the result of close collaboration between the design team and local craftsmen. This technique not only highlights the tactile beauty of handmade materials but also optimizes building efficiency and cost. By showcasing the natural tones and patterns of the bricks, the home gains visual warmth while reducing the need for added ornamentation. Hidden within the brickwork are structural components, skillfully integrated to give the illusion of simplicity while offering robust support. For more information on Noah’s Nest and Archiro Vietnam, visit archiro.vn. Photography by Dat Bui.

Tyler Kobick, principal and CEO of Design Draw Build, shares some of his favorites, from a trowel to a cemetery, gumbo, and more.

Even when architect Tyler Kobick was in daycare he was already a skilled creative. Taking cues from his mother, who painted watercolors, he loved to tap into his imagination and draw animals of all shapes and sizes. Kobick was raised in Ohio, in a house next to the bluffs where the Wisconsin Glacier ends, 30 miles south of Lake Erie. The land was a refuge, where an icicle kingdom formed in the winter and large boulders doubled as hideouts in the summer. “From small nooks to expansive spaces, the cliffs turned into my workshop to make forts and experiment with making,” he says. “Scavenged pieces of wood became my medium from a very early age.” Tyler Kobick \\\ Photo: Courtesy of Design Draw Build Kobick was more interested in natural terrain than typical school sports. He built a rock climbing wall in his basement and organized trips to outdoor locales. When he was 14 he also began an apprenticeship with a master stone mason, and by age 16 he started his own construction company. A licensed architect and contractor, Kobick founded Design Draw Build in 2010, and traveled throughout the United States, Canada, and El Salvador for commissions. Now permanently based in Oakland, California, the firm specializes in a range of projects, from adaptive reuse to multi-family housing, always embracing the material culture of a place. Kobick’s favorite time is when the brainstorming transitions into the actual pitch. “It is a vulnerable and empathetic process, one where you adjust to the client’s initial reactions,” he notes. “Actively molding the idea to meet a position that allows both parties to move forward is a wildly exciting experience.” Today, Tyler Kobick joins us for Friday Five! Photo: Trevor Patt 1. Brion Cemetery near Treviso, Italy Designed by Carlos Scarpa, my favorite twentieth-century architect, the Brion Cemetery in San Vito d’Altivole near Treviso, Italy, is a modernist masterpiece and Mayan temple of the 20th century. It is a monument to the permanence of everyday change that expresses the fluidity of architecture and construction. It speaks to the vulnerability of the day to day making process from brain to build and 30 years of work by an architect and craftsman I so strongly believe in. Photo: Tyler Kobick 2. Shallow Atmospheric Depth (SAD) I love patterns and drawing things that allow the eye to enter a thing to some degree and drift or meander back out of it. I have great regard for creative works that inspire immersive imagination that is less of a trance and more of a dance. Photo: Courtesy of South Louisiana Blackpot Festival and Cookoff 3. Gumbos of the World Like good chowders in New England or Pho in Vietnam, music that expresses the regional story of a place and has been shaped by different influences profoundly inspires me. A specific output rooted in time and place is a quality I seek in food, wine, music, art and architecture. Historic vernacular has evolved, modern, momentary and fleeting. Photo: Yanit Mehta 4. Critical Regionalism First coined by Kenneth Frampton in 1981, “critical regionalism” is a theory that trusts the phenomenology of texture over eye-based aesthetics. It’s a theory that seeks a bridge between vernacular, place-based ideas and global modern ideas. It embraces ‘the gumbo’ of a place without being overly nostalgic for the origin of those stories and ideas and seeks new stories that make ‘regionalism’ modern – a current, evolving form. Photo: John Bogna 5. Trowel The trowel is a participant in the puzzle of pulling a stone out of the ground and piecing it with another. As an extension of the hand, it allows you to pick something up, put it down, see how it transforms, molding to its new surroundings, forcing mini compromises and revealing surprises.It is a plastic medium that nestles into its surroundings. Works by Tyler Kobick and Design Draw Build: Radiant Hills House \\\ Photo: Marcus Edwards Radiant Hills House The Radiant Hills House, tucked away in the serene Oakland Hills, embodies the harmonious fusion of the curated reuse of salvaged materials, the original home’s mid-century design, and mindfully-modern functionality. Letting the materials guide the vision, this project reflects my personal design philosophy. As architect-owner, the renovation and additions to this 1949 home have transformed it into a vibrant living space serving as my family home, a home office, and a small multi-family neighborhood daycare. Revived with a critical regionalist approach, the home is at its core a response to place and the local environment, with a number of colorful twists and turns along the way. For me, the Radiant Hills House is more than a home – it is a personal sanctuary and an experimental space dedicated to the ‘design-build’ process. The home reflects my vision and lifestyle, integrating elements from my architectural practice and personal life. It stands as a prototype for DDB’s future work, continually evolving with my deepening understanding of the site and advances in building science. Radiant Hills House \\\ Photo: Marcus Edwards Radiant Hills House \\\ Photo: Marcus Edwards Coda House \\\ Photo: Marcus Edwards Coda House After inheriting a childhood home, the owners wanted to make it their own – updating the 1950s ranch house to a warmer, modern layout. A new primary suite wing was added, wrapping around a new outdoor dining patio next to the existing pool. The suite features expansive cathedral ceilings and large windows and doors opening into the back yard. The front entry was redesigned, blending the mid-century ranch home with the modern style of the renovation. Garden View ADU \\\ Photo: Yanit Mehta Garden View ADU Nestled in a sunny hillside – this airy, bright detached ADU is built on a family home in Oakland. The incredibly hands-on and exuberant owners who actively led the build are downsizing and the matriarch will be aging in place. I designed a contemporary ADU suiting all of the owner’s dwelling needs with an integrated loft office, bedroom, kitchen, and bath. The double-height property is the epitome of sustainable intergenerational living. The build process meticulously integrates a modern green design – adding rooftop solar array, passive solar shading devices, a highly efficient building envelope and rainscreen system, energy-efficient fixtures and appliances, EV charging station, an energy-efficient heat pump HVAC system, and sustainably sourcing materials whenever possible. The indoor-outdoor living space is adorned with a splendid accordion glass Photo: Fireplace in Concrete House \\\ Collective Quarterly Fireplace in Concrete House I built and designed this large fireplace in a house made almost entirely from local stone and concrete in the Mad River Valley of Vermont nearly 25 years ago with local, natural boulders rising out of the floor and becoming a man-made object shaped from the plasticity of concrete. The fireplace plays with the contrast of variable shaped materials interacting with each other and seeks a transition from ledge to wall similar to a European castle wall rising from the rock outcropping on a hill. The fireplace embodies my belief in the adaptability of material to the design and encourages the viewer to understand the making process in the aesthetic of the outcome. Educational Spaces: El Salvador to East Los Angeles \\\ Image: Courtesy of Design Draw Build Educational Spaces: El Salvador to East Los Angeles My interest in an education system and a school is about the plurality of public space. Both these works seek a comprehensive architectural link between resource use and production, land development, and education spaces that fortify people’s understanding of place in the ecosystem of the environmental and human community. The Amun Shea project in El Salvador was a school I founded in 2005 and eventually became part of my Master’s thesis at Dalhousie University. It uses an educational campus to define the edge of town and to catalyse local knowledge to stem the migration of rural people to the city. Interior spaces, exteriors, and building techniques for the school and land planning follow a language of overlap between urban street form and the plaza/commons corner. In similar themes of communal resiliency and an evolution of over 15 years of work, my firm’s Agualta STEAM Engine was designed for sustainable futures with similar aspirations to Amun Shea fifteen years before. Recently a winner of AIA California’s Architecture at Zero competition, Agualta STEAM Engine is a mass timber structure that creates an oasis of scholastic and climate resilience on the Griffith Middle School campus. With over 15,000 displaced Angelenos today following the firestorms, the design harnesses the iconography of water towers as a symbol of sustainable futures for the historically underserved East Los Angeles community and creates a space for re-vocationalism in the education system for a major working class area of the city.

The Lagom residence by Studio Autumn is a minimalist home in Bangalore blending Japanese wabi-sabi and natural materials for serene, intentional living.

In a city known for its fast-paced tech life and urban sprawl, a tranquil haven has taken shape – offering not just an aesthetic escape but a lesson in intentional living. Designed by Studio Autumn, the Lagom residence in Bangalore, India, is a 2100-square-foot apartment that elegantly intertwines Japanese wabi-sabi philosophy with modern minimalism, creating a personal and globally inspired home. Crafted for a young couple in the tech industry, the residence reflects their time abroad and a desire for thoughtful simplicity. “A minimalist space with worldly influences, infused with natural materials,” says Chintan Punjabi, Principal Designer at Studio Autumn. The design journey began with conversations around values and vision, resulting in a home that feels both rooted and explorative. “Lagom” – a Swedish term meaning “just enough” – perfectly defines the spirit of the residence. Every element, from spatial planning to material choice, is guided by this principle of balance. The result is a space that feels neither too stark nor overly embellished – meticulously balanced to offer serenity in the midst of a bustling city. Upon entering the home, guests are welcomed by an arched entryway featuring an organically-shaped mirror – a clue into what is to come in the rest of the apartment. These gentle curves recur throughout, softening room transitions and elevating the home’s sculptural aesthetic. A minimalist wooden bar and marble-clad kitchen, as well as brass accents and local stone lend a grounded, regional identity to the pooja alcove that’s defined by an archway. Central to the home, and “the couple’s personal favorite space,” the dining space stands out with its built-in concrete bench, rattan detailing on the wooden Wishbone chairs, and a curated niche wall created by transforming an old window. “An existing window was filled with lime plaster to create this composition,” says Punjabi. This clever intervention not only adds depth to the space – it turns a simple wall into a conversation piece. The color primary palette is earthy and neutral, with warm oak wood flooring underfoot and lime-washed walls adding subtle texture. Furniture is entirely bespoke with fluid forms and tactile finishes. A woven jute rug from Carpet Kingdom and custom decor from Minimal Indian anchors the emphasis on natural materials and handcrafted design details. A fluted glass partition leads to the private areas, maintaining the visual flow while offering a subtle layer of separation. One bedroom has been repurposed into a combined study and wardrobe space, allowing the main sleeping areas to remain open and uncluttered. The primary bedroom, drenched in white tones, maximizes the natural light for a peaceful retreat. In contrast, the guest bedroom introduces oak wood accents and a flexible media unit that transitions between work and relaxation – matching the needs of contemporary life. “Each piece of decor was curated with intention,” concludes Punjabi. “We focused on juxtaposing tactile sensibilities with an intuitive interplay of light and materials. To see this home come to life as a reflection of their personalities has been deeply rewarding.” For more information on the Lagom residence and Studio Autumn, visit studioautumn.com. Photography by Nayan Soni.

A Brooklyn loft renovation by Batliboi Studio blends industrial edige with custom millwork, modern materials, and playful design details..

Situated in a century-old industrial building in Brooklyn, New York, a 1,700-square-foot loft has been transformed with a playful, industrial edge. Conceived by Hormuz Batliboi of Batliboi Studio for homeowner Valerie Tsvetkova – who leads the creative services team at beauty brand Elizabeth Arden – the two-bedroom, two-bath residence offers a fresh interpretation of loft living, combining historic character with modern ingenuity. The space’s original bones – a former manufacturing site – set the tone for the design language. During the renovation, Batliboi uncovered long-hidden timber beams and steel joints concealed behind a dropped ceiling. Rather than mask these relics of the past, he leaned into them, allowing the architectural heritage to shape the loft’s narrative. Exposed structural elements now act as visual anchors, lending the space an authenticity rarely found in newer builds. At the outset, the loft presented a challenge familiar to many converted spaces: disjointed utilities and an awkward kitchen layout. Batliboi reimagined the floorplan by centralizing the utility infrastructure and subtly raising the floor in specific areas to accommodate functional upgrades. This smart spatial change allowed for a seamless kitchen integration at the heart of the home. A highlight to the main living space, particularly the dining room, is a 15-foot sculptural shelf in green ripples across the wall. Its fluid, ribbon-like form is crafted from layers of CNC-milled wood laminated together, and the shade of green was matched precisely to the client’s existing pendant lights. Equal parts functional and artistic, the shelf doubles as a sideboard, emphasizing Batliboi’s knack for turning practical solutions into focal points. The kitchen features sleek stainless steel countertops paired with a warm mix of brass detailing and natural stone. Instead of opting for fully custom cabinetry, Batliboi worked with a flat-pack system from REFORM, meticulously tailoring the installation for a refined, built-in appearance. This hybrid approach captures a luxury aesthetic without unnecessary excess – an elegant nod to sustainable design thinking. Throughout the home, contrasting materials and bespoke accents reinforce the design’s eclectic yet cohesive spirit. In the bathroom, a moody palette comes to life with deep black zellige tiles, matte black flooring, and a bold granite shower – heightened by natural light pouring through a large industrial window. Meanwhile, a mix of penny tile and marble in other areas offers a tactile and visual counterbalance. With its layered materials, custom fabrications, and clever use of space, the home feels personal, intentional, and refreshingly lived-in. For more information on the Brooklyn Heights Loft by Batliboi Studios, visit batliboi.studio. Photography by Ashok Sinha.

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this energy-conscious home is centered around a thick rammed-earth wall and a communal earthen stove.

The post hé! reworks typical flemish farmhouse into compact, earth-warmed home in belgium appeared first on designboom | architecture & design magazine.

Hé! breathes new life into Flemish fermette in belgium In Pajottenland, Belgium, architecture studio Hé! Architectuur completes Omloop Farmhouse, the sustainable transformation of a 1990s turnkey ‘fermette’ for Marc and Ann, a couple working in the social sector who wanted to reconnect their aging home with the surrounding landscape and prepare it for lifelong living. The project began as a request from the owners and soon led to a broader question about the future of the typical ‘off-the-shelf’ Flemish fermette. Ubiquitous across the Belgian countryside, these homes are often perceived as outdated and architecturally irrelevant. Hé! embraces the typology’s flaws and approaches the house as a prototype for densification and reorientation, leading to a compact, energy-conscious home centered around a thick rammed-earth wall and a communal earthen stove. all images by Tim Van de Velde earth wall regulates temperature inside Omloop Farmhouse Originally built as a turnkey farmhouse-style home, the building was purchased in the 1990s by Marc and Ann, who raised their daughters there. Three decades later, the emotional value of the site remains strong, and the pair hoped to age in place. Their renovation brief was to open up the house, reconnect with the landscape, and do so sustainably. The Omloop Farmhouse project became a collective process between the architects, the family, and their friends who joined in throughout construction. The renovation began with a critical analysis of the building’s original layout and its disconnection from the hilly site. To reverse this, Brussels-based firm Hé! Architectuur proposed a spatial inversion, removing the daughters’ former bedrooms to create a new winter garden bordered by the thermal earth wall that retains solar warmth in winter while helping cool the space during hot days. Hé! Architectuur completes Omloop Farmhouse in Belgium a new life for an old typology The former hallway and office of the residence now form an expanded living room that looks onto the winter garden. A previously oversized entrance hall becomes an intimate seating area organized around the central earthen stove, which replaces the outdated oil boiler and now heats the entire house, while the garage is repurposed as the new entrance. White interior walls are coated with warm red clay plaster, echoing the tones of the earth wall. On the ground floor, a new bedroom and compact bathroom ensure single-level accessibility, allowing the house to support lifelong living. While the transformation is grounded in personal needs, Omloop Farmhouse offers a way to address one of Flanders’ most widespread and undervalued housing typologies without erasure or nostalgia. the studio transforms a 1990s turnkey ‘fermette’ for a couple working in the social sector the owners wanted to reconnect their aging home with the surrounding landscape questioning the future of the typical ‘off-the-shelf’ Flemish fermette these houses are ubiquitous across the Belgian countryside Hé! embraces the typology’s flaws the architects approach the house as a prototype for densification and reorientation a compact, energy-conscious home centered around a thick rammed-earth wall originally built as a turnkey farmhouse-style home the Omloop Farmhouse project is a collective process between the architects, the family, and their friends the renovation began with a critical analysis of the building’s original layout the approach offers a way to address one of Flanders’ most widespread and undervalued housing typologies project info: name: Omloop Farmhouse architect: Hé! Architectuur | @he_architectuur location: Pajottenland, Belgium photographer: Tim Van de Velde | @tvdvphotography The post hé! reworks typical flemish farmhouse into compact, earth-warmed home in belgium appeared first on designboom | architecture & design magazine.

wutopia lab clads the rock‑like exterior in curved metal panels forming horizontal line patterns.

The post wutopia lab carves soft white caving interiors for pebble-shaped mountain hotel in china appeared first on designboom | architecture & design magazine.

Rock, Cloud Center, stands atop Ancient Spring Town in Tangshan The Rock, or Cloud Center, by Wutopia Lab, is located at the highest point of the Ancient Spring Town in Zunhua, Tangshan, China. Commissioned by Financial Street (Zunhua) Real Estate Development Co., Ltd., the project includes architecture, interiors, and conceptual landscape design developed by the Shanghai-based practice. Positioned 20 meters above the main hotel entrance, the building serves as a visual marker, a landmark for the area. The Rock houses hospitality amenities, including a swimming pool, gym, and outdoor hot spring pools, and supplies hot spring water to nearby villas. The site’s northern edge, a natural cliff, offers unobstructed views of the Great Wall. This topography informed the decision to create a form inspired by the ‘flying rock’ found in traditional Chinese landscape references. The building projects outward from the cliff, its mass shaped to suggest lightness despite its volume. all images by Daily Architectural Photography | LIU Guowei Wutopia Lab reinterprets ‘flying rock’ in Chinese landscapes For the internal arrangement, the architects at Wutopia Lab follow a ‘caving’ logic, with spaces carved from the form to create a central pool hall and other amenities. A 26-square-meter skylight above the pool introduces daylight, producing shifting light reflections across the interior surfaces. Circulation within the building includes a spiraling rooftop ramp, which extends the architectural form while framing views of the surrounding landscape. The Rock is clad in curved metal panels, shaped into a pebble-like form while reducing the complexity and cost of fabrication. Horizontal lines dominate the facade texture, and angular edges created by two-dimensional panel assembly were incorporated into the overall design language. The building’s outer shell is an independent cladding system that surrounds a waterproof, insulated core. This separation allowed the ramp to be integrated without impacting interior layouts. Service areas, which occupy over half the building’s total area, are embedded into the mountain to maintain the visual balance between structure and cliff. Given the site’s Grade-8 seismic rating, even small cantilevers presented engineering challenges. Structural reinforcement was integrated into the curtain wall framework to maintain the intended form. Rock by Wutopia Lab floats above the ancient town Interiors follow ‘caving’ logic, with continuous curved surfaces The pool hall’s interior features a continuous soft grey-white surface finish, with curved transitions between walls and ceiling. The neutral palette emphasizes the changing qualities of light and the reflections from the pool. Northern curtain walls and the skylight provide natural illumination, while artificial lighting transforms the space at night. The gym on the upper level overlooks the pool and frames views of the surrounding terrain. Outdoor hot spring pools are screened by vegetation for privacy but maintain long views to the Great Wall. The elliptical layout of the pool hall required precise coordination of MEP systems. Dehumidification, HVAC, and curtain wall structure were resolved using BIM to address the complex geometry. Waterproofing design was developed through large-scale sectional detailing and on-site coordination during construction. The Rock, or Cloud Center, by Wutopia Lab, combines its functional program with a distinct formal presence in the landscape, integrating structural, material, and technical strategies to respond to its topography and context. curved metal panels clad the exterior horizontal lines ripple across the facade the structure is embedded into the mountain a swimming pool in a sculpted cavern daylight drips across every curve spaces seem carved from solid form a pool carved from the heart of the rock curved openings pierce the solid white frame swimming within a quiet carved pebble reflections change with every cloud morning light melts into the water’s surface grey-white walls embracing liquid blue beneath the skylight, water mirrors the sky daylight dances across soft grey-white surfaces soft light meets still water the pool hall beneath a 26-square-meter skylight a curtain glass window stretches along the pool large openings allow for views towards the natural surroundings inspired by the ‘flying rock’ of Chinese landscapes a landmark carved from the cliff’s edge views stretching to the Great Wall of China pebble-shaped shell in shimmering metal project info: name: Cloud Center, Financial Street Ancient Spring Town designer: Wutopia Lab architect: Wutopia Lab | @wutopia.lab location: Zunhua, Hebei, China area: 1,690 sqm lead architect: YU Ting project architect: Liran SUN design team: PAN Dali, KUANG Zhou, MU Zhilin, XIONG Jiaxing, ZENG Rui (Intern), ZHANG Naiyue (Intern) acknowledgment: CHEN Xi architectural construction drawings: China IPPR International Engineering Co., Ltd. construction drawing team: WANG Chunyu, LI Shijie, LIU Yao, WANG Yu, WANG Jianning, PAN Xuezhong, WANG Yi, ZHANG Song interior construction drawings consultant: Shanghai Sunyat Architecture Design Co., Ltd. landscape design: Ecoland client: Financial Street (Zunhua) Real Estate Development Co., Ltd. client management team: WANG Ying (Design Director), GUAN Xueqiang (Project Manager) general contractor: China State Construction Urban Development Co., Ltd. structural consultant: AND structural team: ZHANG Zhun, CAI Yanming geometry optimization: Sur-Mesure Engineering Studio lighting consultant: Chloe ZHANG, WEI Shiyu design advisor: WEI Minfei photographer: Daily Architectural Photography | LIU Guowei designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. edited by: christina vergopoulou | designboom The post wutopia lab carves soft white caving interiors for pebble-shaped mountain hotel in china appeared first on designboom | architecture & design magazine.

sierra blanca estates unveils a major proposal for the el bulto neighborhood, anchored by a ZHA-designed residential tower.

The post zaha hadid architects’ 21-story tower leads neighborhood regeneration proposal in malaga appeared first on designboom | architecture & design magazine.

zha’s residential tower to anchor neighborhood regeneration As Malaga continues to transform its former industrial port into a vibrant urban quarter, Sierra Blanca Estates (SBE) unveils a major proposal for the El Bulto neighborhood, anchored by a Zaha Hadid Architects (ZHA)-designed, 21-story residential tower. The scheme introduces 153 market-rate apartments along with 80 units of subsidized housing (VPO) earmarked for long-term residents of the working-class community, signaling a shift in how Spanish coastal cities are planning for inclusive, sustainable, and future-facing growth. all images courtesy of ZHA the sculptural tower introduces a landmark presence in malaga Located beside the port’s railway line, the El Bulto proposal is the first in Andalusia to be implemented under a new urban development model focused on co-management and sustainable integration. Spearheaded by Marbella-based SBE as the area’s designated Urban Planning Agent, the project extends into broader urban planning, proposing a network of public squares, landscaped gardens, shaded courtyards, and new recreational and sports facilities. These additions aim to open up the portside area to the city at large, fostering community interaction while improving quality of life for both residents and visitors. The sculptural, high-density residential building, designed by the team at ZHA, centers the proposal and intends to provide much-needed housing in the city while introducing a landmark presence on Malaga’s evolving skyline. Designed by Patrik Schumacher with project lead Manuela Gatto, the tower reflects ZHA’s signature dynamism, integrating sustainability principles through a team led by Carlos Bausa Martinez. Crucially, the proposal includes the preservation and relocation of several heritage assets in the area, including the Cottolengo Diocesan Residence – an important gesture towards cultural continuity in a district often overlooked in the city’s touristic image. While construction timelines have yet to be confirmed, the proposal mirrors how the city envisions its future. 21-story residential tower designed by Zaha Hadid Architects (ZHA) to rise in Malaga | render by Atchain the scheme introduces 153 market-rate apartments along with 80 units of subsidized housing the El Bulto proposal is the first in Andalusia to be implemented under a new urban development model | render by Morean the sculptural, high-density residential building centers the proposal the tower reflects ZHA’s signature dynamism the proposal includes the preservation and relocation of several heritage assets in the area project info: name: El Bulto proposal architect: Zaha Hadid Architects | @zahahadidarchitects location: Malaga, Spain client / developer: Sierra Blanca Estates | @sierrablancaestates urban planning agent: Sierra Blanca Estates design lead: Patrik Schumacher project director: Manuela Gatto project team: Alicia Hidalgo, Armando Bussey, Jessica Wang, Jose Pareja Gomez, Laizhen Wu, Massimo Napoleoni, Thomas Bagnoli, Veronica Erspamer sustainability team: Carlos Bausa Martinez, Aditya Ambare, Aleksander Mastalski, Bahaa Alnassrallah, Disha Shetty, Shibani Choudhury The post zaha hadid architects’ 21-story tower leads neighborhood regeneration proposal in malaga appeared first on designboom | architecture & design magazine.

the pioneering new architectural methodology overlays handcrafted design, real-time collaboration, and artificial intelligence.

The post design methodology that puts architecture at intersection of craft, play, and AI appeared first on designboom | architecture & design magazine.

new architectural methodology overlays craftsmanship with AI Mind Design Studio, in collaboration with the digital platform Dom World, is developing a new architectural methodology that overlays traditional craftsmanship with immersive technologies and machine learning. Their work emerges from the belief that architecture can no longer operate in isolation from the digital and cultural forces transforming everyday experience, but it must evolve its practices without abandoning its principles. Through hybrid workflows that merge hand-modeled forms, real-time collaboration, and AI-driven iterations like Midjourney, the team is building environments that are both visually striking as well as emotionally resonant, participatory, and intelligent. the vision of the LA28 Olympic Village, developed in collaboration with Studio Tim Fu, combining hand-modeled massing studies with AI-augmented iterations | image © Studio Tim Fu, all images courtesy of Mind Design Studio transforming architecture into a living, participatory medium Founded by Miroslav Naskov, who is also the co-founder of Dom World, Mind Design Studio is an experimental architecture and design practice based in London. The studio focuses on projects that fuse digital innovation with deeply human design values. Its work spans across architecture, immersive environments, and research-driven installations, exploring how emerging technologies, particularly AI, can coexist with intuitive, craft-based processes. Through platforms like Dom World, the studio creates shared design experiences that transform architecture into a living, participatory medium. This topic matters now more than ever as the architecture field grapples with the increasing role of automation, the need for more inclusive design processes, and the call for emotionally intelligent spaces in both physical and digital realms. As Miroslav Naskov puts it, ‘This is where craft, play, and AI converge — not as tools, but as an integrated methodology.’ Stair Design at the intersection of craft, code, and play, blending tectonic clarity with generative logic | image © Mind Design the fusion of hand sketching and AI refinement Mind Design’s process begins with physical intuition. Using tools like Maya and Rhino, the team sketches by hand—sculpting curves and volumes that prioritize sensuality, beauty, and clarity. These forms aren’t just geometry, they are expressions of emotional intent, shaped with precision and passion, making design a way of thinking through making, allowing the studio to shift between the physical and digital, abstract and built. ‘We use curves not just for geometry, but for their sensual quality, searching for legibility in new ideas, for pure beauty driven by nature,’ explains the founder of Mind Design and co-founder of Dom World. Once these early models take form, the studio incorporates AI platforms such as Midjourney, Runway, Kling, and mnmi to explore a wider set of possibilities. ‘AI doesn’t replace intuition — it expands it. The hand still leads, but the machine helps it see further,’ adds Naskov. But the final result is always guided by the designer’s eye, making this hybrid process a fluid, iterative workflow that is analytical yet poetic, computational yet crafted. Art Of Emotive Architecture Exhibition, an interactive exhibition collecting real-time participant feedback to shape spatial design logic | image © Mind Design Architecture, in this methodology, becomes a space for dialogue. Instead of presenting static renderings, Mind Design brings concepts into Dom World – the multiplayer digital environment where teams, clients, and collaborators can enter and experience designs together. This transforms architectural development into something collective and open-ended where visualization becomes a laboratory for shared exploration and not just a tool. In Dom World, decisions are shaped through interaction. Adaptive features powered by AI personalize the experience, suggest refinements, and keep the process responsive. The space itself becomes a playground for design thinking, one where users move freely, test ideas, and generate insight. During the Play phase, feedback isn’t added at the end but built into the beginning; this is how Mind Design reframes authorship – they don’t just design for people, they design with them. Future Of Learning seen in a multiplayer environment where education becomes an immersive adventure | image © nVisual Studio AI plays a dual role in this process both as a generative tool, and as a learning system. After every interactive session, the studio collects real-time feedback, seeing how participants move, respond, or engage with the space, and feeds it back into their AI models. The system then refines its logic, identifies patterns, and informs future iterations. Over time, the process becomes more intelligent and more adaptive. Rather than diminishing the designer’s role, this feedback loop enhances it and AI becomes a collaborator that provides insight, optimizing decisions, and supporting emotional and functional clarity in the final design. As seen in their work on the LA28 Olympic Village (developed in collaboration with Studio Tim Fu), and projects shown at Venice Design Week, Mind Design demonstrates how AI can expand authorship rather than dilute it. Through sculptural clarity and computational logic, they are pushing the boundaries of what architecture can be. Dom World Island Walkways (image by Brick Visual) a sculptural product developed through hybrid sketch–AI–craft workflows, presented at Venice Design Week | image © Mind Design project info: company: Mind Design Studio | @mind.designed collaboration: Dom World | @domworld.io The post design methodology that puts architecture at intersection of craft, play, and AI appeared first on designboom | architecture & design magazine.

designed as a welcoming link to the community, the studio museum opens broadly outward through a porous facade.

The post studio museum in harlem to reopen november 2025 with adjaye-designed building appeared first on designboom | architecture & design magazine.

a new landmark soon to open in harlem In Harlem, New York, a new building for the Studio Museum will take shape as a significant addition for the institution. The contemporary structure, designed by Adjaye Associates, is currently under construction on its original site. The museum’s new home replaces the adapted commercial building designed in 1982. This project, the museum’s first custom-built facility, is a result of a public-private partnership with the City of New York. It will enable the museum to expand its exhibitions, programs, and public spaces while establishing a prominent architectural presence in the Harlem community. The design of the new Studio Museum draws inspiration from Harlem’s rich cultural and architectural heritage. Adjaye Associates looked to the neighborhood’s churches, theater stages, and brownstone stoops to shape the building’s relationship with its surroundings. A facade of dark grey precast concrete, with sandblasted and polished finishes, is interspersed with glass elements. This design plays with apertures, frames, and doorways, creating a visual collage that references the masonry architecture of the neighborhood. With its porous nature, the building allows the street life of Harlem to connect with the activity inside, breaking down barriers between the museum and the community. UPDATE August 6th, 2025: The Studio Museum in Harlem announces November 15th, 2025, as the public opening date for its long-awaited new home at 144 West 125th Street. The 7,600-square-meter building is set to open with a full-day community event, inviting visitors to explore the reimagined spaces of the museum, from state-of-the-art galleries and rooftop terraces to education workshops and the monumental public stoop designed for talks and performances. The inaugural season will feature exhibitions by Tom Lloyd and the museum’s artist-in-residence program, alongside archival material and new commissions by artists of African descent. exterior view of the Studio Museum in Harlem’s new building | image © Dror Baldinger FAIA | , courtesy of the Studio Museum in Harlem studio museum: a welcoming link to the community At street level, a large, double-height window blurs the boundary between the sidewalks of Harlem and the Studio Museum’s interior. This transparency reflects the institution’s goal of being open and accessible to the public. Inside, a prominent feature is the ‘reverse stoop,’ a stepped area at the front of the building that leads visitors down into the museum. This architectural element creates a generous public space for gathering and socializing while paying homage to the social significance of Harlem’s stoops and churches. The new Adjaye & Associates-designed building offers 82,000 square feet of space across five stories, representing a significant increase in exhibition and public areas. The architects organize the galleries to accommodate a wide range of artworks, from large-scale installations to smaller, intimate pieces. By integrating the exhibition spaces with educational areas, the museum fosters an organic flow between creativity, production, and learning. The expanded facilities also include artist-in-residence studios, communal spaces, and flexible areas for programs and events. One of the museum‘s most exciting features is its rooftop terrace, which offers sweeping views of Harlem and the city beyond. This outdoor space will host events and programs, designed in collaboration with landscape firm Studio Zewde. The terrace enhances the museum’s role as a community hub, providing a unique vantage point for visitors to experience Harlem. images © Albert Vecerka Inaugural Exhibitions: Celebrating the Museum’s Legacy Opening in the fall of 2025, Harlem’s Studio Museum will inaugurate its new home with a series of exhibitions that pay tribute to its legacy. A major highlight is a comprehensive look at the work of artist Tom Lloyd, whose solo show opened the museum in 1968. This exhibition, the first institutional solo show of Lloyd’s work since that time, will include a range of pieces, from his pioneering electronic sculptures to found-object artworks and archival materials documenting his activism. The museum will also present a survey of its permanent collection, featuring works by artists of African descent from the 1800s to the present day. The collection highlights the museum’s longstanding commitment to fostering the careers of Black artists and shaping conversations around contemporary art. Public spaces throughout the building will also feature works by artists such as David Hammons, Glenn Ligon, and Houston E. Conwill, integrating art into the fabric of the museum. interior view of the Studio Museum in Harlem’s new building, featuring the Stoop and the lobby | image © Dror Baldinger FAIA, courtesy Studio Museum in Harlem interior view of the Studio Museum in Harlem’s new building, featuring the Stoop and the Grand Staircase | image © Dror Baldinger FAIA, courtesy Studio Museum in Harlem images © Albert Vecerka Tom Lloyd standing in front of unknown artwork, 1968. courtesy Studio Museum in Harlem Tom Lloyd, Moussakoo, c. 1968. aluminum, light bulbs, and plastic laminate, dimensions variable. Studio Museum in Harlem; gift of The Lloyd Family and Jamilah Wilson 1996.11; courtesy Studio Museum in Harlem. photo by John Berens Tom Lloyd and apprentices in the artist’s studio in Jamaica, Queens, c. 1968. courtesy Studio Museum in Harlem. photo by Reginald McGhee Rashid Johnson, Bruise Painting ‘Tarmac,’ 2023. oil on linen, 72 × 96 × 1 5/8 in. Studio Museum in Harlem; museum purchase with funds provided by Greg Mondre and Lise and Jeffrey Wilks 2023.19.1. photo by John Berens © Rashid Johnson. courtesy the artist and Hauser & Wirth Barkley L. Hendricks, Lawdy Mama, 1969. oil and gold leaf on canvas, 53 3/4 × 36 1/4 in. Studio Museum in Harlem; gift of Stuart Liebman, in memory of Joseph B. Liebman 1983.25; © Barkley L. Hendricks. courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. photo by Adam Reich Lorraine O’Grady, Art Is…(Girlfriends Times Two), 1983/2009. 40 digital chromogenic color prints, 16 × 20 in. Studio Museum in Harlem; museum purchase and gift of the artist in honor of the Harlem community 2016.5a-nn. photo by John Berens © 2024 Lorraine O’Grady / Artists Rights Society (ARS), New York project info: project title: Studio Museum in Harlem | @studiomuseum architecture: Adjaye Associates | @adjayeassociates location: 144 West 125th Street New York, NY opening date: November 15th, 2025 photographers: Albert Vecerka | @albertvecerka, Dror Baldinger FAIA | @drorbaldingerphotographer project team, Adjaye Associates: David Adjaye, Russell Crader, Christina Yang, Pascale Sablan, Camaal Benoit project team, Cooper Robertson: Erin Flynn, Scott Newman, Jonathan Pietro, Alfia White landscape: Zewde Studio | @studio_zewde landscape team: Sara Zewde, Rae Ishee, Naomi Fassil facade: Thornton Tomasetti structural (design): Guy Nordenson & Associates structural (EOR): Simpson Gumpertz & Heger civil engineer: Langan vertical transportation: VDA lighting: Fisher Marantz Stone sustainability: Socotec theater: Fisher Dachs Associates acoustic: Longman Lindsey construction manager: Sciame Construction diversity inclusion, compliance: McKissack & McKissack The post studio museum in harlem to reopen november 2025 with adjaye-designed building appeared first on designboom | architecture & design magazine.

the dwelling appears as a monolith emerging from the rocky outcropping like an extension of the terrain.

The post OF. studio embeds concrete home ‘brutal honesty’ into argentina’s mendoza landscape appeared first on designboom | architecture & design magazine.

of.brutal honesty: a monolithic home in argentina London-based OF. Studio completes a residential project, titled Of.Brutal Honesty, in Mendoza, Argentina. Located within the mountainous area of Pedemonte, the house occupies a sloping site where the south-facing views toward the canyon compete with the northern orientation preferred for sunlight in the Southern Hemisphere. The design team shapes the dwelling as a concrete monolith which emerges from the rocky outcropping like an extension of the landscape. images © Luis Abba the house Embedded in the Hill The architects at OF. Studio embeds its Brutal Honesty residence into the natural slope. The structure is strategically oriented to capture the sunlight while facing toward the most compelling views in the opposite direction. The architecture unfolds across three perceptual strata: the lower level is set into the ground, the main level sits within the terrain, and the upper level opens to the sky. Native vegetation was left intact, and no trees were removed in the construction process — a decision that reinforces the house’s physical and visual integration with the land. Each level responds to different modes of inhabitation. The basement establishes a grounded, introverted zone. The main level, anchored by the kitchen and surrounded by communal spaces, opens laterally to the landscape. Three staircases mediate between levels, producing varied sequences of movement and access. At the top, the roof is used not just for energy collection but as an occupiable plateau, with a fireplace, jacuzzi, garden beds, and a designated area for yoga. the London-based studio builds the monolithic house in Mendoza, Argentina spaces unfold with stepping terraces Of.Brutal Honesty extends outward through a series of terraces that adapt to the social and topographical context. The main terrace continues the living and dining rooms outdoors, while an adjacent BBQ area is set up to accommodate larger gatherings. A smaller terrace linked to the playroom supports children’s activities with a degree of autonomy. Above, the rooftop offers long views over the canyon, supporting both recreation and retreat. To the south, the house presents a mass of earth-toned concrete that shields against harsh exposure while anchoring the form to the hillside. This protective and open gesture articulates what the architects call ‘Of. Abstract Nature,’ which is a design language where geometry and material expression coexist with the contours of the land. Of.Brutal Honesty is embedded into the slope and built without removing a single tree exposed concrete architecture by of.studio OF. Studio worked closely with local builders to fine-tune the concrete mix, calibrating color and texture through on-site mockups. The result is a material palette that echoes the surrounding geology without mimicry. Exposed concrete provides thermal mass and durability, but also speaks to a regional building tradition that prioritizes permanence and resourcefulness. Sustainability is treated as integral rather than supplementary. Passive strategies such as natural ventilation, thermal insulation, and calibrated shading reduce operational energy needs. Active systems — including solar panels, solar water heaters, and a greywater recycling unit — support the home’s long-term performance and resilience. The clients’ brief emphasized a desire for both connection and solitude, for openness to the landscape and the possibility of retreat. This balance is achieved through careful sectional planning and spatial layering, allowing moments of overlap and withdrawal without resorting to visual barriers. OF. Studio organizes the home across three levels four terraces extend the house outward offering areas for gathering play and retreat the rooftop acts as a plateau with zones for yoga, a jacuzzi, gardens, and a fireplace concrete walls facing the canyon shield from the elements and echo the surrounding geology the exposed concrete is custom mixed on site to match the colors of the local earth project info: name: Of.Brutal Honesty architecture: OF. STUDIO | @of.studio_ location: Pedemonte, Mendoza, Argentina completion: 2023 photography: © Luis Abba project lead: Sebastián Andia team: Valentina Cerrone Chaar, Carlos Fernando Andia, Daniel Carrera Ferreyra, Ana Paula Ridi, Alejandro Marchetti structures: ABAX – Gustavo Manresa, Alejandro Carosio, Pablo Martin sanitary, greywater systems: Daniel Giandinotto Gas Installations: Daniel Giandinotto electrical installations: Daniel F. Ridi Landscaping: Elina Llaver sustainability, thermodynamic studies: SOLAR – Alfredo Estévez cooling, heating systems: Marcelo Gassibe, Gabriel Rover construction management, administration: Felipe Deshayy assistant: Teo Rodríguez Artistic supervision: OF. STUDIO – Sebastián Andia, Valentina Cerrone Chaar technical directorships: architecture: Jimena Andia structures: ABAX – Gustavo Manresa, Alejandro Carosio, Pablo Martin heating systems: Marcelo Gassibe, Gabriel Rover passive systems: ENERGE landscaping: Elina Llaver main wooden staircase manufacturer: Miguel Gandolfo lighting consultancies: ASPEN – Juan Pablo Balaña The post OF. studio embeds concrete home ‘brutal honesty’ into argentina’s mendoza landscape appeared first on designboom | architecture & design magazine.

the new wikicampers headquarters by collectif encore is a flexible office building designed to evolve with the growing company.

The post collectif encore designs wikicampers workspace with wraparound balconies in france appeared first on designboom | architecture & design magazine.

An adaptable office building for wikicampers The new headquarters for Wikicampers, located in Bidart, France, is a workplace designed by French architecture firm Collectif Encore with future change in mind. The building was commissioned to accommodate the projected expansion of the camper van rental platform, which has grown steadily since its founding in 2012. Rather than following a fixed plan, the project is conceived as a framework for ongoing evolution. Wikicampers envisions a structure capable of adapting to the shifting contours of its team, operations, and culture. The architecture reflects this mindset, supporting a collaborative and responsive organizational model and balancing ecological constraints on a challenging site. images © Michel Bonvin collectif encore Anticipates Growth Working with the team at Wikicampers, Collectif Encore create an efficient and transformable building — one that could accommodate up to one hundred employees in the future without compromising operational flexibility in the present. To achieve this, the architects employ a post-and-beam structural system that minimizes internal partitions and maximizes spatial versatility. The long-span design makes it possible to reconfigure floor plates, lease unused space, or stage temporary events. This approach is at once cost-effective and pragmatic. Minimizing foundations reduces material consumption during construction, while the open-plan layout allows departments to expand or contract over time. The building serves Wikicampers now, while also creating room for it to grow and host others within the region’s active startup ecosystem. the new Wikicampers headquarters is located on a sloping, forested site in Bidart, France Engaging a Complex Site Collectif Encore’s Wikicampers workspace is located on a challenging site which is steeply sloped and marked by three protected trees. Found along the edge of a zoning boundary, the parcel also came with a high parking quota that had deterred previous buyers. Collectif Encore responded by preserving the wooded perimeter and placing the parking beneath the building, reducing its footprint while enhancing ground-level access to green space. Positioned among the trees, the building’s lower levels feel grounded and immersed in vegetation, while upper floors gain open views of the landscape. Each level steps back slightly from the one below, creating shaded terraces that act as both climate moderators and informal meeting zones. The building’s environmental strategy is subtly integrated. Glazing is concentrated on the east, south, and west facades to capture winter sunlight, while deep balconies protect against summer glare. Natural ventilation flows through operable openings, reducing reliance on mechanical systems. The concrete slab delivers thermal mass, keeping interior temperatures stable without air conditioning. Collectif Encore designs the building to continually adapt to the growing company a post and beam system allows for long spans and flexible interior layouts each floor includes a deep wraparound balcony that offers outdoor access bioclimatic strategies include natural ventilation, thermal mass, and strategic solar orientation interior spaces range from ground level meeting rooms to elevated open plan work zones a timber screen on the north facade maintains privacy while referencing the wooded setting project info: name: Wikicampers Headquarters architect: Collectif Encore | @collectifencore location: Bidart, France client: Wikicampers | @wikicampers gross floor area: 854 square meters completion: June 2024 photography: © Michel Bonvin | @michel_bonvin lead architects: Collectif Encore team: Anna Chavepayre, Julien Chavepayre Florent Grosjean, Anne-Lise Bouillon, Corinne Chiche structural engineer: BEC mechanical, electrical engineering: Ingétudes civil engineering: Sogeba structural eork: Oyhamburu The post collectif encore designs wikicampers workspace with wraparound balconies in france appeared first on designboom | architecture & design magazine.

designed as a walkable, tree-shaded sequence of pavilions, the project anchors a large-scale urban transformation.

The post foster + partners reveals plans for retail plaza on istanbul’s historic golden horn appeared first on designboom | architecture & design magazine.

Foster + Partners to design retail plaza in Istanbul’s golden horn Foster + Partners unveils plans for a luxury retail plaza set along the northern edge of Istanbul’s Golden Horn, part of a wider waterfront redevelopment that reclaims 1.6 kilometers of underused shoreline. The project is located within walking distance of major historic sites and combines contemporary commercial design with references to the area’s maritime and industrial past. Designed as a walkable, tree-shaded sequence of pavilions, the plaza anchors a large-scale urban transformation, the Tersane masterplan, that introduces public promenades, green spaces, cultural venues, and mixed-use buildings to the Golden Horn estuary. Golden Horn Plaza is an integral part of the transformative masterplan for Istanbul’s waterfront | images courtesy of Foster + Partners cantilevered restaurant to offer sweeping views of the city The architects at Foster + Partners conceived the Golden Horn Plaza to be a top spot for high-end brands from around the world. They also planned the surrounding area to be comfortable for the environment and welcoming for public use by including a canopy of trees, cooling water features, and shaded pathways to moderate the local microclimate while offering spaces for respite and circulation. Interspersed throughout are covered terraces and a cantilevered restaurant offering sweeping views across the estuary. Foster + Partners notes that the scale and proportion of the development reference the site’s layered history, with flexible storefronts and pavilions allowing for long-term adaptability. Landscaping is inspired by Istanbul’s historic gardens, and it plays a crucial role in heat mitigation and environmental well-being. Between the plaza and the waterfront, a new public square serves as a civic platform for year-round events and cultural programming. Described by Foster + Partners as an ‘integral part’ of the overall Tersane vision, the project reflects the studio’s longstanding interest in urban regeneration and placemaking. ‘The architecture and landscaping work in harmony,’ says head of studio Nigel Dancey, ‘to create a year-round cultural and lifestyle destination.’ the development is completely walkable – with a network of shaded streets between the pavilions the plaza offers an exclusive retail experience that embodies artisanal craftsmanship and commitment to excellence the plaza is within walking distance of some of the city’s most notable historic landmarks the development will transform 1.6 kilometres of unused waterfront into an accessible public promenade project info: name: Golden Horn Plaza architect: Foster + Partners | @fosterandpartners location: Istanbul, Turkey lead architects: Nigel Dancey, Nicola Scaranaro The post foster + partners reveals plans for retail plaza on istanbul’s historic golden horn appeared first on designboom | architecture & design magazine.

from a distance, only a few elements hint at the existence of the building, including a pair of domes that rise above the vegetation.

The post GOMA tucks vaulted cabin into mexican landscape with twin brick towers rising above appeared first on designboom | architecture & design magazine.

GOMA embeds red brick cabin into the earth in mexico Casa de Barro by GOMA Taller de Arquitectura is an almost invisible rest cabin buried in the ochre-toned terrain of El Ameyal ranch in Querétaro, Mexico. Conceived as a minimal lodging space, the 90-square-meter, cave-like retreat uses mass and earth to fade into its surroundings. The project takes cues from the textures and colors of the site’s endemic vegetation and seasonal stream. Located at the lower edge of the agroecological ranch, the red brick cabin is approached through a staircase incision between two solid walls. From a distance, only a few elements hint at its existence, including a pair of domes rising above the vegetation like ancient chimneys that seem to belong to the landscape. For the architects, the goal was to build within the land, preserving the surrounding hills, grasses, cacti, and trees. all images by César Bejar, unless stated otherwise Casa de Barro takes its name from the clay that shapes it The Querétaro-based team at GOMA composes the main volume as a single barrel vault, supported by wide, low walls, defining the experience and the logic of the construction. Traditionally sourced red fired-clay bricks, that Casa de Barro (House of Clay) takes its name from, shape the floors, walls, and ceilings, creating a warm interior, complete with handcrafted wood, wrought iron details, and artisan ceramic tiles. Casa de Barro is shaped to frame views of the terrain and keep the focus on the environment, respecting the Mexican landscape and making room for people to live, feeling honest and rooted. Casa de Barro by GOMA Taller de Arquitectura is an almost invisible rest cabin in Mexico conceived as a minimal lodging space the 90-square-meter, cave-like retreat uses mass and earth to fade into its surroundings the project takes cues from the textures and colors of the site’s endemic vegetation and seasonal stream from a distance, only a few elements hint at the existence of the structure | image by Juan Benavides the goal was to build within the land | image by Juan Benavides preserving the surrounding hills, grasses, cacti, and trees | image by Juan Benavides the red brick cabin is approached through a staircase incision between two solid walls | image by Juan Benavides the project is named after red fired-clay bricks, the main material used | image by Juan Benavides GOMA composes the main volume as a single barrel vault | image by Juan Benavides Casa de Barro is shaped to frame views of the terrain creating a warm interior handcrafted wood, wrought iron details, and artisan ceramic tiles complete the palette project info: name: Casa de Barro architect: GOMA Taller de Arquitectura | @goma_taller location: Amealco, Querétaro, Mexico area: 90 square meters client / developer: Rancho El Ameyal | @ranchoelameyal photographers: César Bejar | @cesarbejarstudio, Juan Benavides | @juanbenavidesl The post GOMA tucks vaulted cabin into mexican landscape with twin brick towers rising above appeared first on designboom | architecture & design magazine.

studio nirbaadh's H-house is a climate-responsive urban dwelling in india, organized around a central courtyard.

The post studio nirbaadh’s H-house is a composition of layered walls and brick screens in india appeared first on designboom | architecture & design magazine.

lofty h-house rises in a narrow plot The H-House by Studio Nirbaadh is a 2,850-square-foot residence located in Koregaon, a narrow urban pocket in Satara, India. Designed in response to the site’s elongated proportions, the brick and lime plaster home is organized along three parallel axes that structure the spatial layout and give the project its name. This linear planning approach supports an intuitive and climate-conscious arrangement. The central axis anchors circulation, while the adjacent lines shape the structural and programmatic zones. The plan emphasizes flow — of people, light, and air — throughout the narrow plot. images © Pranit Bora studio birbaadh plans a central courtyard One of the H-House’s defining spatial elements is a slender, semi-open courtyard that Studio Nirbaadh designs to run along the northern edge. This linear void operates as a transitional spine, at once encouraging cross ventilation, drawing daylight deep into the interior, and creating a tactile connection to the outdoors. By aligning living spaces around this planted court, the architects create a continuous visual and environmental exchange. The courtyard serves daily functions as a space for informal gatherings and passive cooling, centering the house around a living landscape. the H-House is located on a narrow site in Koregaon, Satara a facade of brick screens The west-facing facade directly addresses the challenges of heat and glare through a double-layered brick screen. Custom-designed for the project, the screen filters sunlight while maintaining privacy and reducing thermal load. It also casts changing patterns across the interiors, reinforcing the dialogue between structure and environment. Additional facade elements, such as deep-set windows, blank masonry surfaces, and projecting planters, are employed to fine-tune the building’s thermal and visual performance. These architectural devices support a balance between openness and insulation, resulting in a structure that responds to its climate with deliberate restraint. Studio Nirbaadh organizes the home around three parallel longitudinal axes The house’s elevation reflects the tripartite planning strategy. Three dominant vertical walls rise in parallel, articulated with rhythmic windows, projecting planters, and brick detailing. These features reference the H-form in silhouette, giving the house a distinctive identity within its urban context. The form negotiates with its surroundings through materiality and proportion. The architecture relies on elemental expressions like brick, wood, and shaded voids to ground the building in its climate and community. Inside, the H-House continues its minimal and tactile approach. A palette of exposed brick and wood joinery defines the interiors, where natural light is filtered and reflected to generate a soft, shifting ambiance. Furniture and built-in elements are pared back to reinforce a sense of visual clarity and openness. a narrow courtyard along the northern edge brings light and ventilation into the interiors the courtyard also functions as a social space and cooling spine within the linear plan a perforated brick screen on the west-facing facade filters light and reduces solar gain the facade includes deep-set windows and projecting planters for climatic control vertical masonry walls echo the H-shaped layout in the home’s elevation project info: name: H-House architect: Studio Nirbaadh location: Koregaon, Satara, India area: 2,850 square feet (265 square meters) completion: 2025 photography: © Pranit Bora | Pranit Bora lead architects: Dhanesh Gandhi, Tanushree Oswal technical team: Nirag Parmar, Shekhar Kadam lighting engineering, consulting: Anavi electrical engineering, consulting: Legrand The post studio nirbaadh’s H-house is a composition of layered walls and brick screens in india appeared first on designboom | architecture & design magazine.

A community for students, professionals, and lovers of architecture.

Welcome to the What Style Is This? / What Is This Thing ? megathread, an opportunity to ask about the history and design of individual buildings and their elements, including details and materials. Top-level posts to this thread should include at least one image and the following information if known: name of designer(s), date(s) of construction, building location, and building function (e.g., residential, commercial, industrial, religious). In this thread, less is NOT more. Providing the requested information will give you a better chance of receiving a complete and accurate response. Further discussion of architectural styles is permitted as a response to top-level posts. submitted by /u/AutoModerator [link] [comments]

Please use this stickied megathread to post all your questions related to computer hardware and software. This includes asking about products and system requirements (e.g., what laptop should I buy for architecture school?) as well as issues related to drafting, modeling, and rendering software (e.g., how do I do this in Revit?) submitted by /u/AutoModerator [link] [comments]

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I have a deep interest in architecture, especially in its history and artistic side—not in becoming an architect professionally. Lately, I’ve been visiting many buildings, especially Ottoman mosques. I’d like to start creating simple digital drawings of the structures I imagine, just as a hobby. I also want to understand the logic behind how these buildings were designed and built, and learn to view them from different perspectives. More than just learning, I also want to start creating something of my own along the way. How can I develop this interest in a more informed and meaningful way, while also producing something tangible? submitted by /u/SinanAvci13 [link] [comments]

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Hello all, I've recently made a section drawing that required improvement, I'm a believer that there's always room for improvement, hence why I'm coming here to ask for any tips & advices from you. Any feedback will be appreciated. Thanks in advance! submitted by /u/Leather-Worry-9675 [link] [comments]

I'm not sure if this is a stupid question/observation, I'm not very familiar with architecture. Recently I was thinking about how ugly strip malls (and most US commercial architecture in general) are, but a unique kind of ugly. I realized it reminded me of old west towns and their 'false fronts'. But I haven't been able to find any discussion online of how false fronts are still used today I attached a photo of what I mean. First, the buildings w blue awnings have that bit of the facade that rises above the actual roof to give the illusion of a taller and more sophisticated building when really it's just a short ugly rectangular prism. Are these considered 'false fronts' or what are they? Second, I've noticed a lot of buildings like the central one that have like a fake or unused second story (as well as other "fake" features like the "balcony"). I'll look at a building like this, walk in, and then wonder why the building is so tall. There's seemingly nothing up there. Like, what is in the top bit of the CVS pictured below? Probably nothing... Maybe they're used for storage? Idk. Is there a name for this - like fake features? I'm not sure what the point of this post is, just looking for the perspective of architecture folks on this random curiosity I have :) https://preview.redd.it/bypwel068ghf1.jpg?width=500&format=pjpg&auto=webp&s=acf8cf5df25bee04b0759e771b7d4e18620c51f8 https://preview.redd.it/psvwwf31aghf1.jpg?width=1280&format=pjpg&auto=webp&s=719422df424d9e492d2654810ee7c36a50d948fb Another example, although not a strip mall or commercial building https://preview.redd.it/jbyv3ftocghf1.png?width=749&format=png&auto=webp&s=239ab02278ce62dddc4da41130f7cb15632d3521 submitted by /u/Unhappy_Pea8353 [link] [comments]

I’m a photographer and a writer with a huge passion for architecture and design. I had the privilege to wander around in La Fábrica by Ricardo Bofill, capture all the different corners of this incredible space and also interview his son, Pablo. We talked about Ricardo’s work, keeping the legacy after his death and the unique history of the cement factory that became his workplace and home. Thought it might be interesting for the community here! I can send you the link to the full article 📖 submitted by /u/goodlies27 [link] [comments]

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“I learned many great lessons from my father… not the least of which is that you can fail at what you don’t want, so you might as well take a chance on doing what you love.” — Jim Carrey  Hi everyone, I’ve been fascinated by architecture since I was 5 years old drawing designs for my dad’s metal shop. The problem is… I live in a very small town without resources or guidance in this field. I don’t have mentors nor the type money that can buy my career. I can’t afford to waste years wandering without purpose. I’m a 19 year old community college student so this feels like the perfect moment to take the leap. I’m willing to work hard, but I want every step to count. I need precision: in education, in portfolio-building, in networking; every choice matters. I’d love insights from architects or architecture students who’ve built something from nothing: • How did you start with no connections? • What’s the smart way to get education or experience without going into massive debt? • How do I begin building a portfolio from scratch? • What should I know or look out for? • Most importantly, how do I find mentors who actually care for my success? I’m not looking for handouts, I just need direction. If you’re willing to share your story, give advice, or point me toward resources, I’d be incredibly grateful. And if there’s someone out there open to informal mentorship I’d love to get the chance to talk with you. Thanks so much in advance. I really appreciate anyone who takes the time to reply and/or reach out. submitted by /u/Dodorexio [link] [comments]

The mirrors make this bookstore in Chongqing, China seem endless submitted by /u/ImpressiveSocks [link] [comments]

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As a construction/civil engineering student, I’m planning to do my masters abroad and study Architecture/urban design/landscape design. As far as I have made a research, most of the universities require portfolios, but I have never made or have been taught how to create the one. What can I do, where and what can i study? Anything would be helpful. Thanks in advance! submitted by /u/TechnicianCareful206 [link] [comments]

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Asking as someone with experience in both the US and Germany. In the former it's a major milestone - advancement and bonuses are often based on it, it's a big ordeal (given the six exams) and it's always come up when interviewing for jobs ("how far are you in your AREs?"). Whereas in the latter I notice it's barely a topic of discussion - you get it if you want, but most don't bother unless they're an office partner or starting their own practice. Might be the more straightforward process, which is experience based without any exams. What's it like in your country? submitted by /u/inebriated_otter [link] [comments]

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Join Architectural Digest as we explore the set of ‘Wednesday’ Season 2 with actress Emma Myers (Enid Sinclair) and production designer Mark Scruton. As Wednesday Addams (Jenna Ortega) returns to Nevermore Academy for another year, Scruton reveals how the show’s gothic set design brings the world of Nevermore to life—perfectly setting the stage for fresh mysteries and supernatural twists. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

If there is one thing Carrie Bradshaw is known for, it's her love of shoes. Take a look at her 'And Just Like That' shoe collection, including some familiar Manolo Blahniks. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Interior designer Ross Cassidy is here to teach you how to shop flea and antiques markets like a pro! Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today on Architectural Digest, we're joined by AD100 landscape designer Carlos Campos Morera to tour the Geoponika greenhouse. Tucked away in a former truck loading bay within a Los Angeles industrial estate, this extraordinary urban greenhouse is home to some of the world’s rarest and most exotic plants. Carlos takes us behind the scenes of this one-of-a-kind space, sharing insights into what it takes to care for and maintain such a remarkable collection of plants. Time-lapse footage by Marshall Birnbaum Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Architect Hugo Vince of Atelier HA and artist Caroline Derveaux show you around their tiny Paris apartment. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, AD joins architect Nick Potts in London to explore the city’s unique skyline. From the Gherkin to the Cheesegrater and the Walkie Talkie, these skyscrapers are as iconic for their nicknames as they are for their bold, unusual designs. But what gives London’s skyline its distinctive character? Join Potts as he explores how the UK capital’s historic layout, protected sightlines, and strict planning laws have shaped the city’s tallest buildings and how architects navigate complex zoning rules to create skyscrapers that are both functional and expressive, resulting in one of the most recognizable skylines in the world. 00:00 Intro 02:37 The Gherkin 04:09 The Cheesegrater 06:34 The Walkie Talkie Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today on AD, we visit architect Hugo Vince of Atelier HA and artist Caroline Derveaux in their vibrant Paris apartment, located in Saint-Ouen. Despite raising three young children, the creative couple has chosen to embrace compact living, transforming their 69-square-meter (742-square-foot) space into a dynamic and functional home for their family of five. With bold colors, clever design solutions, and plenty of personality, the apartment showcases how thoughtful planning, like the use of mirrors, built-in appliances, and optimized storage, can make a small space feel open, stylish, and livable. Discover how Hugo and Caroline bring together form, function, and creativity in their inspiring Parisian home. Shop out the style of this space with an editor-approved selection of furniture and decor: https://www.architecturaldigest.com/shopping/atelier-ha 00:00 Intro 02:32 Living Space 05:08 Kitchen 07:39 Primary Bedroom 09:17 Children’s Bedroom 11:27 Entryway Talent: Caroline Derveaux; Hugo Vince Director: Skylar Economy Director of Photography: Cheyne Tillier-Daly Editor: Bruna Tolomeli Director (On-Site): Mathias Holst Producer: Brandon Fuhr Line Producer: Jamie Rasmussen Production Manager: Melissa Heber Production Coordinator: Alexis Winston Camera Operator: Ludwik Pruszkowski Audio Engineer: Charles Beatrix Production Assistant: Balthazar Chuffart Director of Creative Development: Morgan Crossley Director of Content: Keleigh Nealon Senior Producer: Alyssa Marino Williams Director, Post Production: Nicholas Ascanio Post Production Supervisor: Andrew Montague Post Production Coordinator: Holly Frew Supervising Editor: Christina Mankellow Assistant Editor: Justin Symonds Senior Motion Graphics Editor: Sam Fuller Colorist: Oliver Eid FEATURED ARTISTS Craoline Derveaux Clément Davout Eri Maeda Edouard Villemagne Tiffany Bouelle Sonson Tingaud Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, AD is following interior designer Ross Cassidy through Brimfield Antique Flea Market as he shares expert tips on how to spot hidden gems and vintage treasures like a seasoned pro. Navigating antique and flea markets can feel overwhelming–with countless items for sale, how do you know what’s truly worth taking home? Ross breaks down how to identify quality pieces and even score some unique designer finds. Shop furniture and decor inspired by the famed vintage market: https://www.architecturaldigest.com/shopping/brimfield-antique-vintage 0:00 - 0:15 Lawn sprinkler Credit: Designs & Dreams 1:12 Candlesticks Credit: Rengi Living https://www.instagram.com/rengiliving/ https://www.rengiliving.com/s/shop 1:42 Wooden Bench Credit: Mertz and Moser https://www.instagram.com/mertzandmoser/ 2:42 Painting Credit: Barney Bellinger Art & Design https://www.instagram.com/barneybellinger/?hl=en 2:45 Chair Credit: Rengi Living https://www.instagram.com/rengiliving/ https://www.rengiliving.com/s/shop 3:39 Black Chair Credit: Thurston Nichols https://www.thurstonnichols.com/ 3:47 Dudouyt Chairs Credit: Rengi Living https://www.instagram.com/rengiliving/ https://www.rengiliving.com/s/shop 4:13 Sculpture and chairs Credit: Low Availability https://www.instagram.com/lowavailability/?hl=en 4:16 LV Trunk Credit: Golden Oldies https://www.instagram.com/p/DJ1qCabt__v/?hl=en 4:54 White sculpture, large lamp Credit: Thurston Nichols https://www.ebay.com/sch/i.html_nkw=&_armrs=1&_ipg=&_from=&_ssn=dursrudyauctions&_pgn=2 https://www.thurstonnichols.com/ 5:15 Large room divider Credit: Bonne Choice https://bonne-choice.com/?srsltid=AfmBOor3dxEMJwDXtuQLYZRfIH9_iXiHC3cTwCgkdHgPfJmmWS9gwy2x https://bonne-choice.com/products/french-tambour-screen-low-dark?_pos=2&_psq=room+divider&_ss=e&_v=1.0 6:04 Guillerme Chambron Set (chairs + coffee table) Credit:Jersey Junker https://www.instagram.com/jerseyjunker/?hl=en 7:06 Austrian Tax Payer Table Credit: Rengi Living https://www.instagram.com/rengiliving/ https://www.rengiliving.com/s/shop 8:40 Wooden Boards Credit: Attic Turnovers https://www.instagram.com/atticturnovers/?hl=en 8:54 Plates Credit: Mood Chartreuse https://www.instagram.com/moodchartreuse245/?hl=en https://www.moodchartreuse.com/ 10:21 Red Sculpture Credit: Low Availability https://www.instagram.com/lowavailability/?hl=en 10:45 Footed red bowl, Drink Caddy Credit: Red Cardinal Ceramics 11:35 Wooden Bowl Credit: Rengi Living https://www.instagram.com/rengiliving/ https://www.rengiliving.com/s/shop 12:30 Black Sculpture Credit: Hare and Arrow Reese trusdale https://www.instagram.com/reesetruesdell/ 12:45 Ceramics Credit: Hare and Arrow Reese trusdale https://www.instagram.com/reesetruesdell/ 14:30 Vases, various Credit: Red Cardinal Ceramics 15:00 Baccarat Beeker Credit: David Mayer Antiques NYC https://david-mayer-antiques.myshopify.com/ https://thurstonnichols.comthurstonnichols.com Antiques | Wayne, PA | 610-972-4563 Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, AD is joined by ‘And Just Like That’ production designer Miguel Lopez Castillo, set decorator Karin Wiesel Holmes, and Sarah Jessica Parker to tour Carrie Bradshaw’s season 3 home. As the ‘Sex and the City’ spin-off continues to explore the lives of Carrie, Charlotte York, and Miranda Hobbs, season 3 sees Carrie trading in her iconic West Village apartment for a luxurious townhouse in Gramercy Park. See how Castillo and Holmes injected Carrie’s personality into her new space and discover which iconic mementos from her past survived the move. Hosts: Sarah Jessica Parker; Miguel Lopez-Castillo; Karin Wiesel Holmes Director: Skylar Economy Director of Photography: Eric Brouse Editors: Estan Esparza;Ron Douglas Senior Producer: Alyssa Marino Williams Line Producer: Jamie Rasmussen Associate Producer: Noah Bierbrier Production Manager: Melissa Heber Production Coordinator: Tania Jones Camera Operator: Duell Davis Sound Mixer: Rachel Suffian Production Assistant: Ashley Vidal Global Video Director, Talent: Lauren Mendoza Talent Booker, On Site: Jenna Caldwell Director of Creative Development: Morgan Crossley Executive Producer: Keleigh Nealon Director, Post Production: Nicholas Ascanio Post Production Supervisor: Andrew Montague Post Production Coordinator: Holly Frew Supervising Editor: Christina Mankellow Assistant Editor: Fynn Lithgow Colorist: Oliver Eid Photos courtesy of: Craig Blankenhorn/Max Clips courtesy of: Max Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Join AD just north of Barcelona to tour Semienterrada with architect Javier Barba and current owner Ezequiel Pini. Designed in the 1980s by Barba, this home’s name translates to ‘half-buried’ and is a pioneering example of sustainable and bioclimatic architecture in Spain. Blending seamlessly into the landscape, Semienterrada was ahead of its time in using natural insulation, passive solar design, and organic materials to create a harmonious and energy-efficient living space. Discover how its innovative design continues to inspire a new generation of architects and environmentalists today. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, Architectural Digest is challenging the ‘Squid Game’ season 3 cast to test their housekeeping skills. Who is the best at folding sheets? Who can build flatpack furniture the fastest? Watch to see which cast member will be crowned the winner of the housekeeping Squid Games. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today on Architectural Digest, AD100 interior designer and ‘Queer Eye’ star Jeremiah Brent answers your most pressing bedroom design questions from Instagram. From creating a stylish and functional kids’ bedroom to determining whether your primary bathroom should match your primary bedroom, Jeremiah shares his professional expertise to help you design your dream bedroom. 00:00 Intro 00:19 How to create a well-designed kids' bedroom? 02:20 What is your favorite vintage element to incorporate into a bedroom? 03:30 Does the primary bathroom need to match the bedroom? 04:37 Sconces or table lamps for the bedside? 04:57 What are your thoughts on color drenching in the bedroom? 05:58 Best warm off-white paint color? 06:46 How to deal with a bedroom that doesn’t have much natural light? 07:53 How to make a large TV look chic in a bedroom? 08:58 Best way to hide a closet? 09:46 Best sources for mural-style wallpaper? ROBERT RAUSCHENBERG, UNTITLED 1988 © 2024 ROBERT RAUSCHENBERG FOUNDATION / LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, AD visits Gabrielle Caunesil and Riccardo Pozzoli at their family home on Lake Maggiore. Inspired by a blend of Parisian elegance and Italian charm, Gabrielle and Riccardo designed their space with an emphasis on conviviality. Featuring historic frescoes, vintage furnishings, and nods to the surrounding water, their home was created as a warm, welcoming place to gather with loved ones and make lasting memories. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

We got an interior designer to optimize Seinfeld's apartment for real life. Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Today, AD steps behind the scenes with Bobby Carter to tour the NPR Tiny Desk Concert set. What began in 2008 as a humble, stripped-back performance series for NPR’s blog has grown into a global phenomenon, with unforgettable sets from stars like Taylor Swift, Bad Bunny, Dua Lipa, and more. Despite its viral fame, the heart of Tiny Desk remains the same: a real desk in a real office, surrounded by shelves packed with priceless mementos left by artists–from Adele’s water bottle to Sabrina Carpenter’s martini glass and even Chappell Roan’s wig. Meet the team behind the production, and discover how Tiny Desk became such a beloved series. #TinyDesk #NPRMusic #ArchitecturalDigest Talent: Bobby Carter; Josh Newell; Suraya Mohamed; Robin Hilton; Stephen Thompson; Maia Stern; Kara Frame; Joshua Bryant Director: Skylar Economy Director of Photography: LaDawn Manuel Editors: Estan Esparza; William Long Producer: Brandon Fuhr Line Producer: Jamie Rasmussen Production Manager: Melissa Heber Production Coordinators: Alexis Winston; Dylan Tonken Camera Operator: Torez Mitchell Audio Engineer: Ken Pexton Production Assistant: Jocelyn Sedjro Director of Creative Development: Morgan Crossley Executive Producer: Keleigh Nealon Senior Producer: Alyssa Marino Williams Director, Post Production: Nicholas Ascanio Post Production Supervisor: Andrew Montague Post Production Coordinator: Holly Frew Supervising Editor: Christina Mankellow Additional Editor: Fynn Lithgow Assistant Editor: Andy Morell Senior Motion Graphics Editor: Sam Fuller Special Thanks: Yanius Alvarado Matos; Alante Serene; Lars Gotrich; Ashley Pointer; Felix Contreras; Thomas Huizenga; Elle Mannion; Josephine Nyounai; Dora Levite Feeling inspired? Subscribe to AD and get a free tote with your subscription! → https://bit.ly/4jBCUMl Still haven’t subscribed to Architectural Digest on YouTube? ►► http://bit.ly/2zl7s34 ABOUT ARCHITECTURAL DIGEST The leading international design authority, Architectural Digest features articles and videos of the best in architecture, style, culture, travel, and shopping.

Step inside this absolutely breathtaking modern tiny home set deep in the heart of the Australian rainforest. Here amongst the towering trees, tiny house magic has been created! Built by superyacht captain Johny, this stunning rainforest tiny house is a personal paradise, designed as the ultimate retreat from the world. When he's not sailing the globe with the rich and famous, Johny returns to this peaceful sanctuary to surf, recharge, and reconnect with nature. The home itself is a masterclass in tiny house design. With a single-level layout and a focus on openness and flow, it makes the most of its lush surroundings. Massive picture windows bring the forest inside, creating a seamless connection to the outdoors. The home feels expansive, calm, and deeply rooted in its environment. Outside, the landscaping is equally as impressive. A generous deck expands the living area into the forest, while natural elements like boulders and large timber logs have been thoughtfully placed to ground the home in the landscape. It’s the perfect blend of modern design and raw, untamed nature. This is a tiny home that you won't want to miss. We absolutely loved getting to visit this rainforest retreat and share Johny’s incredible story with you. We hope you enjoy the tour as much as we did. ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional video supplied by Johny Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhousetour #rainforest #tinyhouseparadise #tinyhome #innature #homedesign

A huge thank-you to Odoo for sponsoring this video and helping to make what we do possible. Find how Odoo can help you start or grow your business: https://www.odoo.com/r/OPR2 This week we explore a brilliant industrial modern style tiny house thats located just a stone's throw from downtown Sydney. This really is a tiny house with it all - a lovely private parking spot yet still in the absolute heart of everything! Zoe and Reece have built their dream tiny house here. It may be tiny but it’s absolutely packed full of style. From the moment Zoe first laid eyes on a tiny home, she knew that she wanted to build one. Reece admits he took a bit of convincing but the couple dived in to this project together and the result is amazing. They have created a stylish home with a strong industrial modern vibe. This home has a truly unique vibe, from it’s moody, cosy dark interior and use of strong materials like metal, concrete and a collection of reclaimed materials such as a stained glass door and a feature lamp from an old firehouse, this eclectically styled home is packed full of personality! One of the best things about this tiny house is that it's fully legal! Getting the tiny home approved by the city was not an easy task, but they managed to do it! Living in the tiny house has helped to give this young couple not only their very first home, but it’s enabled them to take some big risks. Lower overheads have allowed Zoe to focus on her sport where she represents Australia in weightlifting! Currently she is training for the Commonwealth Games with her eyes on the Olympics in the future. You can follow her sporting journey via Instagram: https://www.instagram.com/zoe.lisha/ We hope you enjoy the tour of this very special urban tiny home! ❤️ ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional video supplied by Zoe & Reece Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhousetour #bigcitytinyhouse #urbantinyhouse #tinyhome #citylife #freedom

A huge thank-you to Odoo for sponsoring this video and helping to make what we do possible. Find how Odoo can help you start or grow your business: https://www.odoo.com/r/yCed Join us this week as we meet the inspiring Marion and Alexis, a couple who built a stunning bus home and a sustainable business to create a life of freedom. Their beautiful self-converted bus allows them to travel full time across Australia while working remotely and living life on their own terms. From the outside, their home looks like an ordinary bus. Step inside, though, and you’ll discover a warm, welcoming space filled with charm and character. With natural Australian timbers throughout, this bus feels more like a cozy tiny home than a vehicle on wheels. But this lifestyle didn’t come easily. Marion and Alexis poured countless hours into transforming the bus and building a business that supports their nomadic life. Now, they have the ultimate freedom to work from anywhere and explore not just Australia, but the world. Their business supplies sustainable compostable packaging to cafes and restaurants. As the couple travel around Australia they are able to visit clients and help to grow the business. This is a powerful story of determination, creativity and sustainable living. Whether you're dreaming of van life, tiny homes or starting your own remote business, this episode is sure to inspire. Follow their journey and get ready to be inspired by what’s possible when you combine a love of travel with purpose-driven design and business. To find out more about Marion and Alexis' business, you can find them here on YouTube: @CompostPeopleOnTheRoad ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional video supplied by Marion & Alexis Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #homeonwheels #buslife #freedom #homeontheroad #travel #sustainablebusiness

We've never seen anything quite like this before! At only 8m2 (86ft2) this ultra tiny house has been brilliantly designed to fit onto the back of a dump truck (called a tip truck in Australia)! Despite its very compact size, this is a tiny home that has absolutely everything its owner / builders, Steve and Jade need. It feels spacious thanks to some good design and the height of the structure, and has a large kitchen area, plenty of storage, a comfortable place to sleep and even a toilet and two showers! The tiny house has been cleverly designed to fit onto the back of Steve's work tip truck. This truck is used to house his tools as well as building materials for his jobs. The truck tips up and a clever winch system is used to pull the house onto the bed ready to travel! Steve and Jade are a super creative couple who dreamed of a life on the road exploring Australia. Both have the ability to work during their travels, Steve as a traveling builder and Jade as an artist and tattoo artist. Together in their tiny home, they are able to travel and work, chasing the warmth and adventure! We hope you enjoy the tour of this one-of-a-kind tiny house! To find out more about Steve's on-the-road carpentry, you can follow him on Instagram: https://www.instagram.com/mavbuilds/ For Jade's art and tattoo work, you can also find her on Instagram: https://www.instagram.com/jadelomaxart/ ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional photos and video supplied by Steve and Jade. Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhome #tinyhousetour #tiptruck #homeontheroad #travelandwork #hometour

This spectacular beehive-inspired tiny house is like none other. Filled with light, beauty and art this is a tiny home that's easy to fall in love with. Emily is a beekeeper, although I don't think that's a a good way to describe her. Perhaps bee whisperer would be more appropriate. She is someone who loves bees and has dedicated herself to unveiling all they have to teach us. This love for the bee world has heavily influenced the design of her tiny home. Taking deign inspiration from nature and the bee's has helped her to create a wonderfully whimsical home that's filled with character and unique design ideas. Here, she has created a beautiful off-the-grid home for herself as well as her daughter Olive. The home is spacious and filled with light which pours through an enviable collection of vintage stained glass windows that add a tremendous amount of colour to the home. There is a great sized kitchen, massive walk-in wardrobe and twin lofts. The home beautifully extends into the wonderful surrounding gardens and forest beyond. Emily also has a channel here on YouTube where she documents her travels and adventures learning more about what the bee's have to teach us. You can find her here: https://www.youtube.com/@UCjGD5DtTWJGhDAAa7Wmc6lg and also on Instagram: https://www.instagram.com/embodybee/ ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional photos and video supplied by Emily. Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhome #tinyhousetour #whimsicalhome #beekeeper #beehive #hometour #offthegrid

Janice is such an inspiring and the tiny house that she has created for herself, hidden in the heart of the city is breathtaking! ❤️

This week we step into an enchanting secret garden and a beautiful tiny home that has been wonderfully hidden in amongst its urban surroundings. Visiting this home is like being transported to another world and from the moment you walk through the gates, you know you’re somewhere very special. The tropical gardens are so well established that through the greenery you can barely even make out the house that’s hidden amongst it. This beautiful outdoor space, vibrant, colourful and full of art creates a wonderful feeling of sanctuary. A little archway in the foliage reveals a door and the entranceway into Janice’s home. The home itself is affordably crafted from two renovated caravans, a true labour of love. Inside though, you’d never know you were standing in a caravan. Soft fabrics line the walls and warm the space. A timber annex filled with stained glass windows creates a greenhouse like feel and extends the space into the outdoors. Beautiful coloured light and artwork fill this space. This home is a reflection of a lifetime of appreciation for and collection of beautiful things. Janice is a talented artist, creating otherworldly figures in clay. I was first introduced to Janice through her wonderful artwork and it was wonderful to see where this magic gets made. You can find out more about her artwork on Instagram: https://www.instagram.com/pottery_by_janicebreeze/ We hope you enjoy the tour of this magical home and the inspiring story of the woman who created it. ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional build photos supplied by Janice. Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhome #tinyhousetour #enchanting #artistshome #slowliving #hometour #gardentour

Even the most intrepid amongst us needs a place to call home. Louise is an adventurous woman who has carved out an incredible career as a travel writer. She traveled the world only to find that her biggest adventure of all was at home in Australia, building her own tiny house. I think that no matter how much we enjoy traveling, we all need things in life that can help us to feel grounded. Some nomads take their homes on the road with them in the form of vans and house busses, but some need a greater sense of security and place in the land. For Louise, a tiny house was that perfect option. A small, simple house that holds her when she is home and that is easy to lock up and leave when she is ready for her next voyage. She was inspired to build her tiny home after experiencing several weeks living in a simple remote cabin in Norway. There, she found a level of peace and security that she hadn’t experienced in a long time. That planted the seeds for her idea to build a tiny home. The tiny house that she has crafted for herself is beautiful. It’s humble, simple and yet beautifully built with lovely timbers and charming character features. She has a spacious kitchen, plenty of storage, a relaxing loft to read, a spacious bedroom loft and most importantly, a place where she can sit and write. Here in her beautiful tiny home, Louise has found the safety and security she needs to be grounded, and also a wonderful launch pad from which she can still explore the big wide world around her. Louise has written a book detailing her experiences of building and living in her tiny home. Her book, Tiny: A Memoir About Love, Letting Go and a Very Small House can be found here :https://amzn.to/43TDW1n - This is an amazon affiliate link and we earn a small commission from qualifying purchases. You can follow Louise's tiny house adventures here: https://www.facebook.com/noimpactgirl/ ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional build photos supplied by Louise. Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhome #tinyhousetour #simpleliving #slowliving #hometour

Tess, Sam, and their young son Tulsi live in a beautiful tiny house on a multigenerational family homestead in New South Wales. Three years ago, Tess’s parents sold their home in Adelaide and purchased a stunning block of land, where the entire family came together to create a shared life rooted in nature, connection, and sustainability. Tess’s parents now live in the main house, while Tess, Sam, and Tulsi live in a spacious and beautifully designed tiny home nestled into the forested landscape. Together, they work the land, growing abundant gardens and fruit trees as they transform the property into a thriving homestead. One of the most remarkable outcomes of this lifestyle is that it allowed both Tess and Sam to be at home full-time during the first three years of their son’s life, something truly rare and special in today’s world. By building a life together as a multigenerational family unit, they’re able to share not only financial resources but also time, energy, and care. This interconnected way of living brings immense benefit to everyone involved, creating a strong sense of support, resilience, and wellbeing. This is more than just a tiny house, it’s a model for intentional living, where family, nature, and community come first. You can follow Tess, Sam & Tulsi's family tiny home adventures on their YouTube channel: https://www.youtube.com/@TofuTess ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional family footage supplied by Tess & Sam Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #homestead #tinyhousetour #simpleliving #multigenerational

After a painful divorce, job loss, and the death of a beloved horse, Kirsten found herself at a crossroads. Instead of giving up, she chose to rebuild—starting with a tiny house. Now, nestled on a stunning 10-acre block in the breathtaking Northern Rivers, she’s created a life of sanctuary, security, and financial freedom. Kirsten used the funds from the sale of her family home to purchase the property, where she lives in a beautifully designed, custom-built tiny house on wheels. With a spacious kitchen, clever split-level design, cozy guest room with spectacular views, and a projector lounge nook, this home is both functional and uniquely her. By renting out the main house on the property and living simply in her tiny home, Kirsten has dramatically reduced her expenses and mortgage burden—proving that downsizing doesn't mean sacrificing comfort. Instead, it's brought her peace, independence, and a powerful new beginning. Join us for a tour of this incredible tiny home and hear Kirsten’s inspiring story of transformation through intentional living and minimalist design. ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhometour #financialfreedom #simpleliving

In the face of a global housing crisis, Shane—a devoted father—set out to build an affordable, sustainable tiny home for himself and his young daughter. With just AUD$35,000 (around US$23,000) and a whole lot of determination, Shane hand-built this beautiful, off-grid tiny house using clever material sourcing and smart design. Almost everything in the home was built by Shane himself. From salvaged materials to repurposed fittings, this DIY build proves that you don’t need a massive budget to create a warm, functional, and beautiful living space. By doing the work himself and prioritising simplicity, Shane was able to achieve something extraordinary. The tiny house is also a thoughtful example of incorporating solar passive design principles into a tiny house build. This was inspired by Shane's father who started the tiny home build together with Shane and who had a real passion for solar passive design. Tragically, Shane’s dad passed away before the home was complete, and finishing the home became part of Shane’s grieving process. The home is adorned with carved Emu footprints, which is symbolic of his father. Male Emu's raise their young after they hatch, so this is not only symbolic of Shane's father's input into the house, but also Shane's own journey as a father to his young daughter. This tiny house is more than just a clever build on a tight budget—it’s a reflection of resilience, family, and what’s possible when you build with heart and intention. To find out more about Shane's art, you can find him on Instagram: https://www.instagram.com/shane.artisan/ We hope you enjoy the tour of this beautiful tiny home. ❤️ If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 🌟 Our Socials and Links: https://linktr.ee/livingbig 💡 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #tinyhometour #diy #offgrid #simpleliving

This week we're in Queensland, Australia, where we meet Tiff and Tony — a talented couple who DIY-built a stunning, modern tiny home designed for effortless subtropical living. Surrounded by nature and nestled beside a picturesque creek, this off-grid home is packed with clever design features. From a luxurious lounge space to a huge, ultra-functional kitchen, a unique glass-walled bathroom, and brilliant high-up storage, this tiny home proves that downsizing doesn’t mean sacrificing comfort or style. One standout feature is the fully screened outdoor deck, which dramatically extends their living space while keeping out pesky insects — making it usable year-round, rain or shine. Powering the home is an incredible off-grid system using recycled EV batteries — an innovative solution that gives old car batteries a new life and keeps this home running sustainably. This home isn’t just beautiful — it was also built with heart. After the loss of her father, Tiff made a promise to her mum that they would always stay close. Now, they live on the same property, with the tiny home allowing both independence and connection. We hope you enjoy this inspiring story of family, design, and life lived in harmony with nature. 👉 If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 👉 Our Socials and Links: https://linktr.ee/livingbig 👉 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #hometour #offgridliving #tinyhome #tinyhousetour

A huge thank-you to Odoo for sponsoring this video and helping to make what we do possible. Find how Odoo can help you start or grow your business: https://www.odoo.com/r/Sge They left the United States in search of a simpler, more intentional life, and found it in New Zealand, where they built a stunning off-grid tiny home that allowed them to retire early. Steve and Jen, both former chefs, made the bold decision to leave their fast-paced lives behind and downsize into a beautifully designed tiny house on 3 acres of rural land. Their home is a unique combination of two tiny houses and a connecting pod, creating a spacious, functional layout with everything they need, including a large chef’s kitchen, comfortable living room, home office, generous bedroom, and a beautiful outdoor living space with a cozy fire. Completely off the grid, their home is powered by a large solar energy system that not only meets all their household needs but also provides enough energy to charge two electric vehicles, allowing them to live and travel sustainably while keeping costs low. In this episode, we tour their incredible off-grid setup and learn how tiny house living helped them dramatically reduce expenses, gain financial freedom, and retire years earlier than expected. 🏡 Tiny House Features: Fully off-grid with large solar system Powers the entire home + charges 2 EVs Two tiny houses + central connecting pod Spacious chef’s kitchen for cooking and entertaining Dedicated office space for remote work Large bedroom and cozy lounge Expansive outdoor living space with fire pit This is a powerful story of how intentional living, downsizing, and embracing the tiny house lifestyle can open the door to freedom, sustainability, and early retirement — all while living in a dream location. 👉 If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig 👉 Our Socials and Links: https://linktr.ee/livingbig 👉 Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #TinyHouse #EarlyRetirement #OffGridLiving #SolarPower #ElectricVehicles #TinyHouseTour #NewZealand #FinancialFreedom #SustainableLiving #LivingBigInATinyHouse

In this week’s episode, we meet Phil, a genius master craftsman who spent four years building one of the most remarkable DIY tiny homes we've ever seen. Set on his own land in South Australia, this ultra-modern, minimalist home is not only stunning in design, but also filled with mind-blowing engineering. Phil didn’t just build his dream home—he designed every detail from the ground up, including a custom mechanism to seamlessly join two separate trailers into one completely watertight structure. When joined, the two halves become a single, spacious tiny house that looks and functions like a permanent home, yet can be easily disconnected and transported when needed. From crafting automated ventilation systems to machining his own screws and even building a crane to lift heavy components—Phil has truly taken DIY tiny house building to the next level. Every inch of this home reflects his ethos of craftsmanship, modern design, and purposeful living. This episode is packed with clever small space design, high-tech innovation, and deep personal inspiration. You don’t want to miss it! Phil has meticulously documented his incredible tiny house journey on his YouTube channel. You can watch the full build of this amazing tiny house here: https://www.youtube.com/@UCw6VdXXh-x3pMjUGajNdr7g If you enjoy our show and would like to help support our work, please consider supporting us on Patreon: https://www.patreon.com/livingbig Our Socials and Links: https://linktr.ee/livingbig Find out more about this tiny house and others on our website: https://www.livingbiginatinyhouse.com/ Please subscribe for more videos on tiny houses, architecture, DIY, design, and sustainable, off-grid living. Presented and Produced by: Bryce Langston Camera: Rasa Pescud & Bryce Langston Editing: Sarah Binder & Rasa Pescud Additional build video supplied by: https://www.youtube.com/@TwoHandsandaTinyHouse Title music in this video by Bryce Langston: http://www.youtube.com/brycelangston 'Living Big in a Tiny House' © 2025 Zyia Pictures Ltd #tinyhouse #hometour #diy #modern #homedesign #tinyhometour #diybuilding #tinyhousetour

ArchDaily | Broadcasting Architecture Worldwide

The commission was for a house for a large family, requiring many bedrooms and spacious common areas.

© Cristobal Palma / Estudio Palma architects: Juan Carlos Sabbagh Arquitectos Location: Vitacura, Chile Project Year: 2023 Photographs: Cristobal Palma / Estudio Palma Area: 400.0 m2 Read more »

Located in a newly developed Montreal district, Coop Milieu de l'Île is a 91-unit intergenerational housing cooperative, born from a group of committed citizens seeking to address the city's housing crisis by creating affordable, off-market housing.

© Annie Fafard architects: Pivot coopérative d'architecture Location: Montréal, Canada Project Year: 2024 Photographs: Annie Fafard Area: 1525.0 m2 Read more »

Pend has completed a sensitive renovation and expansion of Whitberry, a Grade B listed Georgian farmhouse in East Lothian, Scotland. Working alongside the clients-turned-project-managers, the Leith-based architects unified the home's fragmented rear elevation and introduced light-touch interventions to the ground floor to support contemporary family life. In contrast to its charming pink frontage, the back of Whitberry reveals a curious arrangement, a patchwork of historic and somewhat haphazard additions characterized by reddish sandstone and brickwork, each a record of the masonry techniques of its respective eras. The arbitrary nature of these successive add-ons had resulted in a difficult, cellular interior layout, requiring the family to pass through several rooms to reach the garden.

© Lorenzo Zandri architects: Pend Architects Location: Tyninghame, East Lothian, United Kingdom Project Year: 2024 Photographs: Lorenzo Zandri Area: 408.0 m2 Read more »

To recover, revitalize, convert—these actions have become increasingly present in contemporary cities, where architecture takes on the role of stitching together the overlapping layers of time that make up the urban fabric. Faced with this task, architects have explored a range of design strategies. Among them, one material in particular has stood out for how frequently—and effectively—it appears in interventions on historic buildings and contexts: corten steel. With its rusted surface, rich in texture and tone, it seems to offer a compelling answer to the challenging question of how to insert the new into the old. But what makes this material so recurrent in these situations? Is it simply its durability and versatility, or is there something deeper in its visual and symbolic presence?

Helfštýn Castle Palace Reconstruction / Atelier-r © BoysPlayNice To recover, revitalize, convert—these actions have become increasingly present in contemporary cities, where architecture takes on the role of stitching together the overlapping layers of time that make up the urban fabric. Faced with this task, architects have explored a range of design strategies. Among them, one material in particular has stood out for how frequently—and effectively—it appears in interventions on historic buildings and contexts: corten steel. With its rusted surface, rich in texture and tone, it seems to offer a compelling answer to the challenging question of how to insert the new into the old. But what makes this material so recurrent in these situations? Is it simply its durability and versatility, or is there something deeper in its visual and symbolic presence? Read more »

This 2,800 SF mountain retreat was envisioned as a refuge from the busyness of daily city life. The clients had acquired 20 acres of forested land near the peak of Echo Mountain, located approximately 45 minutes from Denver. The owners shared their desire for a place free of screen time, focused on communing with nature and exploring the forest with their young family of four.

© Parrish Ruiz de Velasco architects: Tomecek Studio Architecture Location: Denver, United States Project Year: 2023 Photographs: Parrish Ruiz de Velasco Area: 2800.0 ft2 Read more »

Foster + Partners has revealed designs for a retail plaza located on the northern bank of the Golden Horn in Istanbul, Türkiye. The project forms part of the larger Tersane master plan, which proposes to redevelop 1.6 kilometers of previously underutilized waterfront. The master plan integrates a mix of retail, residential, hospitality, cultural buildings, and landscaped public spaces, aiming to enhance access along the shoreline. The plaza sits within close proximity to several of Istanbul's historic landmarks, drawing on the area's maritime and industrial heritage. The design's scale and material choices reflect this context, seeking to align with the site's historic layers while introducing a contemporary retail environment.

Golden Horn Plaza, Istanbul. Image © Foster + Partners Foster + Partners has revealed designs for a retail plaza located on the northern bank of the Golden Horn in Istanbul, Türkiye. The project forms part of the larger Tersane master plan, which proposes to redevelop 1.6 kilometers of previously underutilized waterfront. The master plan integrates a mix of retail, residential, hospitality, cultural buildings, and landscaped public spaces, aiming to enhance access along the shoreline. The plaza sits within close proximity to several of Istanbul's historic landmarks, drawing on the area's maritime and industrial heritage. The design's scale and material choices reflect this context, seeking to align with the site's historic layers while introducing a contemporary retail environment. Read more »

DMAA transforms the Kellogg's Silos into a hotel. Revitalized industrial architecture on the Überseeinsel in Bremen.

© Piet Niemann architects: Delugan Meissl Associated Architects Location: Bremen, Germany Project Year: 2024 Photographs: Piet Niemann Photographs: Area: 37336.0 m2 Read more »

Sir Peter Cook is an English architect, professor, and writer, and a founding member of the neo-futuristic design group Archigram, alongside Warren Chalk, Ron Herron, David Greene, and Michael Webb. Beyond the group's radical urban concepts and visionary imagery, he co-founded CRAB Studio (Cook Robotham Architectural Bureau) with David Robotham in 2006, where they have developed built, conceptual, and speculative projects. He recently designed the Play Pavilion, located next to Serpentine South in Kensington Gardens, which opened on World Play Day, June 11, 2025. He is also known for the BIX Light and Media Façade at MoMA and for his series of drawings and collages that explore spaces, building elements, and organic landscapes.

Sir Peter Cook is an English architect, professor, and writer, and a founding member of the neo-futuristic design group Archigram, alongside Warren Chalk, Ron Herron, David Greene, and Michael Webb. Beyond the group's radical urban concepts and visionary imagery, he co-founded CRAB Studio (Cook Robotham Architectural Bureau) with David Robotham in 2006, where they have developed built, conceptual, and speculative projects. He recently designed the Play Pavilion, located next to Serpentine South in Kensington Gardens, which opened on World Play Day, June 11, 2025. He is also known for the BIX Light and Media Façade at MoMA and for his series of drawings and collages that explore spaces, building elements, and organic landscapes. Returning for his second interview with ArchDaily, Sir Peter Cook sat with Editor in Chief, Christele Harrouk, at the World Architecture Festival 2025. While the first conversation focused on his advice for young architects, this one followed his presentation during WAF on the forthcoming book, Archigram Ten, an editorial project reviving the spirit of the original magazine with founding members and contemporary designers. Building on those themes, he reflects on artificial intelligence, the impact of COVID-19 on his own practice, and current architectural pedagogies. Read more »

Contemporary Mexican market architecture frequently draws inspiration from its pre-Hispanic precedents. The Tlatelolco Market in ancient Tenochtitlan, for example, featured a large, stone-paved open square with designated "streets", which were divided into sections for specific goods, serving as a significant gathering point for social and economic exchange. Similarly, the tradition of the Tianguis, an ephemeral market typology within the broader Mesoamerican tradition, also arranged stalls in aisles within a public plaza, reflecting organizational principles seen in Tlatelolco. These historical models established a base for the tradition of marketplaces in Mexico and the countries in Central America, where they merge public space and structured layouts for commerce. Today, even though many of Mexico's commercial spaces, notably Mexico City's Central de Abasto and other markets such as the Jamaica, Merced, and San Juan Markets, have taken on a stationary approach to serving their communities, tianguis maintain their foothold in Mexican society.

Central plaza at Chicxulub Market Plaza by Estudio MMX. Image © Dane Alonso Contemporary Mexican market architecture frequently draws inspiration from its pre-Hispanic precedents. The Tlatelolco Market in ancient Tenochtitlan, for example, featured a large, stone-paved open square with designated "streets", which were divided into sections for specific goods, serving as a significant gathering point for social and economic exchange. Similarly, the tradition of the Tianguis, an ephemeral market typology within the broader Mesoamerican tradition, also arranged stalls in aisles within a public plaza, reflecting organizational principles seen in Tlatelolco. These historical models established a base for the tradition of marketplaces in Mexico and the countries in Central America, where they merge public space and structured layouts for commerce. Today, even though many of Mexico's commercial spaces, notably Mexico City's Central de Abasto and other markets such as the Jamaica, Merced, and San Juan Markets, have taken on a stationary approach to serving their communities, tianguis maintain their foothold in Mexican society. Read more »

The initial premise of Loures Riverfront was to complete the intermunicipal pedestrian and cycling continuity, connecting Lisbon to Vila Franca de Xira, and to consolidate an important strategic plan that aims to implement a continuous route along the Tagus Riverfront in the Lisbon Metropolitan Area.

© João Guimarães, Artur Carvalho architects: Topiaris Landscape Architecture Location: Loures, Portugal Project Year: 2023 Photographs: João Guimarães, Artur Carvalho Read more »

Embedded within lush foliage on an established suburban street just off the National Circuit, with a direct view of the flag over Parliament House, Hotham seeks to slow down and consider Canberra's past, present, and future built environment. Working to demonstrate the importance of responding to, rather than erasing the cultural and architectural fabric of Australia's Capital city - a city which 'embodies the Australian spirit and symbolises Australian life and achievement.'

© Tess Kelly architects: Austin Maynard Architects Location: Canberra, Australia Project Year: 2025 Photographs: Tess Kelly Area: 361.0 m2 Read more »

Anren Culture Center for Sect of Great Craftsman is located in Anren Ancient Town in Chengdu where buildings of different eras, styles, and scales have layered together, creating a townscape that is complex, diverse, and starkly contradictory.

© Schran Image architects: Atelier Li Xinggang Location: Yingbin Road, Anren, Chengdu, Sichuan, P. R. China Project Year: 2022 Photographs: Schran Image Photographs: Yimin Chen Area: 7682.0 m2 Read more »

This condominium hotel is located in a prime location directly connected to the Niseko Hirafu ski slopes in Hokkaido, Japan. The architecture expresses the characteristics of Niseko and its landscape dotted with small-scale buildings, and the gabled roofs characteristic of Hokkaido's and the greater region's traditional landscape context, while also incorporating the features of "condominium-style development," where each unit has its own owner. By expressing these elements as a collection of gabled roofs, the design achieves both economic efficiency and rationality while preserving the landscape of Niseko. The hotel offers a variety of unique experiences, including guest rooms that blend seamlessly with the landscape, a lobby that frames the natural beauty of Niseko, and an open-air bath with views of Mt. Yōtei. This is an architecture that can only be found in this location.

© Forward Stroke inc. architects: Nikken Sekkei Location: Niseko Hirafu, Kutchan-cho, Abuta-gun, Kutchan, Japan Project Year: 2023 Photographs: Forward Stroke inc. Area: 20817.31 m2 Read more »

With her daughter moving abroad, the client — a publicist — decided to begin a new chapter in a smaller, more practical apartment aligned with her daily routine. She left behind an old 200m² property and moved to a new 84m² home in Gávea, in Rio de Janeiro’s South Zone. The challenge for Bric Arquitetura was to optimize every square meter with purpose — and elegance.

© André Nazareth architects: Bric Arquitetura | Portillo e Pantoja Location: Rio de Janeiro, Brazil Project Year: 2025 Photographs: André Nazareth Area: 904 ft2 Read more »

A living classroom where 74 children, 125 future educators, and a coastal forest learn from one another, the Fulmer Family Center for Childhood Studies demonstrates how biophilic, mass-timber design can embody the pedagogical principles of the Reggio Emilia Approach while achieving Step Code 4 performance.

© Andrew Latreille Photography architects: Public Architecture Location: North Vancouver, Canada Project Year: 2025 Photographs: Andrew Latreille Photography Area: 2092.0 m2 Read more »

Located along Chaussée de Louvain in Brussels, the project is embedded in a heterogeneous urban fabric.

© Tomas barbera Ramallo architects: Pierre Blondel Architectes Location: Bruxelles, Belgium Project Year: 2024 Photographs: Tomas barbera Ramallo Area: 13650.0 m2 Read more »

A project can be drawn in broad strokes, but it's built in details. Simple as it may seem, a staircase involves a significant degree of engineering. Some are noticeably more tiring, or more difficult to climb and descend. To address this, in the 17th century, architect François Blondel proposed a formula to ensure the ideal proportion between riser and tread, an equation that, when respected, offers a comfortable path. But there's another equally decisive factor: all steps must be identical. This may sound trivial and logical, yet executing anything with precision is always a construction challenge. Our bodies quickly adapt to the dimensions of the steps, and any variation (even minimal) can lead to repeated stumbles or missteps. A seemingly insignificant detail, when poorly resolved, can compromise the well-being and safety of an entire building.

Leça Swimming Pools / Álvaro Siza Vieira © Romullo Baratto A project can be drawn in broad strokes, but it's built in details. Simple as it may seem, a staircase involves a significant degree of engineering. Some are noticeably more tiring, or more difficult to climb and descend. To address this, in the 17th century, architect François Blondel proposed a formula to ensure the ideal proportion between riser and tread, an equation that, when respected, offers a comfortable path. But there's another equally decisive factor: all steps must be identical. This may sound trivial and logical, yet executing anything with precision is always a construction challenge. Our bodies quickly adapt to the dimensions of the steps, and any variation (even minimal) can lead to repeated stumbles or missteps. A seemingly insignificant detail, when poorly resolved, can compromise the well-being and safety of an entire building. Read more »

Situated in a privileged location on a hill near Alicante, this home becomes the dream of a young couple.

architects: 100 Planos Arquitectura Location: El Campello, España Project Year: 2024 Photographs: Area: 220.0 m2 Read more »

This blog wrapped in early 2024, though it continues as a Substack newsletter with the same name: archidose.substack.com

I'm breaking my blogging silence to do two things: Alert readers to the fact I am still writing reviews of architecture books under the title A Weekly Dose of Architecture Books, but over at Substack, not Blogger. Put a new post at the top of this blog so I don't have to look at those photos of me every time I come here to find an old post that I want to link to. That is all.

After 25 years of running this blog under various names — all of which can be lumped under the "Archidose" monicker — I've decided to shut it down, moving this hobby, this labor of love, to Substack, which I have used since mid-2021 and where I will continue to send out weekly newsletters focused on architecture books, but in a new format. (You can subscribe to my newsletter here or on Substack.) So, this isn't "goodbye" as much as it is "see you in your inbox." Grayer and hopefully wiser: me, John Hill, from the mid-1990s until today Besides thinking something along the lines of, Wait! 25 years?, you also may be wondering, Why stop now? The now, January 2024, is because I happen to like fives, it turns out — so much so that every significant thing related to this blog has occurred in five five-year intervals (this is by chance, not by design, I swear): 1999: Started A Weekly Dose of Architecture (with a post about the Kimbell Art Museum) 2004: Started A Daily Dose of Architecture (with a post about the World Trade Center Memorial Design Competition) 2009: Started working with World-Architects and got my first book deal (I was out of work at the time, so the writing that I began doing as a hobby in 1999 turned into my primary focus as of 2009) 2014: Stopped A Weekly Dose of Architecture (complete with five bullet points on why) 2019: Started A Daily Dose of Architecture Books (five more bullet points!) 2024: Stopped Archidose In terms of the why, I've thought of that question a little bit, and outside of it just feeling like it's the right time, here are a handful (again!) of reasons: Very few people read blogs anymore (true, that was also the case 10 years ago, but I kept at it until now, as I liked doing it) More people subscribe, open, and read my Substack newsletter than those who click on the links to this blog or find their way here in some other manner to read my posts (the logical step, therefore, is to put everything in the newsletter...but not behind a paywall, mind you) Blogger is outdated, with infrequent updates; its themes/templates are buggy; adding content is frustrating (this list could go on near endlessly) Substack’s formatting is much easier and more elegant than Blogger (see next bullet point, too) This blog takes up too much of my time, time I'd rather spend on other things (the new newsletter will be easier to produce than this blog, but hopefully it will be helpful and therefore worth people's time in opening it and reading it) But stopping this blog also makes me wonder what it amounted to, if anything. Is there enough good content on this blog to put some of it on paper, to make it a more permanent thing? Or is the content simply of its time and therefore best to leave here in the digital ether? I don't know, to be honest, and when I dig back through some of the posts I veer from thinking the things I wrote were really good to thinking they were garbage ... okay, not quite garbage, but not special enough for a bound volume tucked away in a library somewhere. The truth is somewhere between these poles, I reckon, so hopefully I'll come up with a way to make sense of this side project, this 25-year undertaking, and turn what I did into something else even more rewarding.

Instead of digesting a new book or diving into a novel, something others do often but I do rarely, I spent my holiday break reading a five-year-old book about a trio of intertwined topics I'm particularly fond of: drawings, exhibitions, and New York City. Drawing on Architecture: The Object of Lines, 1970-1990 by Jordan Kauffman, published by The MIT Press, 2018 (Amazon / AbeBooks) As the book's subtitle indicates, Drawing Architecture covers a two-decade period — the 1970s and 80s — when architectural drawings produced by contemporary architects increased in popularity: with architects, with museums, and with the wider art market. These decades, especially the 70s, are known for its so-called "Paper Architecture," which arose due to architects encountering a glut of commissions and offsetting it through theorizing and exploring ideas on paper. Although Jordan Kauffman, a researcher at MIT when he wrote the book and now an assistant professor at the University of Nottingham, does not restrict himself to New York City, much of the book takes place there, given the city's role as the epicenter of the art market, the numerous art galleries holding exhibitions of architectural drawings, and the willingness of local architects to promote themselves through those galleries. These display spaces included Judith York Newman's Spaced: Gallery of Architecture, the Leo Castelli Gallery, and the Max Protetch Gallery. There were also a number of museums and other institutions in and beyond NYC — CCA, DAM, MoMA, Getty — that increased their holdings of architectural drawings, in turn increasing value of such drawings until around 1990. Then, as architects found themselves with more projects and computers entered the realm of architectural drawing, the two-decade trend came to an end. I missed Kauffman's book when it was released in 2018, though I have to disagree with George Baird's review published in Architectural Record at that time. He finds the thorough documentation and explanation of this important moment in recent history "not completely satisfactory," due to the inability to grasp the individual drawings in the numerous photographs of gallery shows reproduced in black and white, as in the one below. Baird did appreciate the reproductions of individual drawings that are almost as numerous as the gallery photographs, but not enough to give the book a ringing endorsement. I'd counter that, since the book is about the galleries and institutions marketing and collecting the drawings rather than the drawings themselves, the illustrations selected for the book are ideal. They capture the seminal shows that led to the phenomenon that is the subject of Kauffman's book; without them, readers would be frustrated and have to rely on the author's extensive descriptions of the displays — descriptions that are important for the historical record but stultifying for narrative flow. (Kauffman also separately lists each piece in each seminal show, complete with values ascribed to the individual drawings.) Another review, by Paul Emmons at EAHN, is more gracious toward the book, calling it "a primary resource on the history of the commodification of architectural drawing." Installation view of "Architecture I" exhibition at Leo Castelli Gallery, 1977 (Image source) Being a scourer of used bookstores and having a strong interest in the period explored by Kauffman, many of the museum exhibitions and gallery shows described in the book as "seminal" were known to me before I cracked it open last month. For example, the three "Architecture" shows held at Leo Castelli Gallery every three years between 1977 and 1983 were each accompanied by catalogs: the first one is short, unpaginated and stapled, but the second and third were published by Rizzoli, the publisher of choice for American postmodern architecture in the 1980s. Even though I'm familiar with these shows — and others, including Arthur Drexler's The Architecture of the École des Beaux-Arts (MoMA, 1975) and The Drawings of Antonio Gaudi by George R. Collins (The Drawing Center, 1977) — through their printed companions, Kauffman is able to elucidate considerably more information about the exhibitions themselves as well as how they relate to the publications. Architecture I, the catalog, would lead us now to assume that just a few drawings were in Architecture I, the exhibition, for each of the seven included architects (Raimund Abraham, Emilio Ambasz, Richard Meier, Walter Pichler, Aldo Rossi, James Stirling, Venturi and Rauch), but Kauffman reveals how misleading this assumption is, by describing the circumstances of the show, illustrating it through gallery shots like the one above, and exhaustively documenting what was on display. In this sense, Emmons' description of the book as "a primary resource" is spot-on. Covers of catalogs for three "Architecture" series exhibitions — "Architecture I," "Houses for Sale," "Follies" — held at Leo Castelli Gallery in 1977, 1980, and 1983, respectively While I found it rewarding to learn more about these and other exhibitions I had previous awareness of, Drawing on Architecture was not short on revealing new information to me. Take, for instance, Spaced, the gallery run by Judith York Newman, a name considerably less familiar all these years later than Castelli, Protetch, and the like. The first iteration of Spaced was located on the Upper West Side between 1975 and 1983, making it the first gallery in the city to display architectural drawings and therefore leading the way toward other art galleries doing the same. Although Newman was integral to the reception of architectural drawings in the period, as were Martha Beck, Barbara Jakobsen (aka B.J. Archer), and Pierre Apraxine, their names border on the forgotten, at least relative to the more famous gallerists mentioned above as well as Phyllis Lambert (CCA), Heinrich Klotz (DAM), and Kristin Feireiss (Aedes) outside of NYC. Drawing on Architecture therefore serves, in its focus, to give them much-deserved attention. The shift of architectural drawings toward art and as architecture in and of themselves can also be found in Drawing Ambience: Alvin Boyarsky and the Architectural Association, the exhibition and companion publication from 2015 about the drawings collected by Boyarsky when he was head of the AA in London. Although Boyarsky's two-decade directorship overlapped almost exactly with Kauffman's book, he is only touched on briefly. Instead, we learn a good deal about fellow Londoner Ben Weinreb, "the most eminent antiquarian bookseller of architectural books, prints, and drawings," per Kauffman. Not only did he buy and sell drawings (many of them to Lambert at the CCA), making him relevant to Drawing on Architecture, he produced 58 catalogs over the course of four decades: catalogs that "set new standards for cataloging and connoisseurship," in Kauffman's words. The value of Drawing on Architecture is in discovering about Weinreb and other lesser-known players, carried out through exhaustive research and scholarship, but it is also found in the vivid portrait of 1970s/80s New York, when the architecture and art scenes overlapped and converged, unlike any times before then or since.

For the fifteenth and last time on this blog, I'm highlighting my favorite books of the year, selected from the many books I reviewed or featured as "Book Briefs" on this blog, and the few titles that I reviewed at World-Architects. From the 86 books I featured in 2023, 15 (or 16) books made my list of favorites, organized into three categories: history, monographs, and exhibitions (the books are alphabetical by title within each category). As in previous years, not all of these books were published this year, given how slow I can be at digesting books and my departure from the annual spring/fall cycle of publishers. This last aspect, the timing of the books I draw attention to, will change next year, as I shutter this blog and transition it into something else — details on that will be announced next month. Until then, warm holiday wishes! 6 HISTORY BOOKS: Chicago Skyscrapers, 1934-1986: How Technology, Politics, Finance, and Race Reshaped the City (2023) by Thomas Leslie, published by University of Illinois Press — Thomas Leslie's followup to his 1871-1934 history of Chicago skyscrapers is even better than its predecessor, not only because the buildings covered are by Mies and other modern architects, but because the research is meticulous and the stories are really interesting. The Japanese House Since 1945 (2023) by Naomi Pollock, published by Thames & Hudson — The latest by Naomi Pollock, who has written numerous books on Japanese houses, benefits from a wide-ranging chronological presentation of nearly one hundred such houses but also the input of the architects and, most valuably, the people who lived in them. Lost in America: Photographing the Last Days of our Architectural Treasures (2023) by Richard Cahan and Michael Williams, published by CityFiles Press — In the right hands, archives can yield insights, themes, and presentations that are educational and unexpected, as in photo historians Richard Cahan and Michael Williams digging through the 90-year-old HABS archive at the Library of Congress to show Americans the wonders they have lost over that time. Mies van der Rohe: The Collective Housing Collection (2022) by Fernando Casqueiro, published by a+t architecture publishers — As I pointed out in my review at World-Architects, this book has some flaws in its graphics and text, but they don't detract from the comprehensive presentation of the apartment buildings designed by Mies van der Rohe in the middle of last century. Resisting Postmodern Architecture: Critical Regionalism before Globalisation (2022) by Stylianos Giamarelos, published by UCL Press — Architects who appreciate Kenneth Frampton's theorizing of critical regionalism starting in the 1980s should read Stylianos Giamarelos's scholarly book that explores and recenters the formulation of critical regionalism by Alexander Tzonis and Liane Lefaivre ahead of Frampton. Urban Design in the 20th Century: A History (2021) by Tom Avermaete and Janina Gosseye, published by gta Verlag — This carefully organized, beautifully presented, abundantly illustrated, and thoroughly cited history of urban design in the 20th century came out of a course taught by the authors at ETH Zurich, but it really should be a standard textbook for other schools, too. 5 (OR 6) MONOGRAPHS: A Book on Making a Petite École (2023) edited by Michael Meredith, Hilary Sample and MOS, published by Actar Publishers — There are very few practicing architects who produce books as an extension of their practice, and even fewer who do that extremely well. MOS is one of them and this is their latest. (Curiously, I saw an even larger, atlas-sized version of this book on display at Harvard GSD's Frances Loeb Library as part of The Book in the Age of ... exhibition in September.) Caruso St John Collected Works: Volume 1 1990–2005 (2022) and Caruso St John Collected Works: Volume 2 2000–2012 (2023), published by MACK — Released a year apart (will volume three follow a year from now?) but reviewed on my blog in February and December of this year, this monograph series on Caruso St John is stunning: beautifully made but also expressive of the words and images that inspire Adam Caruso and Peter St John in their quiet, poetic creations. Living in Monnikenheide: Care, Inclusion and Architecture (2023) edited by Gideon Boie, published by Flanders Architecture Institute — This book is about Monnikenheide, a residential care center for people with mental disabilities in Zoersel, Belgium, and the numerous buildings that have been designed there since the early 1970s. The book is beautifully produced and reflective of the place's myriad qualities. M³: modeled works [archive] 1972-2022 (2023) by Thom Mayne and Morphosis, published by Rizzoli — Fifty years of Thom Mayne and Morphosis are presented in more than 1,000 pages: a brick of a book centered on the models that the studio is known for, from the early models in wood and resin to the 3D-printed models they still produce. Speculative Coolness: Architecture, Media, the Real, and the Virtual (2023) by Bryan Cantley, edited by Peter J. Baldwin, published by Routledge — Architects my age will have flashbacks to Neil Denari, Peter Pfau, Wes Jones, and other machine-minded architects from the nineties when perusing Bryan Cantley's image-saturated monograph. The name says it all: page after page of speculative coolness, vague projects impeccably delineated. 4 BOOKS FROM EXHIBITIONS: Another Breach in the Wall: The City as a Common Good (2022) by Davide Tommaso Ferrando and Daniel Tudor Munteanu, published by Solitude Project — This two-volume book serves as the catalog to Another Breach in the Wall, the main exhibition of the Beta 2022 Timișoara Architecture Biennial in Romania, which focused on projects and actions in cities that subvert the norm. The book does that to some degree, too, with a foldout map serving as a wrapper for the two paperbacks and an elastic band holding the whole together. An Atlas of Es Devlin (2023) by Es Devlin, edited by Andrea Lipps, published by Thames & Hudson — It's hard to believe it, but the first monographic exhibition and monographic book on Es Devlin, the artist/designer behind sets for Adele, Beyoncé, and Cyrus (comma Miley) arrived this year, nearly thirty years after she launched her career in London. This big, expensive book is more artist book that exhibition catalog, and a highly revealing look at her creative process. Bernd & Hilla Becher (2022) by Jeff L. Rosenheim, published by the Metropolitan Museum of Art — A "captivating tribute to the renowned German photographic duo known for their systematic documentation of industrial architecture," according to ChatGPT, but in my words it is simply a "beautifully produced catalog" of the 2022 exhibition at The Met. For a duo who treated books as an integral extension of their photography, this catalog of their work is equally valuable. Yasmeen Lari: Architecture for the Future (2023) edited by Angelika Fitz, Elke Krasny, Marvi Mazhar and Architekturzentrum Wien, published by MIT Press — In early March, an exhibition on architect Yasmeen Lari, usually described as Pakistan's first woman architect, opened at Az W, and the following month the Oxford-trained architect won the Royal Gold Medal, RIBA's highest honor. Needless to say, the major exhibition and honor were justified for an architect who pivoted from commercial buildings for companies with money to houses and other zero-carbon buildings for the poor. The book is thorough, with essays and interviews accompany the numerous projects.

Just as last week's Places in Time III post featured a trio of books that were initially listed in my earlier holiday gift books post, two of the three monographs featured here were also on that list. As happened when I wrote this post, each book begins with a rhetorical question pertaining to monographs. This post features the last reviews of the year. A week from today I'll have a year-capping roundup of my favorites from the many books featured on this blog in 2023. An Atlas of Es Devlin by Es Devlin, edited by Andrea Lipps, published by Thames & Hudson, December 2023 (Amazon / Bookshop) Is it possible to love a monograph on a designer whose work you're largely indifferent to? Es Devlin is a phenomenally famous artist and designer who is best known for creating the sets and backdrops for U2, Adele, Miley Cyrus, Beyoncé, and other big-name musicians, and for such events as the 2022 Super Bowl halftime show. Her London studio's designs for these and other performances, such as plays on London's West End, are provocative and attention-getting, befitting their spectacle nature ... but they're just not my thing, they don't strike my fancy. Her immersive installations, on the other hand, though I've yet to experience one, resonate more strongly with me; these include Forest of Us in Miami and Memory Palace from 2019. And while I like the design and the labyrinthine layout of the monographic exhibition now at the Cooper Hewitt that is also called An Atlas of Es Devlin, the appeal of her work to me is just fractional: yes on installations, no on the rest. But reviewing a book or exhibition or some other creation is not about taste and personal preference; it's about judging the thing on its own merits and determining how good or bad it is relative to similar creations. For books, monographs are a genre in and of themselves, and some are better than others; some are notable for being hybrids. Though big, expensive, and with a print run in (I imagine) the tens of thousands, An Atlas of Es Devlin — the first Es Devlin monograph — is as much an artists' book as it is a monograph and exhibition catalog. The spreads displayed here give a taste of the way Devlin, editor Andrea Lipps, who also curated the Cooper Hewitt exhibition, and book designer Daniel Devlin veered from the typical construction of a book — they cut circles in the pages, inserted smaller page sizes and even smaller gatefolds into the binding, used a variety of papers, etc. — to give it an artists-book feel, but on a considerably larger scale: the book is more than 900 pages, though given the atypical nature of the book it's nearly impossible to count the exact number. It is so big it comes in a specially made orange cardboard box for storage and protection. Just as the exhibition features an "iris" formed by overlapping and shifted circles cut into the gallery wall, the hardcover book opens with ten pages with circular cutouts that frame a photo of Devlin on the floor of Memory Palace. The circular openings are rung with statements apparently in Devlin's hand, and radiating from the circles are complex, layered timelines of her studio's prolific output — the last a sign of how in-demand an artist and designer she is. But, befitting an artists' book, these pages go even further, adding raised dots and lines that accentuate parts of the timeline, veer from it entirely, and/or push us to find some meaning amongst the information saturation. The book then shows some full-bleed photographs of her studio's output before launching into the process-based presentations that comprise the largest chunk of the book. The presentation is chronological, moving from "A Student's Sketchbook" (spread above) that spans from 1985 to 1995 to the designs for plays, performances, and installations she is known for, one after the other for at least 250 pages. After those come conversations Devlin had with fellow creatives during COVID lockdown, then more projects, then another 250 or so pages of completed projects in color photos. The book is packed, fully. The parts that make me appreciate the book so much are the process-oriented project presentations. Very few projects are presented simply; most are accompanied by a smaller inserted page and/or a gatefold — something that requires readers to do extra "work" that heightens their awareness and increases their absorption of Devlin's creative process. Each project, furthermore, is keyed to one of the color photographs in the last half of the book, requiring more flipping-back-and-forth "work" and providing a peek at the finished products. Put another way, it's impossible to nonchalantly flip through this book. The design and construction of the book force a slow movement and entice a steady gaze. One gains so much in handling the book that they need not read every description of every project to understand a lot about Devlin as an artist and designer. I can't think of a more ambitious goal for a monograph than the way An Atlas of Es Devlin gives readers such an intimate understanding of her creative thinking. Caruso St John Collected Works: Volume 2 2000–2012 by Caruso St John, published by MACK, October 2023 (Amazon) Is it better for a monograph to have project descriptions written by the architect or by an external writer? The first type ideally give readers some insight into the architect's creative process, though at times these descriptions can read as promotional materials aimed at potential clients. Descriptions of the second type benefit from some objectivity and most likely a critical position, but they might suffer from a lack of information and the sense, on the reader's part, of not learning enough about the illustrated projects. Most monographs fit into one or the other, including the two other monographs in this post: Es Devlin's monograph features project descriptions in her words, while the latest monograph on Jones Studio was written by curator Marilu Knode. Like the first volume of Caruso St John Collected Works, put out last year by MACK but reviewed on this blog in early 2023, Volume 2 has a mix of project descriptions written by the architects and coming from magazines and other external sources, the latter often years earlier and outside of the context of the book. If we look at the "Chicago and Milan" chapter, one of seven chapters in Volume 2, two projects are presented: Nottingham Contemporary, the UK gallery completed in 2009; and the Europaallee Mixed-use Building built in Zurich in 2013. The words of the architects, Adam Caruso and Peter St John, are used for Nottingham Contemporary, in which we learn about the intentions behind their winning competition scheme and the inspirations for the lacy pattern on the facade's concave panels. The longer, more in-depth presentation of Europaallee is accompanied by an article by Ellis Woodman from a 2014 issue of Architectural Review. The architects' mixed-use building is part of the Europaallee development west of Zurich Hauptbahnhof, which was master planned by KCAP and is made up of low- and mid-rise buildings organized about a pedestrian street; Caruso St John's building is at an important spot at the western end of the street, adjacent to a square and near a new pedestrian bridge that connects this main part of Europaallee to a sliver of the development on the north side of the railway tracks. I've seen their building on trips to Zurich, though I can't say I paid much attention to it, as the whole Europaallee project — with buildings by Gigon/Guyer, Max Dudler, David Chipperfield, and others — is characterized by unrelenting grids of windows. It's a bit like Tativille come to life. The Caruso St John building is in line with the rest, though Woodman admits that the narrowing of the piers between windows as the building rises — an element in the competition scheme that would distance the building from the earlier "joyless" building by Dudler — "came to present a significantly less austere image than was suggested by the initial renderings." Although Woodman is primarily positive in his assessment of Caruso St John's Europaallee Mixed-use Building, it makes me think that very few architects would actually incorporate critical texts like this in their monographs. That Caruso St John did so here is following from the format of Volume 1, in which texts by critics about the architects' projects are included, as are texts by others — architects, critics, historians, etc. — as long as they pertain to the issues explored by the architects in some way or serve as some theoretical foundation for their work. So Louis Sullivan's "The Tall Office Building Artistically Considered" first published in Lipincott's Magazine in 1896, is also found in the "Chicago and Milan" chapter, as is "The Existing Environment and Themes in Contemporary Practice," an essay by Ernesto N. Rogers from a 1954 issue of Casabella; these two essays give the chapter, which otherwise just features the two projects in Nottingham and Zurich, its name. Although the essays are presented without comment, the relationship between them and Caruso St John's work can be grasped without difficulty, as Sullivan's essays coming a few pages before the "tall" 13-story building at Europaallee attests. Even without an awareness to such ties, I greatly appreciate the inclusion of inspirational and important texts; it is one element that sets this series of monographs apart from others. In addition to the projects spanning from 2000 to 2012 and the inclusion of articles and essays written by others outside of the context of the monograph, the book also features texts by Adam Caruso and Peter St John. Befitting the series, these texts come from other publications, from lectures and interviews, most of them within the years covered by the volume. An example is Peter St John's "Aldo Rossi's Gallaratese Housing," first published in Building Design in 2012. The architect first experienced Rossi's famous building in 1980, when he was a 20-year-old student on a scholarship, also seeing the buildings of Terragni and catching the The Presence of the Past, the inaugural Venice Architecture Biennale. He recounts his first impressions of the building, discusses it relative to Rossi's famous texts The Architecture of the City and A Scientific Autobiography, and revisits the building to find it "more charming than before." A few pages later we read Caruso and St John's text on Pasticcio, a composition of fragments of classical architecture in Sir John Soane's Museum in London, and see their installation of the same name at the 2012 Venice Architecture Biennale. That is followed by restoration work at Soane's Museum, a new chancel for St Gallen Cathedral in Switzerland ... the whole book unfolds in this manner: one unexpected piece after another, adding up to a thorough and varied portrait of the duo's quiet and occasionally timeless architecture. STRIVE: Jones Studio Adventures in Architecture by Marilu Knode, edited by Oscar Riera Ojeda, published by Oscar Riera Ojeda Publishers, November 2023 (Amazon / Bookshop) Should monograph present many projects in just a few pages, or very few projects across more pages? Two years ago, Oscar Riera Ojeda Publishers put out Jones Studio Houses: Sensual Modernism, a monograph billed as "a self-imposed limited look at the 40-year-plus career of Eddie Jones." The thick, square book limited itself to houses (minus Jones Studio's own "house") and featured just ten of them, highlighted by Prairie Raptor, a stunning house in Oklahoma whose sculptural peak was inspired by Herb Greene's "Prairie Chicken" built in Norman, Oklahoma, in 1954. Digesting the book with its many photographs and drawings accompanied by short blurbs by famous names lauding Jones's architecture, it was clear the book was an incomplete portrait of the studio run by Eddie and his brother and first partner Neal Jones — a first course, if you will, to a larger, more well-rounded presentation of their work. With more than 40 built and unbuilt projects spanning more than 40 years, STRIVE is that main course. If a food analogy for an architecture monograph feels a bit contrived, note that three of the book's five sections take on "Family Table" titles. Instead of a literal family coming to the table to eat, the "family" is made up of Jones and the other architects in the studio, and the "table" is a collaborative work surface about which everyone's desks are arrayed. "Family Table #1," as it's called in the book, was in an office building in downtown Phoenix designed by Alfred Newman Beadle in 1978. In 1984, Eddie moved the studio he had established in 1979 (Neal joined in 1986) from his house to the Beadle-designed building, and years later he expanded within it to create the open-plan family-table office space. (Some further synergy between Beadle and Jones can be found in the fact both of them relocated from the Midwest to Arizona: Beadle from Minnesota, Jones from Oklahoma.) Jones Studio stayed in the Beadle building for 32 years, moving into the purpose-built "Home and Studio" in Tempe that begins the book's "Family Studio #3" chapter. The floor plans in STRIVE show how the literal table in the Beadle building is also at the heart of the now seven-year-old Jones Studio Office; the table and branching desks are described in the book as the "nerve center" of the studio and an "open mosh pit of ideas." So, you might be asking, what about "Family Table #2"? This is the most interesting of the trio, at least in the context of the book, and in two ways. First, for the exhibition southwestNET: Jones Studio, Inc. that took place at the Scottsdale Museum of Contemporary Art in 2006, the studio moved its operations into the gallery for its three-month duration, from May to September. Indeed, the studio — the family — literally became the exhibit, sitting at custom-designed desks that converged to form "Family Table #2." Photos in the book show a somewhat typical architecture office, with computers, phones, and lots of papers in the middle of a gallery with drawings on the wall, drawings suspended from the ceiling, and museum goers taking in the scene. The second thing of interest is that the exhibition was curated by Marilu Knode, who considers it "one of the most exciting of my career." She was later approached by Jones Studio to tell the story of the firm in what would become STRIVE. Her writing and consistent voice detached from the making of the projects help make this monograph so good, especially compared to the many monographs that are written in-house and read like marketing copy and therefore lack firsthand insight. People who actually read Knode's words that accompany the buildings will learn A LOT about the studio's process and what makes each project so interesting, beyond the obvious skill with which they've been designed. Having looked at numerous architectural monographs, I've come to the conclusion that the project that occupies the middle section of a monograph is often the most important — both for the architect and for the book itself. The five chapters of STRIVE start with "Jones Studio: The Early Years" and end with "Focused Future," chronological bookends for the three "Family Table" chapters. Given this structure, the second of those, "Family Table #2," sits in the middle of the book's nearly 500 pages. While the firm was working at the southwestNET exhibition, they submitted an RFQ for the Mariposa Land Port of Entry in Nogales, Arizona. In 2007, Jones Studio got the job, which became a "colossal, firm-altering undertaking." While Knode's words partly reinforce my hypothesis for middle-project importance, the project's documentation in photos, drawings, and numerous texts over more than 40 pages cement it. The building, completed in 2014, is also found on the cover — another sign of the project's importance in the impressive Jones Studio portfolio.

This third and most likely last installment in the inadvertent "Places in Time" series looks closely at three books: the first about Chicago from the Great Depression to the mid-1980s; the second one about the broader American built landscape over roughly the same period of time; and the third jumping to Switzerland and tracing the urban development of Schlieren, near Zurich, over a 15-year period this century. All three of the books were in my roundup of holiday gift books a couple of weeks ago. The first two Places in Time posts looked at Detroit/Chicago/St. Louis and Paris/Indonesia/Flanders. Chicago Skyscrapers, 1934-1986: How Technology, Politics, Finance, and Race Reshaped the City by Thomas Leslie, published by University of Illinois Press, June 2023 (Amazon / Bookshop) In my holiday gift books roundup a couple of weeks ago, I wrote that, of the four pieces in the subtitle to Chicago Skyscrapers, 1934-1986 — "technology, politics, finance, and race" — technology is the most prevalent throughout the book. That assertion was based on just a cursory look through the book, all I could manage at the time, but also on its relationship to architect and educator Thomas Leslie's previous book, Chicago Skyscrapers, 1871-1934, published ten years prior. If I were doing that roundup now, having had more time to delve into the new book, I would write that politics and finance were, if not the most prevalent, the most illuminating and thoroughly discussed aspects in the book's presentation of skyscrapers over fifty years last century. Indeed, many of the drawings and photographs focus on the technical and technological aspects of skyscraper design and construction (just look at the cover!), but the stories of how certain skyscrapers came about and were shaped are rooted in Chicago's political machine, money, and the developers that Ludwig Mies van der Rohe, SOM, and others worked for. An example is in order. If any architect jumps to mind in the period covered by the book, it is Mies, who reshaped Chicago through his glass-and-steel towers but also who, through the replicable nature of their designs, reshaped cities around the world. To this day, his most notable tall buildings in Chicago are 860-800 Lake Shore Drive, the Federal Center, and the IBM Building, all boasting steel structures and glass curtain walls. But before that trio of towers (860-880 came first, in 1952) there was Promontory Apartments, completed in 1949 near the University of Chicago. Structured in concrete, not steel, and with windows sitting on brick spandrel walls rather than on the floor slabs or hung as curtain walls, Promontory is often seen as an anomaly or an awkward step toward the more refined glass boxes that would follow. But, Leslie tells us, concrete was "selected over steel because of postwar supply problems" and the brick spandrel wall was mandated by code as a means of stopping the spread of fire. Furthermore, even with the windows sitting on knee-height walls, lenders balked at their size, wondering "how people can live with so much glass" and making it hard for the developer to gain financing. One year later, in 1950, "Chicago's progressive building code eliminated the masonry spandrel wall requirement," leading to 860-880 LSD and other glass-sheathed towers designed by Mies and others. The book's nine chronological/thematic chapters are full of similar political and financial information that greatly helps put the many notable skyscrapers (as well as quite a few apparently insignificant ones) into context. For example, chapter five, "Daley's City: Commercial Construction, 1955-1972," tackles the most powerful political player the city saw in the half-century covered by the book, Mayor Richard J. Daley. In a flip from his predecessors, "'Daley's City' sprung from investment capital," Leslie writes, "wedded to a regime intent on gaining and exercising raw power to tip the market's balance wherever it could." Early on, Daley oversaw the creation of the Central Area Plan (1958), discussed at some length in the book, and during his lengthy tenure he saw the erection of many commercial and residential towers in the Loop. But the Daley era is also when the Chicago Housing Authority shifted to high-rises and built them as segregated enclaves primarily on the South and West Sides, just about all of which have been torn down in recent years for low-rise developments. As such, the race aspect of the book makes up a good chunk of chapter six, "High-Rise Housing in the 1960s," though the subject is present throughout the book, just not to the same degree as the other three subtitled terms. Oddly, Leslie's book ends with a lengthy discussion of Helmut Jahn's State of Illinois Center, the 17-story building in the Loop that opened in 1985 and was renamed in 1993 as the James R. Thompson Center, for the governor who championed the project and oversaw its realization. I say "oddly" because the squat, rotund building is hardly a skyscraper, at least not in my mind. It is shorter than most buildings around it as well as others being built at the same time, such as Jahn's own 40-story One South Wacker, and does not have the vertically of most towers. So why include it? I think, in part, because it was the climax of postmodern architecture in Chicago in the 1980s, but mainly because it is a case study where technology, politics, and finance converge to the utmost degree; it's a fascinating story deeply and ably recounted by Leslie. It comes at the end of the last chapter, "After Sears," and spreads across four three-column, image-free pages; only on the last spread do we see the building, but only its exterior, not the stunning atrium it is known for. While this ending leaves something to be desired in terms of page design and illustrations, it captures the incredible amount of research Leslie managed to put into this second installment in his skyscraper history of Chicago. I'm hoping there is a next one and that it is already in the works, so it doesn't take ten more years for the rest of us to hold it in our hands. Lost in America: Photographing the Last Days of our Architectural Treasures by Richard Cahan and Michael Williams, published by CityFiles Press, November 2023 (Amazon / Bookshop) As an architect who writes primarily about contemporary architecture but who is increasingly cognizant of the importance in saving and reusing old buildings, even going so far as to preferring adaptive reuse over new construction, I have a love/hate view of "Lost ___" books. The ones in my library tend to be about places where I've lived: Lost Chicago by David Garrard Lowe, for instance, and Lost New York by Nathan Silver. Looking at page after page of black-and-white photos of buildings that will never be again is to be transported in time, which I like, but all to often the captions border on the finger-wagging: "How could you tear down this glorious building?" they seem to be telling me, even though I played no part in their destruction. Yet, as Thomas Leslie's skyscraper book featured above reveals, even buildings loved by later generations were often not appreciated in their day. Leslie writes that Henry Ives Cobb's 1905 Federal Building "suffered from grave planning and environmental deficiencies that led to calls for its replacement almost immediately after opening." Lowe, who put the domed interior on the cover of the 2000 edition of his book, calls it "an awesome feat of engineering" with "one of America's supreme interiors." "This magnificent edifice, the most notable example of civic architecture in Chicago," he summarizes, "was wantonly demolished in 1965–66," making way for the three-building Federal Center designed by Mies van der Rohe. While Leslie helps us understand something of why the building was demolished, Lowe looks at it through rose-colored glasses, making its destruction a scar on modern-day humanity. Photo historians Richard Cahan and Michael Williams are a bit more balanced in their description of Cobb's Federal Building, one of the one hundred buildings and bridges they gather from the Historic American Buildings Survey (HABS) for Lost in America. They give some background on how Cobbs designed the 1905 building in the Beaux-Arts style "that was all the rage in Chicago and across the nation following the 1893 World's Columbian Exhibition," where Cobbs had designed seven of its buildings. And the authors paint the picture in the 1960s, when the "once-majestic courthouse and post office had become lost in the canyons of skyscrapers" and was "covered by decades of city grime." They don't make demolition excusable, but their matter-of-fact description — of this building and the 99 other places in the book — tell interesting facts and appealing stories that do an excellent job in helping readers understand the photographs and the value of HABS. In this case, the photograph is, like the Lost Chicago cover, of the domed interior, taken in 1964 by Harold Allen, who "climbed high to the base of the dome to take this shot." Although Lost in America is limited to one photograph per structure, the descriptions invite readers to dig further into the HABS archive at the Library of Congress, where many of the photographs dating from 1933 to the present are digitized. In 1965, the dome atop the Federal Building was seen better than ever, we read, when neighboring structures were razed and opened up views unavailable before; Allen captured one such view, when one of Mies's glass boxes was already in place behind it. HABS was created in 1933 during the Great Depression and is considered the nation's first federal preservation program. In the ninety years since, the program has documented thousands of structures in the United States through photographs — all b/w large-format film photos, even to this day, it should be noted — drawings, and other materials, all of them archived in the Prints and Photographs Division of the Library of Congress alongside the Historic American Engineering Record (HAER) and Historic American Landscapes Survey (HALS) collections, which were created in 1969 and 2000, respectively. Why, you might be thinking, was Henry Ives Cobbs's Federal Building, which was completed in 1905, not documented until 1964? From the beginning, when Charles A. Patterson, an architect at the National Park Service, drafted a proposal for what would become HABS, the intent was to document antique buildings that were "diminish[ing] daily at an alarming rate." So photographing, measuring, drawing, and documenting them otherwise often took place when a building was threatened or demolition was imminent. The cover of Lost in America shows one instance where the act of demolition was actually captured by the photographer: Jack E. Boucher at the Ulysses S. Grant Cottage in Long Branch, New Jersey, in 1963. Cahan and Williams selected the structures and compiled them in a way that the book climaxes, for lack of a better word, with buildings like Grant's cottage, which are partially demolished — photographed just a bit too late. It's a sobering end to a sobering but excellent book that shows how the unfortunate flip side of American progress is erasure and forgetting. Urban Change Over Time: The Photographic Observation of Schlieren 2005–2020 Reveals How Switzerland Is Changing edited by Meret Wandeler, Ulrich Görlich and Caspar Schärer, published by Scheidegger and Spiess, October 2023 (Amazon / Bookshop) Although I've been to Zurich many times since I started working with World-Architects more than a dozen years ago, I've yet to visit Schlieren, the municipality on the western edge of Zurich. It's certainly an oversight, given that the town, which sunk into a post-industrial malaise from the 1980s onwards, "suddenly" turned the tide this century and "grew dramatically, attracting new residents and architectural tourists." This according to Caspar Schärer, one of the editors of the two-volume Urban Change Over Time, who drives the point home in the next sentence: "Architectural tourists!" How bad was the situation in Schlieren before the fifteen-year turning of the tide the book encapsulates? One newspaper, in a report from Schlieren, was titled "Life in the Cantonal Trash Can" (Schlieren is part of the Canton of Zurich), per another text in the book. So, how did things change, how did Schlieren get through this "difficult phase"? Proximity to Zurich and the town's location along a train line connected to the city surely helped, but much of it can be attributed to planning. In 2005, the town implemented the Schlieren Urban Development Concept (STEK I), which would determine where and how growth would occur, instead of letting it happen "uncontrolled and uncoordinated." STEK I became the basis for a photo project by Meret Wandeler and Ulrich Görlich, who decided on a 15-year timeframe — not shorter — as necessary for being able to see how the urban plan would physically take shape and impact the town. By 2020, when the project was done, the town had already moved on to STEK II, a new plan based on a reevaluation of STEK I in 2015/16, but the photographs nevertheless revealed that change in many parts of the Schlieren was dramatic. The first of the two volumes, which are packaged in a sleeve bearing the cover shown above, is a 152-page landscape-format book with spreads devoted to the 69 locations in town that were documented in photographs over the fifteen years, typically every two, odd-numbered years (some gaps are found in some places). The consistency of the photographic framing is exceptional, owing in part to the hiring of professional photographers after the initial photos were taken by the authors. The locations are keyed to maps in the back of the book, one for 2005 and one for 2020; seen together, the photographs and map illustrate the districts where STEK I was focused, where change was most pronounced. The town is basically bisected by the east-west rail line that connects it to Zurich; the most apparent change and increased density is visible to the north, while areas close to the train tracks on the south side were also filled in. Given the broad swath of the town documented by the project, it's interesting to see places where change is not immediately evident, akin to a real-life version of those find-the-differences cartoons. The second volume consists of essays, additional presentations of some of the photographs (focusing on typologies, on STEK I districts, the town's "building boom," etc.), and in-depth maps that help to give outsiders some orientation while also focusing on the development areas. These many pieces are presented beautifully across 480 pages in portrait format. The wide-ranging essays, which discuss the town, the project, "rephotography," and myriad other subjects, are particularly helpful but also, in the commendation of the book by the jury of the 2023 DAM Architectural Book Award, "very careful not to waste the reader’s time." The repackaging of some of the photographs from volume one is in some ways more helpful in understanding the town's urban change, since the authors use the photographs in ways that turns them into essays in their own right. The "Typologies" section, for example, groups photos of building entrances, parking lots, playgrounds, alleys, stores and restaurants, and garages, while "A New Town," which concludes the book, hones in on the places that would draw architectural tourists. Many of the photos in volume two are considerably larger on the page than the static format of volume one, accentuating one interesting quality of the photographs: they are devoid of people and other living beings, though not of signs of life. This rigorous approach, no doubt an impressive technical achievement, gives the project a strong anthropological quality and reveals that, while planning may be at the heart of the town's evolution this century, the shaping of the lives of the residents via planning was paramount.

This year's roundup of books to give to discerning architects for the holidays is presented in pairs. While at least one book in each pair is new, the other one isn't necessarily so — new, old, or not-so-old, it is related to the first in some manner, as explained in my descriptions. A few of these books will receive longer reviews next month. In the meantime, with this lengthy post and Thanksgiving coming up later this week, I'll be taking next week off, resuming regular posts the first week of December. HEADY STUFF FOR BRAINY ARCHITECTS AND ARCHITECTURE HISTORIANS: Architecture after God: Babel Resurgent by Kyle Dugdale, published by Birkhäuser, February 2023 (Amazon / Bookshop) Inhabited Machines: Genealogy of an Architectural Concept by Moritz Gleich, published by Birkhäuser, February 2023 (Amazon / Bookshop) Exploring Architecture is a new series of books from Birkhäuser that are focused "on thematic subjects [in architectural history and theory] that are relevant to contemporary architectural and urban discourse and practice." It aims to include "new and unexpected readings of built work, the analysis of the discipline's discourse and historiography, the study of architectural representation and media, and the consideration of socioeconomic and cultural-political forces on urban transformation." The peer-reviewed series, created under a six-strong advisory board chaired by Reto Geiser, launched in early 2023 with two books: Moritz Gleich's Inhabited Machines followed by Kyle Dugdale's Architecture after God. The pair of books indicate a serious tone for the series but also production values that are on par with monographs, found in the quality paper selection, quality image reproductions, page size that is slightly larger than the norm, and solid cover and binding. Having reviewed a few books made by Geiser, I'm not surprised at this attempt to elevate the design production of history/theory books. Still, these are not books the average architect will plop down in an armchair and read; their audience is small and focused on academia. (Hey, architectural historians like gift books, too!) Dugdale, a Yale professor based in New York City, has written a book set in Germany between the two world wars, using the Tower of Babel and the artistic output of Uriel Birnbaum from Austria as threads to explore how architects recreated a world where God is absent. Moritz Gleich, director of gta Verlag at ETH Zurich, appears to have turned his dissertation "on the genealogy of machinic concepts in architecture" into Inhabited Machines, which looks at technologies and architectural typologies in the 18th and 19th centuries as progenitors for some pretty famous machine analogies in 20th century architecture. TWO COOPER HEWITT TOMES: An Atlas of Es Devlin Es Devlin, edited by Andrea Lipps, published by Thames & Hudson, December 2023 (Amazon / Bookshop) Making Design: Cooper Hewitt, Smithsonian Design Museum Collections by Cara McCarty and Matilda McQuaid, published by The Cooper Hewitt, February 2015 (Amazon / Bookshop) An Atlas of Es Devlin, the first monographic show devoted to UK artist and designer Es Devlin, opened at the Cooper Hewitt on November 18, 2023. Devlin worked with Cooper Hewitt curator Andrea Lipps on the exhibition, one that immerses museum goers in a recreation of Devlin's studio and moves them through a mirrored labyrinth presenting early drawings, models of the large-scale set designs she is known for, and much in between. Lipps is also the editor of the hefty book that is united with the exhibition in terms of its contents but also its execution: it immerses readers in Devlin's process to better understand her output. The exhibition presupposes that visitors do not know anything about Devlin (I'm guessing very few will not), and the book takes a similar approach, revealing insights to readers who are invited to patiently page through the book. At around 900 pages, there's a lot to see, from school-age drawings and glances of her studio to maquettes of theatrical set designs and photographs of concerts by the likes of Adele and U2. Thankfully, with its mix of paper sizes and types, and the insertion of small gatefolds that further explain her design process, the book's format makes a voyage through it anything but boring; there are surprises at every turn of the page. Boasting as many pages as An Atlas of Es Devlin is Copper Hewitt's guide to its own collection, made with designer Irma Boom when the institution completed a major overhaul of its Upper East Side home (the former Andrew Carnegie mansion) in late 2014/early 2015. While the book is big, the numbers on the cover indicate how small it is compared to the collection: it presents just 1,145 of the museum's 210,000 objects in its archive. The objects were selected by the curators, who also penned texts for the book — all expressing the museum's primary goal: "to inspire people to see how design impacts their lives." Boom, ever the innovative book designer, created different colored wraps for the paperback; it's not clear which color one gets on Amazon and Bookshop (red?), but the Cooper Hewitt offers pink and "glow in the dark" (light green) on its website. THE NEW YORK WILLIAM B. HELMREICH KNEW SO WELL: The Bronx Nobody Knows: An Urban Walking Guide by William B. Helmreich, published by Princeton University Press, August 2023 (Amazon / Bookshop) The New York Nobody Knows: Walking 6,000 Miles in the City by William B. Helmreich, published by Princeton University Press, October 2013 (Amazon / Bookshop) A few years after Princeton University Press published William B. Helmreich's well-received The New York Nobody Knows, it started putting out standalone "urban walking guides" to each of the five boroughs. Helmreich, a Distinguished Professor of Sociology at the City College of New York, famously walked every street in New York City, speaking with just about everybody he came across (or so it seems), be it a building super, a doorman, a shop clerk, someone leaving their apartment, someone leaving a synagogue, ... The New York Nobody Knows discusses immigration, gentrification, and other issues in thematic chapters; it is thorough, but it must have been evident for both author and publisher that the effort of walking the five boroughs and the results of talking with so many people would lead to more than just one book. The first guide published was Brooklyn, in 2016, followed by Manhattan, in 2018. Sadly, a few months before the Queens guide was released in 2020, Helmreich died, succumbing to COVID-19 in March of that year, the same month fellow CCNY professor Michael Sorkin also died. At that time, as recounted by his wife Helaine, William had already finished the manuscript for the Bronx and the couple was starting to work on Staten Island, walking (again!) the streets of that borough. It's too bad we won't see Staten Island, because it, like the Bronx, is not as widely known (for me, at least, and I'm guessing quite a few other people) as Manhattan, Brooklyn, and Queens. But as the earlier guides made clear, there is more to the boroughs than the familiar sites found in other guidebooks; and the boroughs are made up of people, not just buildings and landscapes, and it was those people that interested Helmreich the most. Their voices permeate The Bronx Nobody Knows, just as in the other guides. For me, someone who lives in Queens, one thing I appreciate about Helmreich's books is the way he managed to get people to open up and say things that would both describe a place and convey the similarities binding people across the city and, on a wider canvas, across humanity. A BEAUTIFULLY MADE SERIES ON CAROSO ST JOHN CONTINUES: Caruso St John Collected Works: Volume 2 2000–2012 by Caruso St John, published by MACK, October 2023 (Amazon) Caruso St John Collected Works: Volume 1 1990–2005 by Caruso St John, published by MACK, October 2022 (Amazon) Twelve months after MACK released the first volume in the collected works of British architects Adam Caruso and Peter St. John, the publisher put out the second volume, which takes the qualities of the first book — qualities I wrote about earlier this year in "Three Lessons from Three Monographs" — and applies them to the studio as they started their second decade and a new century began. I wrote in that post that monographs "should be comprehensive if not complete, "should convey the voice of the architect," and "should function as archives." Collected Works: Volume 1, I wrote, does all three: "From its simple linen cover with drawing of the steel facade of their Swan Yard project, strong stitching, and matte paper selection, to its documentation of built and unbuilt works over the title's fifteen years and the incorporation of articles and interviews previously published in Quaderns and other venues, the book is a beautiful object that is rewarding and refreshing on every turn of the page." Given the consistency of the two books, the same applies Collected Works: Volume 2. The numerous buildings, projects, exhibitions, articles, lectures, and other artifacts informing Caruso St John's work are presented in seven chapters, most of them pairs: "History and the Modern," "Greece and Rome," "Chicago and Milan," "Competitions," "Thomas Demand," "Switzerland," "Art and Money." These places and themes reflect their work extending beyond the confines of England as well as their teaching doing the same, with positions in Mendrisio, ETH Zurich, Harvard GSD, and elsewhere. The two architects explain how the studios they ran at universities incorporated reference texts by Rosalind Krauss, T. S. Eliot, Louis Sullivan, and others; those text are found here, enriching the monograph's collection of texts and projects and capturing the interests of two maturing architects. (Note: the two volumes are available from MACK in a Caruso St John Bundle.) THE CHICAGO SKYSCRAPER HISTORICALLY CONSIDERED: Chicago Skyscrapers, 1934-1986: How Technology, Politics, Finance, and Race Reshaped the City by Thomas Leslie, published by University of Illinois Press, June 2023 (Amazon / Bookshop) Chicago Skyscrapers, 1871-1934 by Thomas Leslie, published by University of Illinois Press, May 2013 (Amazon / Bookshop) In my 2021 review of Thomas Leslie's 2013 book Chicago Skyscrapers, 1871–1934, I pointed out how Leslie's book is described in another book as a "'recent study that includes thorough discussion of structural and constructive technologies,' as opposed to more prevalent architectural histories that focus on aesthetics, politics, planning, social history, and other issues with tall buildings." Such a focus is evident in the appendix listing the dozens of tall buildings built in Chicago between 1871 and 1934 (the years of the Great Chicago Fire and Great Depression) with such criteria as "facade type" (bearing masonry, cast iron, expressed frame, curtain wall, etc.) and "foundation" (piles, spread, caissons). It's an excellent book, as is the second installment in Leslie's series of books on skyscrapers in Chicago, but the subtitle of the second book, How Technology, Politics, Finance, and Race Reshaped the City, indicates the incorporation of those wider contexts eschewed in the first book. Even with these topics, technology is the most prevalent, based on a quick glance at the book's contents, which include numerous construction photographs and 3D "digital reconstructions" of a lot of the buildings discussed in the book. Spanning from the Great Depression to the recessions of the 1970s and 80s, the new book contains a large diversity of architecture — from Art Deco and modernism to brutalism and postmodernism — but also enormous social changes and other aspects (migration, civil rights, oil crisis, Mayor Richard J. Daley) that make the embrace of broader contexts sensible. While any book on skyscrapers in that period would include Marina City, Bertrand Goldberg's classic city within a city completed in 1967, Leslie also includes Goldberg's Raymond Hilliard Homes, a public housing project on the South Side for seniors and families. The latter allow Leslie to compare the forms and construction of the two projects but also the opportunity to touch on racial segregation in the city. (A couple addenda: While the two books have similar covers, three-column page layouts, and graphic design features, the use of different page sizes and proportions — from 10x10" to 8.5x11" — is unfortunate and a missed opportunity for consistency on the shelf, especially if a third book in the series is forthcoming. And just as my 2021 review of the earlier Leslie book coincided with the author speaking at the Skyscraper Museum, Leslie is giving a virtual talk tomorrow night about his new book and the city's residential high-rises in concrete; the talk will be archived on the museum's YouTube channel.) ADVENTURES IN HOUSING: Cohousing in Barcelona: Designing, Building and Living for Cooperative Models edited by David Lorente, Tomoko Sakamoto, Ricardo Devesa and Marta Bugés, published by Actar Publishers and Ajuntament de Barcelona, August 2023 (Amazon / Bookshop) Housing Redux: Alternatives for NYC's Housing Projects by Nneena Lynch, James von Klemperer, Hana Kassan and Andrei Harwell, edited by Nina Rappaport and Saba Salekfard, published by Yale School of Architecture, December 2023 (Amazon / Bookshop) If life were fair, everyone would have access to decent, well-designed housing, and those projects would garner as much attention in the architectural press as the single-family houses that are commissioned by and built for the wealthy. A modicum of balance has been found in recent years, with social housing projects winning major architectural awards and gaining coverage, most notably Lacaton and Vassal's transformation of public housing projects in France and Lacol's La Borda Cooperative Housing in Barcelona. The latter is the star of Cohousing in Barcelona, which features case studies of eighteen built and ongoing projects that are the result of a partnership between the Barcelona City Council and non-profit social housing providers and housing cooperatives. Even though I was fortunate enough to visit La Borda with the architects last year, the book's thorough documentation through photographs, drawings, and lengthy commentary from the architects means I learned something new about it — and the other commendable projects in the book. If cohousing is endemic to Barcelona, what is the NYC situation? In the 20th century it was a mix of below-market subsidized housing, public housing, and middle-income cooperatives, aka Mitchell-Lama. Today, everything is lumped under "affordable housing," and it is typically created by developers as part of larger market-rate projects, with the city incentivizing the developers through zoning bonuses. One place proponents of affordable housing are looking is the open spaces of large public housing projects, in the vein of Carmel Place, a narrow stack of micro-units by nARCHITECTS built in 2016. A recent studio at Yale School of Architecture had students proposing affordable housing solutions for NYCHA's Washington Houses in East Harlem; the public housing project consists of more than a dozen towers on three superblocks that are the equivalent of seven city blocks, with open space comprising more than 85% of the site. The students developed master plans and then designed schemes ranging from reimagined brownstones to terraced housing and other ways of weaving more units between the existing buildings. It's refreshing to see architecture students tackling affordable housing in creative ways. MONOGRAPHS WITH A LITTLE SOMETHING EXTRA: Field Guide to Indoor Urbanism by MODU (Phu Hoang and Rachely Rotem), published by Hatje Cantz, October 2023 (Amazon / Bookshop) Quiet Spaces by William Smalley, published by Thames & Hudson, November 2018 (Amazon / Bookshop) These two monographs are atypical — and refreshing — in that they incorporate content from outside the work of the designers who made them, but in ways that meld seamlessly with their own work. Although MODU, the Brooklyn studio of Phu Hoang and Rachely Rotem, is so young and has built so little a monograph would seem a bit premature, their Field Guide to Indoor Urbanism is nevertheless chock full of projects, each one illustrating the multifaceted nature of their output: architecture, urban interventions, installations, and socio-economic research among it. The duo makes a statement by upending conventions, literally, by starting the book with a glossary — one where the terms and definitions clearly describe their unique points of view — and ending it with the foreword. In between are essays, projects, and a series of conversations with Japanese architects, including Fumihiko Maki, Itsuko Hasegawa, and Kengo Kuma. The last is what would be considered the outsider content, but even then the interviews were conducted by Hoang and Rotem as part of their research into Second Nature, which they define as "a dual expression of social and environmental contexts. Humans and nature as one." Quiet Spaces is an apt title for the first monograph on UK architect William Smalley, who established his eponymous practice in London in 2010. The coffee table book is full of full-bleed color photographs captured mainly by Harry Crowder but also Hélène Binet; each photographers' choice of film over digital jibes with Smalley's handling of interior spaces, which could be called, for lack of a better term, timeless. The cover photograph by Binet — of Smalley's Oxfordshire Farm, done in collaboration with James Gorst Architects — hints at this quality, but it also recalls the work of Luis Barragan. Hardly by coincidence, Oxfordshire Farm is preceded by Barragan's own house in Mexico City, one of six "quiet spaces" in the book by other architects, ranging in time from Andrea Palladio to Peter Zumthor, with Geoffrey Bawa and others in between. Smalley's way of treating his inspirations in the book with equal weight to his own work is refreshing and illuminating, revealing shared qualities but also Smalley's enduring fascination with beautiful design regardless of the who, when, or where. (The Record section of his website expresses this too.) The mix results in a monograph that is surprisingly cohesive regardless of the various voices and times, reinforcing the timeless quality of Smalley's architecture. CAPTURING AMERICA'S PAST IN PHOTOGRAPHS: Lost in America: Photographing the Last Days of our Architectural Treasures by Richard Cahan and Michael Williams, published by CityFiles Press, November 2023 (Amazon / Bookshop) Richard Nickel Dangerous Years: What He Saw and What He Wrote by Richard Cahan and Michael Williams, published by CityFiles Press, December 2015 (Amazon) Anyone with a strong interest in architecture in the United States should know and love HABS, the Historic American Buildings Survey that is maintained by the Library of Congress. The voluminous collection of photographs and drawings spanning from 1933 to the present is a great resource for, among other things, people making architecture books. Photographer Jeffrey Ladd creatively mined the survey for A Field Measure Survey of American Architecture, creating a portrait of the US through a small sampling of the hundreds of thousands of HABS photographs. Similarly, photo historians Richard Cahan and Michael Williams pulled photographs from the survey to draw attention to the buildings and bridges that America lost to decay, neglect, demolition, and destruction. One hundred notable, lesser known, and fairly generic examples are presented in four chapters: Timeless, Forgotten, Disgraced, Doomed. Even though the HABS photographs have remained remarkably consistent over its 90 years, with contemporary photographers still using large-format film (not digital) cameras, Lost in America has a notable arc to it, with famous buildings early in the book and actual scenes of demolition, as in the cover photograph, found at the end. It's hard not to feel a tinge of melancholy or even anger at the wanton destruction implied and captured by the HABS photographers in black and white — emotions tempered, or perhaps even magnified, by the information presented in captions by Cahan and Williams. Although Lost in America is available on Amazon, Bookshop, and other usual outlets, people buying it directly from CityFiles have the option of getting a limited edition with a slipcase featuring a Richard Nickel photo of Chicago’s Republic Building, a Holabird and Roche building that was erected in the first decade of the 20th century and pulled down in 1961. Nickel is one of the photographers inside Lost in America, but the photographer and preservationist is also the subject of Dangerous Years, an earlier book also by Cahan and Williams and also published by CityFiles, in 2015. Cahan had written an earlier, indispensable biography on Nickel, They All Fall Down: Richard Nickel's Struggle to Save America's Architecture (notably, that book features a self-portrait of Nickel atop the Republic Building), so it is logical that he would make another book on Nickel, one that "in his own words and with his own pictures, is his story." The coffee table book traces Nickel's brief but productive and passionate career through photographs, letters, notes, sketches, and other artifacts displayed on large 9x12" pages with black backgrounds. Like Lost in America, Dangerous Years is melancholy, not only because he gravitated to buildings that often met the wrecking ball, but because his widely known end while salvaging materials from one such building is made all the more real through letters to/from his fiancé and even notes for a missing person report made by his parents on the day he went missing. ILLUSTRATED STORIES FOR KIDS — AND GROWN-UPS: Modern New York: The Illustrated Story of Architecture in the Five Boroughs from 1920 to Present by Lukas Novotny, published by Rizzoli, September 2023 (Amazon / Bookshop) Shigeru Ban Builds a Better World by Isadoro Saturno, illustrated by Stefano Di Cristofaro, published by Tra Publishing, September 2023 (Amazon / Bookshop) A pair of illustrated books: one for children and one for grown-ups. Modern New York is Lukas Novotny's second book, following the similar Modern London published in 2018. The colorful illustrations — all of them straight-on elevations, as evidenced by the cover — give the impression that the book is yet another repackaging of famous and predominantly tall buildings in New York City: the Chrysler Building and Empire State Building are there on the cover, as are the American Radiator Building, the Pan Am (MetLife Building), AT&T, Hearst, and 432 Park Avenue. But the inclusion of Paul Rudolph's Tracey Towers in the Bronx and the presence of the Goodyear blimp and a helicopter landing on the Pan Am Building hint at a wider presentation. Novotny is actually drawn (pun intended) to buildings obscure, plain, and off the beaten path — those well beyond what's found in tourist guides. The buildings and modes of transportation, which were potentially more modern than the buildings, are presented in ten chapters: one per decade, from 1920 to present. Each is given at least 16 pages, so relatively insignificant decades (what was built in the 1940s?) reveal surprises even so-called experts, like this reviewer, weren't aware of. I wish there were more children's books about architecture, not only because they provide parents a way to educate their kids about architecture and architects at an early age, but because the subject has such a great potential for doing interesting children's books. Pop-ups! Concertina books! (I reviewed one of those.) Books by architects for their own kids! (I reviewed one of those, too.) Isadoro Saturno's children's book on Shigeru Ban gets creative with format, from its cardboard-like cover with cutout framing a portrait of the architect to the choice of matter paper, cutout-like illustrations, and smaller book on Ban's disaster-relief projects inserted into the middle of the book. By focusing on the fact Ban has made many buildings from paper, from cardboard tubes, and not all of them disaster-relief projects, the book shows kids that what they didn't think was possible is possible. The book opens their minds to the possibilities in anything, architecture or otherwise, encouraging them to think creatively and without limits. CHANGING ZURICH (AND ITS ENVIRONS): Urban Change Over Time: The Photographic Observation of Schlieren 2005–2020 Reveals How Switzerland Is Changing edited by Meret Wandeler, Ulrich Görlich and Caspar Schärer, published by Scheidegger and Spiess, October 2023 (Amazon / Bookshop) New Housing in Zurich: Typologies for a Changing Society, edited by Dominique Boudet, published by Park Books, April 2018 (Amazon / AbeBooks) Last month the Deutsches Architekturmuseum (DAM) and Frankfurt Book Fair announced the winners of the 2023 DAM Architectural Book Award: ten books, nine of them from publishers in Germany and Switzerland, six from Zurich alone, and four of the ten winners published by Park Books or its sister publisher Scheidegger & Spiess. A winner by the last is Urban Change Over Time, a two-volume book with fifteen years of photo documentation of Schlieren, a satellite town on the western fringe of Zurich. The jury praised the book for its vision and endurance: "The book’s structure derives from the topic, explores many different aspects of the theme, and yet is very careful not to waste the reader’s time." The slimmer of the two volumes has nearly 150 pages of photographs on landscape-oriented pages, with each spread showing the matching photographic documentation of one spot in town over those fifteen years. The matching of the framing in the photos is remarkable, as if dozens of tripods were cemented into place throughout the town for the fifteen-year duration of the project. In some cases the changes are in your face, in many they're subtle, and in others they're apparently non-existent. The longer volume — 480 pages in portrait format — has photographs as well, many of them larger on the page and in the context of the town's development areas or focusing on different typologies; there are also essays, interviews, and maps that aid in orienting oneself with the photos and understanding some of the development areas. The whole is a beautiful production worthy of its accolade. While I don't think New Housing in Zurich nabbed a DAM Award when it was released five years ago, this book from Park Books pairs well with Urban Change Over Time, for its equally high production values, for its geographic proximity, and for simply having the word "changing" in its subtitle. (This book, though hard to find, should also appeal to readers interested in Cohousing in Barcelona and Housing Redux, featured above.) The book presents 51 housing projects spread across Zurich, some of which I was able to visit years before when in Zurich for my work with World-Architects. The projects I visited, and most of the ones in the book, are fairly large and therefore have large sites where site planning is paramount; site plans or aerial views are then included for each of the 51 projects, as well as floor plans, photographs (or renderings), and project descriptions. What makes the projects remarkable beyond their architectural qualities is the fact they are predominantly middle-class and/or cooperatives — making the book a suitable reference for other places where there is a shortage of such housing, well-designed or not.

A review of a new book released this week: The Japanese House Since 1945 by Naomi Pollock, published by Thames & Hudson, November 2023 (Amazon / Bookshop) What makes modern and contemporary Japanese houses so appealing? Much of it stems from the novelty of residential designs, which can be traced to a litany of factors, including a cultural acceptance of demolition and renewal that creates a constant stream of new architecture; a litany of legal requirements pushing architects — both young and established — to be formally creative; and let's not leave out the clients willing to take risks. Most of the houses that spark jealousy in architects outside of Japan are found in Tokyo and other urban areas where money, zoning, and architects converge to fuel unexpected creations. One factor, the country's exorbitant inheritance tax, leads many families to cut up their properties into smaller parcels to pay for the tax; the resulting, awkward pieces of land then require architects to squeeze a house into a wrapper defined by fire-safety requirements, sunshine laws, and practical concerns like a parking space. Such is the case today, but distinctive single-family houses in and beyond Tokyo have been prevalent since the end of World War II, when architects took part in the necessary postwar rebuilding that was buoyed by prosperity in the ensuing decades. Naomi Pollock's excellent The Japanese House Since 1945 traces the evolution of single-family houses across eight decades, focusing as much on the people who live(d) in the houses than the architects who designed them. The book is structured as a chronological, decade-by-decade presentation of nearly one hundred houses across 400 pages. Each house is documented in two to five pages with photographs, drawings, and a brief description. The photographs are of their period, rather than contemporary, probably done because most of the old houses have long been demolished. The floor plans are also original, rather than redrawn for the book, but they use a helpful numbered key that is consistent across the book. Last, and perhaps most important, are Pollock's descriptions, which incorporate quotes from the architects and/or the owners and provide details on the designs and living situations beyond typical surveys. Pollock has written numerous books on Japanese architecture, is an international correspondent for Architectural Record, and has elsewhere brought her firsthand accounts and access to architects in Japan to bear on architecture that many people outside of Japan are fascinated by. Compared to books such as New Architecture in Japan, co-written with Yuki Sumner, and Jutaku: Japanese Houses (see bottom of this review), The Japanese House Since 1945 is her most important and best book to date. Although the Japanese houses that are the subject of Pollock's new book are billed as, per the back cover, "many of the most exceptional and experimental houses in the world," it starts with houses that are more traditional than modern. Kunio Maekawa's own house in Tokyo, completed in 1942, has a wood exterior that "evoked traditional Japanese farmhouses," Pollock writes, but has a "spacious living room, exemplifying Maekawa's vision of the ideal house for the burgeoning modern era." Maekawa worked in the Paris atelier of Le Corbusier, later joining Antonin and Noémi Raymond in Tokyo, two foreign architects who moved to Japan after World War I (Antonin worked with Frank Lloyd Wright on the Imperial Hotel). The couple left Japan ahead of WWII but returned after its conclusion, building a house and studio (above spread) in Tokyo that is also rooted in traditional Japanese architecture but subtly signals this "burgeoning modern era." These two instances illustrate how outside influences entered Japan after the war, with tradition and modernity mixing in ways that would eventually lead to the exceptional architectural experimentation the country is known for. The chronological, decade-by-decade presentation allows the evolution of Japanese residential architecture to unfold gradually and be seen in the context of the 1964 Olympics, Expo 1970 in Osaka, the end of the bubble era, the March 2011 earthquake, COVID-19, and other epoch-defining events that are described by Pollock in intros to each decade. Readers see the introduction of concrete, steel, and other materials in the 1960s and 70s, followed by the light construction of the 80s and 90s, and the formal experimentation of our current century. Each decade has at least one icon — Kiyonori Kikutake's Sky House in the 50s, Kazuo Shinohara's Umbrella House in the 60s, Tadao Ando's Row House in Sumiyoshi in the 70s, etc. — but most readers will find something new among the 98 houses. Even those well-versed in modern Japanese houses will be pleased by the nine "At Home" pieces inserted throughout the book. In these, we learn about Yuki Kikutake, daughter of Kiyonori, growing up in Sky House; Fumihiko Maki writes about his own house built in Tokyo in 1978; and we read about the anonymous husband and wife living in Sou Fujimoto's House NA. A last ingredient is nine spotlights — one at the end of each chapter — that discuss the articulation of various elements: roofs, windows, stairs and corridors, gardens and courtyards, etc. The brief case studies, "At Home" features, and spotlights combine to create a compelling and vivid portrait of modern living in Japan over the last eight decades. Naomi Pollock's latest book prompted me to dig out a few other titles from my library that also present Japanese houses. They are described briefly below, presented in chronological order by date of publication, and are intended for anyone who wants do delve deeper into some of the decades or architects explored in Pollock's book; titles with links point to earlier reviews on this blog. Readers who want a more comprehensive overview of early modern Japanese architecture (not just houses) should find David B. Stewart's The Making of a Modern Japanese Architecture rewarding. The New Japanese House: Ritual and Anti-Ritual, Patterns of Dwelling by Chris Fawcett, published by Harper & Row, 1980 (Amazon / AbeBooks) The push and pull between tradition and modernity is the subject of this book by Chris Fawcett, the British critic who wanted to undo misconceptions in the West about Japanese houses. He focused on "Post-Metabolist" architecture, houses from the late 1960s and the 1970s that he presented as "ritual affirming" and "ritual disaffirming" houses. It's an intriguing book, but not one that seems to have had much of an influence all these years later; I wonder if Fawcett would have gone on to make more lasting and impactful books on Japanese architecture if he didn't die young. The New Japanese House can be bought inexpensively online, but harder to find is GA Houses 4: Ontology of House, Residential Architecture of 1970s in Japan, which features an essay by Fawcett and dozens of houses from that decade. Japan Houses in Ferroconcrete by Makoto Uyeda, photography by Junichi Shimomura, published by Graphic-Sha, 1988 (Amazon / AbeBooks) This book features 35 houses designed by 21 architects, all united by the use of concrete, varying from small applications, such as alongside wood, steel, and other materials, to expansive houses in reinforced concrete by the likes of Tadao Ando. Although dates are not provided for the houses, most are from the 1980s with some from the previous decade. One of the most rewarding aspects of this book, which I was chuffed to discover while browsing a used bookstore, is the fact all of the photographs — and there are A LOT of them — were specially taken for the book; they go much deeper inside the houses than the "official" photographs found in monographs and other publications. Tadao Ando 1: Houses and Housing, published by Toto, 2007 (Amazon / AbeBooks) 2G N.58/59: Kazuo Shinohara Houses edited by David B. Stewart, Shin-Ichi Okuyama and Taishin Shiozaki, published by Editorial Gustavo Gili, 2011 (Amazon / AbeBooks) One thing I find appealing about architecture in Japan is the way many famous architects there continue to design single-family houses even after getting hired for museums, office buildings, and other larger projects; houses are not merely a leg up to bigger commissions. In turn, monographs on architects' houses can occasionally be found. A couple favorites of mine are the first book in Toto's now-five-strong series on Tadao Ando (Houses and Housing was followed by Outside Japan, Inside Japan, New Endeavors, and Dialogues) and a double issue of 2G devoted to the houses of Kazuo Shinohara built between 1959 and 1988. In addition to them including some of the best modern Japanese houses ever built, the two publications are beautifully produced. Small Houses: Contemporary Japanese Dwellings by Claudia Hildner, published by Birkhäuser, 2011 (Amazon / AbeBooks) Another appealing aspect of Japanese houses is their size. Even though the petit houses prevalent in Japan can be attributed to the country's population density, the breaking up parcels to pay for inheritance taxes, as mentioned above, and other considerations that aren't necessarily geared to the sustainability of living small, it's refreshing to see so much creativity put into small houses rather than the oversized houses that are the norm in the US. This appropriately small book is a good collection of around two-dozen small houses by Go Hasegawa, Atelier Bow-Wow, Sou Fujimoto, and others, all of them completed within the few years leading up to the book's publication. The years since have seen many more creative Japanese houses but fewer house books for readers outside of Japan; websites are now the norm, but I'd be more than happy with more books like Small Houses. How to Make a Japanese House by Cathelijne Nuijsink, published by NAi Publishers, 2012 (Amazon / Bookshop) Astute readers may have noticed that most of the books featured in this post were authored by foreigners (Pollock from the US, Fawcett from the UK, Hildner from Germany, Nuijsink from The Netherlands), which goes hand in hand with the strong appeal Japanese houses have on people outside of Japan. I can't imagine a book titled "How to Make a Japanese House" coming from a Japanese architect; they would not need to explain the work they do on a daily basis to fellow Japanese architects doing the same. For Cathelijne Nuijsink, the premise of the book allowed her to explore the making of Japanese houses through in-depth interviews with four generations of their creators: Jun Aoki, Kazuyo Sejima, Junya Ishigami, and so on. It's an excellent book that remains in print a decade later. Jutaku: Japanese Houses by Naomi Pollock, published by Phaidon, 2015 (Amazon / Bookshop) Appropriately, this review of Naomi Pollock's The Japanese House Since 1945 ends with another book by Pollock: a compact Phaidon picture book with more than 400 contemporary Japanese houses, from Hokkaido in the snowy north to Kyushu in the subtropical south. Not surprisingly, most of the houses are found in Kanto Prefecture, which is anchored by Tokyo. It's a stellar collection that suffers from too much in a small package: there is only one photo per house, an exterior photo that shows readers what anyone would be able to see in public, just hinting at the qualities within. Two photos per house — one outside, one inside — could have been done with a slightly larger paper size. Alas, the book proves the creativity in Japanese residential architecture but leaves us wanting more — much more.

The recent publication of two books prompted me to ponder the future of cities and do a write-up of them together: Implementing Urban Design: Green, Civic, and Community Strategies by Jonathan Barnett, published by Routledge, June 2023 (Amazon / Bookshop) Renewing the Dream: The Mobility Revolution and the Future of Los Angeles edited by James Sanders, published by Rizzoli Electa, September 2023 (Amazon / Bookshop) Implementing Urban Design is the latest of many books about urban design and planning by Jonathan Barnett, whose career and CV span around fifty years. Over that time he has served as an architect, planner, educator, and an advisor to cities in and beyond the US, including Charleston, South Carolina, Omaha, and New York City, where he was Director of Urban Design in the Department of City Planning. When I received Implementing Urban Design, one of the first things I did was scour my bookshelves for other books by Barnett (something I do with most other reviews). There I found his first book, Urban Design as Public Policy: Practical Methods for Improving Cities, published in 1974. It, his first book, summarized his efforts in that role at NYC Planning, presenting the working methods behind the projects he worked on and doing it in ways that other urban designers in other places could learn from them. Just as Barnett's first book was "concerned with techniques of dealing with a number of significant urban and environmental problems which are found in existing cities, or are created when new areas are developed," his latest book focuses on the "complicated interactive process" that is required to move urban designs from their conceptual phases to completion. "What happens in between," in other words, is the subject of Implementing Urban Design, illustrated in ten chapters with case studies drawn from Barnett's experience as an urban design consultant. New York City is here, in chapter 3, "Designing Cities Without Designing Buildings," an echo of a chapter of the same name in the 1974 book. The chapter in the earlier book includes, among other projects, the Lincoln Square Special Zoning District, created in the wake of construction of Lincoln Center for the Performing Arts and developers rushing to build near it. A requirement to build to the sidewalk (to a height of at least 85') and including arcades for the buildings on the east side of Broadway were the most dramatic components of the special district. Too early to see its impact in 1974, Implementing Urban Design shows the area nearly fifty years later, with a hodgepodge of towers on podiums along Broadway but a street wall that is fairly cohesive. Although the arcade requirement was eventually eliminated from the special district (they're now "permitted" rather than required, such that recent projects like Robert A. M. Stern's 15 Central Park West don't have one), the bulk of the requirements are there, working to maintain that certain design aspects of Broadway north of Columbus Circle extend into the future. The same chapter in the new book also touches on the office campus of PPG in Pittsburgh and a streetscape handbook for Norfolk, Virginia, but other chapters often delve deeper into individual projects in individual cities. For example, chapter nine, "Mobilizing Support to Redesign an Entire City," presents Barnett's process in the fairly massive creation of a master plan for Omaha, Nebraska (the cover depicts a visualization from the plan). Another chapter, "Changing Regulations to Prevent Suburban Sprawl," documents his work with Wildwood, a town west of St. Louis that incorporated in 1995 and wanted to develop a new zoning ordinance that would be appropriate to the area and veer from the suburban norm. My wife being from St. Louis, a city I've in turn visited numerous times, attracted me to this chapter, whose theme — preventing urban sprawl — is of undeniable importance. Barnett walks through the process in detail, from initial contact and developing a team, to research, concepts, writing the master plan and development regulations, and devising a specific plan for the Town Center. The last is now just partially built out, about 25 years after Barnett was brought in. But if we learned anything from the Lincoln Square example, urban designs can take upwards of fifty years until they are "complete." Spread from Renewing the Dream: The Mobility Revolution and the Future of Los Angeles If the visuals in Implementing Urban Design are, to put it inelegantly, less than sexy, the opposite is true of Renewing the Dream, which was edited by James Sanders, author of Celluloid Skyline, and produced in association with Woods Bagot, the Australian firm that now boasts 17 offices around the world. The "freshest member" of the global studio, founded in 2020, is in Los Angeles, where numerous projects to date have focused on transportation, including a concourse at LAX and a proposal for turning gas stations in Los Angeles into EV charging stations with cultural components like drive-in theaters. This beautifully produced coffee table book is full of striking visuals by Woods Bagot and from the worlds of art, photography, and cinema. Even though Renewing the Dream presents a number of projects by the LA studio of Woods Bagot, including the ReCharge LA Prototype EV Station, I wouldn't call the book a monograph. Consisting of a half-dozen essays and two interviews alongside case studies of Woods Bagot projects — all geared around the theme of the "mobility revolution" in Los Angeles — the book's genre is indefinable: it is a hybrid that Sanders describes in the introduction as a "kaleidoscopic portrait" of LA, with "an unusually wide-ranging mix of content—research and data studies, urban design and public art projects, cultural and historical overviews, surveys of current and future technologies." ReCharge LA Prototype EV Station by Matt Ducharme and Woods Bagot Los Angeles Studio The book's wide-ranging content is predicated on what Sanders and Woods Bagot call LA 3.0, a new Los Angeles in the making, following LA 2.0, the freeway and tract-housing landscape of the mid-20th century, and, before that, LA 1.0, the streetcar and boulevard paradigm before WWII. Some of the in-progress LA 3.0 is mandated — extending the subway by 2028, the year of the LA Olympics, and the outlaw of gas cars and trucks for sale by 2035, accelerating the rise of EVs — but much of it comes from wider developments that aren't necessarily rooted in LA but have taken hold there, notably the climate emergency (think the Getty Fire in 2019) and digital technologies like Uber, which eliminate the need for personal cars on, for instance, nights out with friends. Los Angeles may seem like the most unlikely place for a book devoted to a mobility revolution, but my personal experience with LA gave me the opposite impression. My only trip to the city was around twenty years ago, when I spent two weeks there working on a competition with a short deadline. I stayed at the Biltmore in downtown, with a view of Pershing Square out my window. My morning commute was walking across the street to U.S. Bank Tower; my evening commute, 12 or 16 hours later, was the opposite. No car, no driving — a very un-LA experience of LA. But on weekends I walked around DTLA, took buses to the Getty Center and Santa Monica, and rode the subway to West Hollywood. Although I was a tourist, my experience showed me it was possible to navigate a good deal of LA without a car. An expanded subway network, more frequent buses, urban design focused on walkability and bicycling — it isn't hard to consider these and other efforts having dramatic changes on the car-centric nature of Los Angeles. Yet, the wide-ranging mix of content in Renewing the Dream reveals that the biggest impact of mobility advances on the city — any American city, really, not just LA — is found in parking. If changes in laws, increased public transit, technology advances, and other things lead Americans and Angelenos to have fewer cars, drive less, and use ride-sharing and take public transit more, then the many square miles of surface parking lots can be given over to spaces for people, not cars: densifying (sub)urban areas and providing housing and other much-needed functions. So, in addition to the ReCharge LA project, the book includes MORE LA, Woods Bagot's study for infilling lots previously used for surface parking, and Sanders' own California Court project, a denser version of the city's beloved bungalow courtyards apartments from a century ago. The last, documented in the 1982 book Courtyard Housing in Los Angeles, is one of a few-dozen books in the bibliography whose quotes and influence pepper Renewing the Dream. The older book and newer proposal illustrate that, while certain elements of the mobility revolution are linear and future-oriented, some of them are historical and cyclical. The answers to tomorrow's sustainable Los Angeles, in other words, are found as much in the city's existing built environment as they are in technologies and designs still to come.

In 1939, Otto Neurath's Modern Man in the Making was released by Alfred A. Knopf. Neurath was director of the International Foundation of Visual Information and used the Isotype (International System of Typographic Picture Education) system to "teach through the eye." A recent article describes Modern Man in the Making as a "pictorial statistical history of human technological adaptation and social cooperation [that] addressed a modern audience searching for optimistic narratives amid an economically, politically, and socially volatile era." The book is a classic, and for someone like me who veers toward arguments made in a combination of words and images, it is a book I should probably have — at the very least, I should know more about it. Although it was released as a trade book, can be found cheaply in b/w reprints, and is freely available on the Internet Archive, first editions of Modern Man in the Making go for hundreds and thousands of dollars. This is one of those books that screams out for a high-quality facsimile edition — and it will be getting that treatment early next year, courtesy of Lars Müller Publishers. The timing is curious, though, as Lars Müller just released Joy and Fear, in which Theo Deutinger brings the subjects and visual techniques of Neurath's magnum opus into the 21st century. Although Deutinger writes that his book "enters in dialogue" with Neurath's book, I couldn't help thinking that the two books side by side would heighten the differences and similarities, the constants and changes between the 1930s and the 2020s. Alas, I'll have to wait until February to do that. Joy and Fear is not the first book by Theo Deutinger published by Lars Müller. That was Handbook of Tyranny, which was published in 2018 and was recently released in an updated, expanded edition. I didn't see it upon its initial release, though I did catch Deutinger's display of the book's illustrations — the walls, fences, and other means of controlling human behavior in cities — in actual objects: plants, railings, barbed wire, a prison jumpsuit and other pieces of the "routine cruelties of the twenty-first century" at the Storefront for Art and Architecture. That 2019 exhibition prompted me to get the book and then write a review: "The straightforward illustrations look like they could have been pulled from Architectural Graphic Standards, making the book read at times like an actual handbook for tyrannical dictators." Deutinger's "detailed non-fictional graphic illustrations," as described by the publisher, also owe a debt to Neurath, as evinced by the publication of Joy and Fear. People who already own the first edition of Handbook of Tyranny won't find it necessary to buy the update, given that the changes amount to just eight new pages and consist mainly of some new paragraphs here and there, and the reordering of charts and graphics to reflect the state of the world five years later. Still, I appreciated the fact Deutinger went to the effort of an update, doing something that was de rigueur in books decades ago but is now rare, almost exclusively the province of the internet, which can be updated in close to real time. But Deutinger's illustrations — almost subversive in their dryness — are appropriate to the pages of a book; I feel like they would lose something on the screen, even though the changes impacting his illustrations happen at a clip much faster than in half-decade intervals. Spread from Handbook of Tyranny (Expanded Edition) by Theo Deutinger, published by Lars Múller Publishers, June 2023 (Amazon / Bookshop) In between Handbook of Tyranny and Joy and Fear, Deutinger and Lars Müller put out Ultimate Atlas: Logbook of Spaceship Earth, a book that uses lines — and nothing else — "to create a total portrait of the planet." No wonder one review calls it "the ultimate simplification of reality." I haven't seen that book, but visually it seems that Joy and Fear strikes a balance between the highly detailed illustrations of Tyranny and the minimalism of Ultimate Atlas, as if Neurath's Isotype cannot be improved upon in describing the state of the world over time. As described above, Deutinger's book "dialogues" with Neurath's nearly century-old book. It does this by extending the timeline to the present and adjusting some data visualization from the original; the latter updates are highlighted with the icon of a person holding up a sign. What does the book reveal about the modern world? Clearly, yet unfortunately and not surprisingly, that progress is being made by the few, not the many: geographically, demographically, politically, economically, etc. Spread from Joy and Fear: An Illustrated Report on Modernity by Theo Deutinger, published by Lars Múller Publishers, September 2023 (Amazon / Bookshop) The spread above can serve to illustrate how the book works. The red, blue, and black chart on the left shows household ownership of amenities in the USA, from 1910 to 2020, including such items as computers, phones, wifi, telephones (cell and landline separately), toilets, and electricity. Most of the amenities are full as of 2020, though only one — landline telephones — is in decline. Though the same chart for other geographical areas would be telling, the opposite page shows an update version of data viz. from Neurath's 1939 book: radios, TVs, and cars in the 1930s (top) and 2020s (bottom) in the six geographical regions used throughout Deutinger's book (USA and Canada, Europe, CIS, Latin America, Southern Territories, Far East). Although the scales change between the two charts, it's clear that the regions in the bottom rows (Latin America, Southern Territories, Far East) have become more modern in recent decades. But it's up to the reader to speculate on what so many cars mean, for instance, to our warming planet. Visualizing how the continued burning of fossil flues will impact our warming planet is one subject of Climate Inheritance, the latest book from Design Earth, the brilliantly inventive studio of Rania Ghosn and El Hadi Jazairy that previously wrote and illustrated Geographies of Trash (2015), Geostories: Another Architecture for the Environment (2018), and The Planet After Geoengineering (2021). The cover features one of the many beautiful illustrations populating the book: a diagram of aquifers refilled by injecting storm water into "bladders" that serve to raise the sinking city of Venice. Venice and its Lagoon is one of ten sites in the book, each one on the UNESCO World Heritage List. Others include the Galápagos Islands, Sagarmatha National Park, and the Statue of Liberty. What is the future of such places — heritage sites that are already preserved to a greater extent than other places — when the Anthropocene leads to inherited conditions future generations may not anticipate? Spread from Climate Inheritance by Rania Ghosn and El Hadi Jazairy (DESIGN EARTH), published by Actar Publishers, August 2023 (Amazon / Bookshop) By way of illustration, the chapter on the Statue of Liberty indicates that Design Earth is not interested exclusively on the preservation and care of monuments, of places deemed heritage sites; what they symbolize is also important, revealing that inheritances involve myriad problems beyond the environmental and physical. To Ghosn and Jazairy, the statue gifted to the USA from France is about patina, poverty, and pollution: "The ecology of the color line is more than skin deep." Pollution led to damage on the skin of the statue and the need for numerous restorations, but well beyond that, "disparate exposure to pollutants," the book reads in regards to today's reframing of socioeconomic inequalities, "may help explain racial discrepancies in lung functioning." In Design Earth's imagined future, the Statue of Liberty appears to be joined by a "Brown Lady Liberty," the symbol of "a long awaited but not yet actualized freedom that was articulated over a century and a half ago." One more book that joins with the other three to be — in my mind, at least — an illustration of how images are effective in describing the world and the way it changes over time is Stephen J. Eskilson's Digital Design: A History. Eskilson's book, unlike the other three, does not use newly created images to create a narrative, but the story that he is telling is about images: design in its various aspects, from graphic and industrial design to architecture and data visualization. It's a history that needs to be told, especially since people now born into the digital world don't realize how developments in design from the 20th and even earlier centuries shaped our digital present — and likewise will shape our digital futures. Architecture is the subject of two chapters: "Digital Architecture I: Origins" and "Digital Architecture II: Parametrics and 3D Printing." (The latest buzz in architecture — and just about every realm, really — AI, is treated in its own chapter.) In the first architecture chapter, Eskilson moves from the Sydney Opera House, in which "[Ove] Arup pioneered the use of computational analysis," to Peter Cook and Colin Fournier's Kunsthaus Graz via Frank Gehry in Bilbao, Deleuze and Guattari's A Thousand Plateaus, and Greg Lynn. The second chapter jumps ahead to Zaha Hadid and Patrik Schumacher, especially the latter's wholehearted, sometimes controversial embrace of parametricism, while also looking at how digital software bridges construction via 3D printing and robotics. This is design history, remember, so there is nothing novel in what Eskilson discusses, but he succinctly traces some of the most important developments to describe our current condition. (Unfortunately, one typo — and I hope it's just that — distracted me while reading the first architecture chapter: Eskilson calls AD, the "magazine that associated digital architecture with aspects of structuralist theory," Architectural Digest instead of Architectural Design! I can't think of more polar opposites than these two publications sharing the first term and abbreviation but having very little else in common.) Spread from Digital Design: A History by Stephen Eskilson, published by Princeton University Press, October 2023 (Amazon / Bookshop) Even with two architecture chapters among its twelve chapters, most interesting to me is the chapter devoted to data visualization, a subject that is also strongly aligned with Neurath and Deutinger. Like other chapters in the book, Eskilson briskly covers decades and centuries in just around twenty pages, moving from 18th-century charts and graphs to digital data on websites, across buildings, and on the walls of galleries. Some of what makes this chapter so appealing is the abundance of examples unknown to me, such as Nam June Paik's Electronic Superhighway (1995), which is pictured above, has a permanent home at the Smithsonian American Art Museum, and now I feel I must go see. (That said, I wish the book had a list of books for further reading, and I am surprised that a book published by a university press has no footnotes at all.) More recent examples are really interesting, including Oliver O'Brien's Tube Tongues (2014), an interactive map that shows the prevalence of non-English speaking in different London neighborhoods. Rising to the fore re: data viz., though, is the importance of design/the designer in making data in digital environments visible and understandable, especially when the output is on a website and via an API, for instance, rather than in a book and done by an illustrator. The books above may be old-fashioned, just by the fact they are books rather than digital environments, but they offer plenty to consider in regards to thinking about and visualizing the world around us — now and in the future.

Over at World-Architects I reviewed As Found: Experiments in Preservation (Flanders Architecture Institute, 2023) edited by Sofie De Caigny, Hülya Ertas and Bie Plevoets, the companion to the exhibition of the same name at the Flanders Architecture Institute. Read my review here.

The recent receipt of two review books got me thinking about the past and the future of architecture books. The first one is This is Architecture: Writing on Buildings, a collection of excerpted texts about buildings, spanning from the mid-1800s to the 2010s. This is Architecture: Writing on Buildings edited by Stephen Bayley and Robert Bargery, published by Unicorn Publishing Group, October 2022 (Amazon / Bookshop) Edited by Stephen Bayley and Robert Bargery, respectively chair and executive director of the UK's Royal Fine Art Commission Trust, This Is Architecture is billed as "different" from the typical "writing on building by architects [that] is limited to exculpatory manifestos or technical sermonizing to a captive congregation of converts." They describe the nearly 100 excerpted texts as "exceptional examples of writing on buildings by writers which merit inclusion on the quality of the writing alone" (emphasis in original). So readers find Lewis Mumford, Ada Louise Huxtable, Ian Nairn, Martin Pawley, and others who wrote (well) about architecture for a living, but also Virginia Woolf, Umberto Eco, Jean Baudrillard, Blaise Cendrars, and others far removed from the field of architecture. The aims of the "non-partisan" and "non-didactic" selection are to "enhance popular appreciation of architecture and to celebrate those who are architecture's eloquent champions." Presented in a "running order [that] is essentially random," each writing is accompanied by a biography of the author in a narrow column; in a few cases the excerpt is so short the bio runs longer on the page, as in the four lines from Louis Kahn's Conversations with Students from 1969. As in any book that is basically a survey, a collection of things united by a theme, it's easiest as a reviewer to focus on organization, presentation, and selection. In order, I find the "essentially random" organization interesting at times (Kahn's text opposite Rem Koolhaas's Delirious New York, for instance) but for the most part insignificant, since many entries span multiple pages, each one serves as a self-contained statement, and such a book can be read in many ways beyond the usual front to back. The presentation is very good, from the glossy papers with occasional images to the inclusion of a ribbon bookmark and the list of sources in the back matter. The selection is fittingly UK-centric, with numerous English critics alongside Nairn and Pawley, for instance, and far too many writings about London and buildings in London. But where are Michael Sorkin and Herbert Muschamp, two US critics who I read for "the thrill of their prose" and "the stimulation to be had from their insights," qualities the editors find lacking in architectural criticism? Unfortunately, they are missing: a shame, given that Muschamp's nearly iconic critique of Frank Gehry's Guggenheim Bilbao is far more interesting than Jonathan Glancey's piece excerpted here. Judging the book based on what it includes, rather than what it omits, and doing so in the context of me thinking about the past and future of architecture books, This Is Architecture says a few main things to me: writings on buildings are not the sole purview of architects and architecture critics, since architecture is "the most important art because [it is] the one that cannot be ignored," as the editors assert; architecture is more than aesthetics and style, as evidenced by the texts that focus on other aspects of the built environment; and the most influential writings on architecture have not been exclusively in books, given the numerous texts excerpted from magazines and journals, some of which were later collected in book form (think Martin Filler's NYRB essays and his Makers of Modern Architecture series). These three points are hardly groundbreaking — they're obvious, really — but it's good to be reminded now and again about such things. While the point of This Is Architecture is to take pleasure in things written in the past, it inadvertently says some things about the future by focusing on a diversity of voices, approaches to writing about architecture, and media. Which brings us to the second book, Future Book(s), in which editors Pia Pol and Astrid Vorstermans asked journalists, artists, architects, and others to speculate on the future of the book, specifically "books on art, design and architecture, and cultural-critical publications." Future Book(s): Sharing Ideas on Books and (Art) Publishing edited by Pia Pol and Astrid Vorstermans, published by Valiz, June 2023 (Amazon / Bookshop) The occasion of the recently published book is the twentieth anniversary of Valiz, the Amsterdam publisher started by Vorstermans in June 2003 (Pol joined in 2008). The last twenty pages of Future Book(s) shows the covers of the many books put out by Valiz over those twenty years, some in series (Antennae, Vis–à–Vis), many in Dutch and almost as many in English, and all on art, design and architecture, and culture, as expected. I have not read any Valiz books before Future Book(s) (one of their books, Binational Urbanism: On the Road to Paradise, was featured on this blog, but reviewed by an outside contributor), but it's clear the publisher focuses on the margins, presenting work by artists, practitioners, and academics that explore new territory in their fields. The design of Future Book(s) accentuates their position; in many ways the book is the antithesis of This Is Architecture, from the voices included in its pages to the materiality and layout of the same: the glossy This Is Architecture has a staid, consistent format from piece to piece, while the various chapters of Future Book(s) were laid out by different graphic designers, limited only by the monochrome palette of the lightweight matte paper. If This Is Architecture's random order makes flipping through the book one of surprising adjacencies, Future Book(s) is the same times ten. Each thematic chapter may be united by a single graphic designer, but each contribution is treated singularly, meaning they are visually unique but often wholly unexpected takes on the subject at hand. A fairly academic text with footnotes but sans illustrations may be followed by a two-page spread that is entirely illustrated content, followed by six pages of artworks, followed by a personal anecdote, and so on. The themes that structure the book (Personal Threads, Histories Unfolding, Digital Realms, Shaping Future Form, etc.) are vague enough that contributions could fit in just about any of them; in fact, the editors admit the dozen themes were came later, meaning the contributors were not beholden to any themes in speculating on future books. Still, the editors give some hints in their introduction: "By definition, books are made for the future. They solidify knowledge while at the same time generating new ideas. They make sure that the now finds a place where it is accessible to the future." While the comments of Vorstermans and Pol make it seem that threats to the future of the book are hyperbolic, there is no shortage of contributors imagining distant futures where books take on forms different than the bound books we are familiar with. Books 200 years in the future, as seen in Elisabeth Klement and Pieter Verbeke's contribution, look like books, but they are made underwater, celebrated at the New York Art Book Fair Under Water 2223, and read by dogs, who have evolved considerably in the ensuing two centuries. In Tricia Treacy's piece, "What If?," shortages of paper are addressed through algorithms that "design and print several different texts of interest, overlapping on individual sheets of paper throughout a custom book..." More than one contribution examines how AI will be involved in the making of books, but nobody denies that ChatGPT and other will be involved to some degree. Uniting the texts, as I mentioned, are the nearly dozen designers, whose treatment of the contributions illustrates the importance of graphic design and the inadequate nature of web pages and other digital media by comparison. My reading through of This is Architecture and Future Book(s) coincided with me visiting The Book in the Age of ... exhibition at Harvard GSD's Loeb Library, which I reviewed for World-Architects a couple of weeks ago. Curated by Rem Koolhaas, Irma Boom, and Phillip Denny, among other elements the exhibition had (it ended yesterday after six weeks) a large three-part "book" on a table near the entrance to the library. Across the three parts, it moved from books in the age of "the hand" to the age of "press" to the age of "machine." One page in the last included this statement relevant to the blog post you're reading: "The future book is local. It is made from locally produced materials, printed nearby, and delivered to homegrown readership. Hyper-local publishing will lead to a renaissance of book innovation." Positioned beneath an image of the cover of Elements of Architecture, the massive book by Rem Koolhaas and Irma Boom that came out of Koolhaas's 2014 Venice Architecture Biennale, but not attributed to anyone, the statement (image above) comes across to me as Boom's, given how she has spoken about the appeal of books from the 1500s, the 1600s, and the 1960s: "periods [that] demonstrate freedom and creativity in the use of materials, typography, sizes of the books, and structure of the texts" (source). An example from the 1960s is Art of the Sixties, published by the Wallraf-Richartz Museum with plastic covers, a plexiglass spine, metal screws, color photos pasted on brown paper, and portraits of the artists on transparent foils (take a look). The 1500s and 1600s follow the invention of the Gutenberg press, while the sixties came after the war and coincided with great social change. Similarly, the digital software and other tools that led to e-ink, ebooks, and other potential book-busting technologies will most likely herald this "renaissance of book innovation." The statement from the exhibition also indicates that bookmaking will have to respond to climate change, dwindling resources, and other things that will (continue to) impact our globalized world. Books tend to be produced in one place (unknown for This Is Architecture, Netherlands for Future Book(s)) and then are shipped around the world from there; "hyper-local publishing" would reduce the need for books to be loaded on container ships and sent halfway around the world, using digital technologies and local printers to create variations on a book based on papers, inks, bindings, etc. It would also lead to more variations on subjects, as seen in these two books, considering the UK-centric nature of This Is Architecture and the numerous Dutch voices in Future Book(s). Actually, the UK- and NL-focus of these two books are what made me think of the statement from The Book in the Age of ... exhibition. If the future book is hyper-local, not just national or local, dramatic changes in production and distribution should lead to changes in content and design. Who knows, maybe the 2030s will be as exciting as the 1500s, 1600s, and 1960s?

Sir Edwin Landseer Lutyens, the English architect who was born in 1869 and died in 1944, that is. Although a famous name, Lutyens was not an architect I had much familiarity with before I received a review copy of the first volume of The Architecture of Sir Edwin Lutyens. Flipping through it prompted me to do a little digging on Lutyens in other publications. Racking my brain, it seems my classmates and I learned very little about him in architecture school a few decades ago. As a traditionalist with buildings in Arts and Crafts, Edwardian, and neoclassical garb, Lutyens was far removed from the concerns of postmodernism, deconstructivism, and any other –isms in vogue a half-century after his death. If we had heard his name, it was most likely in regards to what's referred to as Lutyens’ Delhi in New Delhi, the British colonial capital in India that he laid out and designed buildings for between 1912 and 1931. The Beaux-Arts plan culminated in the Viceroy's House (now Rashtrapati Bhavan), the grandiose domed presidential residence, inaugurated in 1931, that is arguably his greatest building. Yet, when I dig into my library to find some mention of Lutyens, the few titles I can find emphasize his country houses rather than his work in India. The trusty Encyclopedia of 20th-Century Architecture (2004), for instance, devotes one short paragraph to New Delhi, it coming after a handful of paragraphs listing his many notable country houses. In her entry on Lutyens, Hilary J. Grainger calls him "one of the most noteworthy English architects of his generation," one who was "above all, a domestic architect." In another instance, the first US edition of Nikolaus Pevsner's A Dictionary of Architecture (1976) praises the "genuine monumentality" of the Viceroy's House but goes further in describing his early Arts and Crafts houses as "excellent" and his later Edwardian houses as "really spectacular." Although Lutyens is nowhere to be found in Pevsner's An Outline of European Architecture (1943) or in his influential genealogical history of modernism, Pioneers of Modern Design (1949; originally published as Pioneers of the Modern Movement in 1936), Pevsner did write a lengthy reassessment of Lutyens for Architectural Review in 1951. The occasion was the then-recent publication of the three-volume The Architecture of Sir Edwin Lutyens by A.S.G. Butler and The Life of Sir Edwin Lutyens by Christopher Hussey. Pevsner admits he did not find Lutyens as important in the development of European architecture as C.F.A. Voysey and Charles Renee Mackintosh, two contemporaries both in Pioneers, but given that Lutyens built more than them and his "success was so much bigger and maintained over so much longer a period," Pevsner found the large three-volume monograph and 600-page biography sufficiently warranted. What stands out to me are how Pevsner praises Lutyens' "immense care over details," which is paralleled by the many exquisite detail drawings in the three volumes by Butler, and "the fun he had with space," a bit of a surprise given the traditional nature of the plans he developed. Pevsner's statement that "Lutyens’ handling of space has not in the past been sufficiently appreciated," says to me why this noteworthy English architect failed to impact the architects who overlapped with him chronologically but went down different avenues in the 20th century: with modernism's focus on space, especially open and flowing space, Lutyens offered little overt inspiration. Similar sentiments to Pevsner's are explored in Architectural Monographs No. 6, published by Andreas Papadakis in 1979. The foreword to the monograph edited by David Dunster and featuring a lengthy essay by Peter Inskip starts: "This issue of Architectural Monographs is something of a departure" from previous issues, among them Michael Graves and Alvar Aalto, because Lutyens "has never been canonized by architectural historians as a predecessor of the Modern Movement." It continues: "His vast output of over 300 buildings and projects shows a continuing fascination with traditional construction techniques and borrowing from the past," as evident in "the scale and detailing of the functionally distinct rooms." No new technologies and no open plans — no wonder Lutyens has remained influential with classically trained architects but not with modernists (not that there are just the two camps, of course). While Inskip looks at Lutyens' houses from a "modernist point of view," he was not the first to do so. A decade earlier, in the pages of Perspecta 12: The Yale Architectural Journal, architect Allan Greenberg explored architectural similarities between Lutyens and Frank Lloyd Wright and Le Corbusier. Greenberg's 1969 essay, "Lutyens' Architecture Restudied," was later put into book form, in 2007, as Lutyens and the Modern Movement. In the earlier essay he presents numerous floor plans of Lutyens' houses from the first decade of the 1900s and points out a few characteristics common to them: a symmetrical disposition of rooms; a solid mass (or void) at the crossing of the main axes; an independent circulation pattern overlaid on the first two; and an intricate plan hidden by the formal, symmetrical massing and elevations. It is in the plan where he links Lutyens and Wright, finding the same four characteristics in Wright's Ward Willits House from 1901. The departure in the two architects' contemporaneous plans are rooted in space: "Wright's space is continuous and flowing," Greenberg writes, while "Lutyens seldom planned continuous spaces [...] but he was aware of the potential." Greenberg finds some of the same with Corbusier's houses of the 1920s, though he also discusses the similarities between New Delhi and Chandigarh at length. Which brings me to the impetus for this post: The Architecture of Sir Edwin Lutyens, Volume 1: Country Houses by A.S.G. Butler with George Stewart and Christopher Hussey, published by ACC Art Books, April 2023 (Amazon / Bookshop) As mentioned above, The Architecture of Sir Edwin Lutyens — aka the Lutyens Memorial Series, given that it was published six years after his death — was first published in 1950 in three volumes, the first on "Country Houses"; the second on "Gardens, Delhi, and Washington"; and the third on "Public Buildings, Etc." The originals (now fetching thousands of dollars) were published by Country Life, the British magazine founded by Edward Hudson in 1897. (Country Life also published the Lutyens biography by Christopher Hussey mentioned above.) Not only did Hudson commission Lutyens for several houses, most notably Deanery Gardens (1901) and Lindisfarne Castle (1903), and the magazine's offices, he regularly published the architect's buildings in his magazine. The photos, drawings, and text from the magazine are what became the three-part Memorial. The large-format books (12x16"!) were reprinted by the Antique Collectors Club at least twice that I gather, in 1984 and 2002, each in limited print runs. The new reprints are being published by ACC Art Books, the successor to the Antique Collectors Club, which was bought by The Images Publishing Group in 2016. The first volume, featured here, was published in spring of this year, the second volume came just last month, and the third volume is forthcoming. Around the time of the 2002 reprint, Gavin Stamp wrote an extensive introduction for Edwin Lutyens: Country Houses (From the Archives of Country Life), published by Aurum Press and The Monacelli Press. Although Stamp was, from the best of my limited knowledge of him, an architectural historian more interested in Greek, Victorian, and other architectures predating modernism, he also felt the need to align Lutyens with modern architecture, specifically Wright. His introduction quotes a review of the Memorial series by Wright himself, from a 1951 issue of Building magazine: "[I] voice admiration of the love, loyalty, and art with which this cultured architect, in love with Architecture, shaped his buildings. To him the English chimney, the Gable, the Gatepost monumentalized in good brickwork and cut-stone were motifs to be dramatized with great skill. He was able to idealize them with a success unequaled." So, basically, in the 20th century, the relevance of Lutyens relied on his architecture being influential on younger generations of architects who were trained in modernism or, in later decades, were dabbling in postmodernism. Even A.S.G. Butler and his collaborators wrote in Country Houses that, while "Sir Edwin was not a notable exponent of the slick modern mode," they did not believe "the architecture of Lutyens was outside the main stream [sic] of modern work." Does the same striving to align Lutyens with modern architecture apply today, in the third decade of the 21st century, more than 150 years after the birth of Lutyens and more than 75 years after his death? My opinion, and it is just that, is no, the archive of Lutyens' architecture can stand on its own without the need for it to be aligned with more forward-thinking contemporaries. If anything, the opposite of previous attempts is most valid today: his work is an inspiration for architects more inclined to vernacular, classical, and other traditional styles of architecture. While I'm not a proponent of 21st-century classicism, I'm all for a plurality of architectural expressions — if they're done intelligently, capably, and, dare I say, beautifully. And with the superrich getting superricher, our current age isn't too far off from the late 1800s, when Lutyens started designing country houses for people of means. Put another way, large houses on par with those in Country Houses are being made today, unfortunately as lousy McMansions rather than tasteful and complex compositions rooted in architects like Lutyens. I'm generalizing, to be sure, but the audience for this book is both well-defined and likely to buy it. The series, it should be noted, is the winner of the inaugural ICAA Book of the Year from the Institute of Classical Architecture & Art. With all that said, is The Architecture of Sir Edwin Lutyens, Volume 1: Country Houses, keeping in mind that it is a reprint of a nearly 75-year-old book, good? The quality of the reprint is nearly perfect, with a good selection of papers for the three sequential parts of the book: the texts, the drawings, and the black-and-white photographs. Text and drawings are on matte heavyweight pages, while the photos are on glossy paper. The inks make everything read well; in particular, the drawing reproductions are exquisite. The book is big and apparently well-built, but a tear at the hinge of the paste-down endpaper and free endpaper indicates it might not be strong enough. Hence, not quite perfect. My main frustrations are with the format of the book, which obviously goes back to the original. The text is page after page of wide justified columns — four to a spread, roughly fifty pages without a single illustration; it's a bit of a slog. Houses in the roughly chronological text are keyed to the drawings, which are numbered I to CX and logically follow the text. I often appreciate properly keyed texts, like here, but without any inline images this format requires a lot of flipping back-and-forth in a very big book. And the photos that come third and last in the book? They are numbered, 1 to 271, but they not keyed to the texts or the drawings. What is the result of this three-part structure? Unless you follow the text closely, dutifully flipping to the drawings and searching for the related photographs, forming a mental image of each house (and there are many) based on description, drawing, and photographs is difficult. The Papadakis and Monacelli books mentioned above use project structures more common in architectural monographs, with text descriptions alongside photographs and drawings; these make knowing Castle Drogo, Grey Walls, The Salutation, Tigbourne, and other houses by name that much easier. Familiarity in The Architecture of Sir Edwin Lutyens comes with a bit more effort, but it's an effort architects interested in Lutyens will find rewarding. Spread from The Architecture of Sir Edwin Lutyens, Volume 1: Country Houses Spread from The Architecture of Sir Edwin Lutyens, Volume 1: Country Houses Spread from The Architecture of Sir Edwin Lutyens, Volume 1: Country Houses

Blue Dream is a house designed by Diller Scofidio + Renfro for Julia "Julie" Reyes Taubman and her husband Robert "Bobby" Taubman. The house, located in East Hampton, on the South Fork of Long Island, was completed in 2017, nearly 30 years after the architects were commissioned to design their first house on Long Island, the Slow House. A book devoted to Blue Dream, written by Paul Goldberger, was released last month by DelMonico Books. Blue Dream and the Legacy of Modernism in the Hamptons: A House by Diller Scofidio + Renfro by Paul Goldberger, photography by Iwan Baan, published by DelMonico Books, September 2023 (Amazon / Bookshop) Like other architects educated in the United States in the early 1990s, the architecture of Elizabeth Diller and Ricardo Scofidio was an inspiration to me. Diller + Scofidio had built very little then, but their beautiful drawings and means of presenting them exhibited a clear desire to build. The only constructing they did then was temporary, almost exclusively in theaters and galleries. Even without a building to their name, their first monograph, Flesh: Architectural Probes, was published in 1994 (the butt cheeks on the front and back covers and butt-crack binding set it apart from every other architecture book). A standout project, coming near at the end of the monograph, is the Slow House, which had already brought D+R attention when it won a P/A Award and graced the cover of Progressive Architecture's January 1991 issue (PDF link). Model of Slow House from DS+R website. The Slow House arcs and expands in plan from a single front door to a two-story picture window facing the water (locals referred to it as a banana). Of relevance here is the house's site in North Haven, Long Island, and the view through the picture window of Long Island Sound. The view's importance is accentuated by a second chimney, opposite a functioning chimney, that would have held a video camera framing the water view for the owners to look at while in the house or back in Manhattan. Page 229 in Flesh shows a photograph of the Slow House taking shape, the formwork for its foundation walls and columns ready to be filled with concrete. Alas, that photo captured the furthest extent of construction: the house was a victim of insufficient assets and the early 90s recession, never to be completed. L: Slow House drawing in the collection of MoMA. R: Slow House under construction in 1991. I never knew exactly why the Slow House wasn't completed, but Paul Goldberger reveals some of the story in Blue Dream, writing that "the house was to be funded by the sale of two Cy Twombly drawings." The collapse of the art market kept that from happening, but the importance of Slow House can be found in the Museum of Modern Art's acquisition of the project's drawings and models for its permanent collection. The most iconic piece is a floor plan and series of building sections drawn on a transparent sheet over wood with what appears to be a schmear of joint compound. Moving from the view in the rearview mirror to the view through the picture window, the sections radiate from the floor plan, in a sequence that is logical yet confounding, given how the sections overlap as they increase in height. Most remarkable is the way the drawing implements remain part of the presentation, and how the compass armature is a custom creation, what I see as a clear extension of Diller's education and Scofidio's teaching at Cooper Union. Needless to say, I was chuffed to see the drawing in person back in 2013, when Pedro Gadanho pulled it out of the MoMA archives for Cut 'n' Paste: From Architectural Assemblage to Collage City. Goldberger mentions Slow House in a chapter of Blue Dream that finds Julie and Bobby considering Diller Scofidio + Renfro for their East Hampton house. Charles Renfro, who joined Diller + Scofidio in 1997 and became a name partner in 2004, recounts to Goldberger their initial meeting with Julie at their office, in 2010, when they showed her Slow House "and our small residential oeuvre of mostly unbuilt houses." While hearing "unbuilt" would push most clients to look for another architect, Julie was not a typical client. A few years before the meeting, the Taubmans held an invited design competition, with Thomas Phifer standing out above Shigeru Ban, whose design was "remarkable" but impractical and "more suited to a house in the tropics," and Tod Williams and Billie Tsien, whose design was "more restrained and perhaps less daring than what [Julie] wanted." Phifer sensed that Julie wanted something more sculptural than his first scheme, with three linear pavilions connected by glass-enclosed walkways, so over time it morphed into striking sail-like forms appropriate to its site on the dunes facing the Atlantic. But designing and building a house, architecturally daring or not, is as much about personal relationships as it is about architectural design. Phifer and Julie Taubman "had not connected as closely as [Phifer] wanted his clients to connect," Goldberger explains, and "the immaculate quality of Phifer's architecture was never the right match for Julie's taste." Blue Dream as captured by Iwan Baan. Who was the right architect for Julie's tastes? It was Charles Renfro, who "seemed to connect easily with Julie Taubman in a way that Phifer had not," Goldberger writes. Another reason DS+R got the job was their ability to connect with the precedents Julie was drawn to, namely the houses of John Lautner, Kendrick Bangs Kellogg, and Jacques Couëlle, as well as Frederick Kiesler's iconic, site-less, unbuilt Endless House (also in MoMA's collection). The cave-like qualities of the houses designed by Couëlle and Kiesler appear to have inspired Renfro the most, as Julie selected the "Ravioli" scheme from the four initial concepts the studio generated after their meeting. The others were the "Mobius," the "Roof," and the "Dunes." Any of them would have led to statement house dramatically different from the Hamptons norm, but continuing on the path started by the Ravioli scheme led to the built Blue Dream, a sculptural house unlike another DS+R project, yet one that is hard to see coming from another contemporary architect. Spread from Blue Dream in "Where Modernism Flourished" chapter. By the time we read about the Taubmans selecting DS+R for the commission, we have absorbed much of the house through the numerous full-bleed color photographs by Iwan Baan that sit between early chapters about the Taubman's background and wishes, about the history of modernism on Long Island (this chapter echoes Goldberger's essay in Houses of the Hamptons from 1986), and about the aborted project with Phifer. The chapters that follow move forward in time, tracing the development of its formal design; documenting the efforts to engineer the design and turn it into an actual building; presenting the interior contributions that turned the house into a Gesamtkunstwerk; and revealing the personal issues that make the house as melancholy as it is exuberant. The book has a clear narrative sweep, one that is aided by the coffee table format, with its large paper size, large photos, and the easy integration of images with Goldberger's text. The format, I feel, is appropriate to the house and its circumstances. Even if you're not a fan of Blue Dream (I'm still more partial to the Slow House), it's hard not to get pulled along on the ride of its realization as recounted in these pages. The view from the picture window at Blue Dream, photographed by Iwan Baan.

(Covers of some of the books discussed in this post) If your first reaction to the title of this post is something along the lines of, "Wait, isn't critical regionalism just 40 years old?," then everything you think know about critical regionalism is partial, in both senses of the term: incomplete and biased. Yes, Kenneth Frampton's "Towards a Critical Regionalism: Six Points for an Architecture of Resistance" was published in Hal Foster's The Anti-Aesthetic: Essays on Postmodern Culture in 1983, exactly 40 years ago, but the term "critical regionalism" was coined two years earlier by Alexander Tzonis and Liane Lefaivre in their article "The Grid and the Pathway: An Introduction to the Work of Dimitris and Susana Antonakakis" in Architecture in Greece. But as the term took hold in architectural circles that decade, and to a lesser but still lasting degree in the decades since, it has more often been associated with Frampton's essay, even though he acknowledged the earlier essay at the time and that acknowledgment brought Tzonis and Lefaivre a good deal of attention beyond their native Greece. Yet, if critical regionalism is some sort of –ism, then should it be defined by just one critic? Is it unfair, in other words, that Frampton's take should take precedence over Tzonis and Lefaivre's? First thing's first: what is critical regionalism? If we take a step back and look at the more general term "regionalism," the entry for it in the three-volume Encyclopedia of 20th-Century Architecture (2004, edited by R. Stephen Sennott) describes regionalism in architecture as "the desire to shape buildings according to the particular characteristics of a specific place." Further describing it as "the oldest and most pervasive of all building ideas," the entry omits mention of critical regionalism but includes Frampton's essay in its bibliography. Richard Weston, in his excellent introduction to architecture from 2011, 100 Ideas that Changed Architecture, while he doesn't include critical regionalism among the hundred, he describes it in the entry for regionalism like so: "Attempting to come to terms with the ethical dilemmas of practicing in a globalized world, [... Tzonis and Lefaivre] argued that while welcoming the benefits of interaction and exchange, designers should think critically about their impact and value the uniqueness of the local/regional culture, environment, and resources." Furthermore, they "hoped to avoid both the commercialization of 'folk' traditions and their political use — as in Hitler's promotion of volkisch culture — as a means of excluding others." Weston goes on to describe how Frampton took up the couple's approach but "argued for an emphasis on topography, climate, light, and the tactile rather than the visual [...] advocating tectonic rather than scenographic form as exemplary of the approach," as found in the work of Alvar Aalto and Jørn Utzon. In just a few sentences, Weston draws a basic distinction between the concepts of critical regionalism proffered by Tzonis, Lefaivre, and Frampton, namely that the social and political implications of regionalism nullified the concept for Tzonis and Lefaivre, thereby requiring a critical approach to regionalism, while Frampton saw critical regionalism as a valid response to "scenographic form," by which he means the postmodern architecture that was taking hold of the American architecture profession at the time. Although the architecture and ideas influencing Frampton's "Six Points for an Architecture of Resistance" date back to at least the mid-1960s, the direct impetus for his essay was the 1980 Venice Architecture Biennale, curated by Paolo Portoghesi with its famous "street," the Strada Novissima. Frampton was invited by Portoghesi, alongside fellow critics Charles Jencks, Christian Norberg-Schultz, and Vincent Scully, to contribute to the inaugural architecture biennale in Venice, but he stepped down, writing in a letter to Robert A. M. Stern (a page of it is shown in OASE #103: Critical Regionalism Revisited) that the exhibition "seems to represent the triumph of Post-Modernism" and that he had already "written a text which is categorically critical of this position." Frampton's letter to Stern was dated May 13, 1980, but the text he mentions he had already written was not "Towards a Critical Regionalism" as it would be found in The Anti-Aesthetic. Most likely it was "The Need for Roots: Venice 1980," which was published in the winter 1981 issue of GA Document. (I have not seen that essay so can't comment on it.) Between the Biennale in 1980 and the release of Foster's collection of postmodern essays, Frampton worked out his concept of critical regionalism, or at least the seeds of the concept can be seen in those years. Modern Architecture and the Critical Present, published by AD in 1982, was basically devoted to his 1980 book Modern Architecture: A Critical History (the fifth edition arrived in 2020), so alongside its other contents it included "Place, Production and Architecture: Towards a Critical Theory of Building," an excerpt of the book's last chapter. It also included "The Isms of Contemporary Architecture," revised to add "Regionalism" as one of the –isms. Although Frampton mentions the thesis of a "hybrid 'world culture'" advanced by philosopher Paul Ricoeur, whose words preface his Anti-Aesthetic essay, and he discusses the work of Aalto, Mario Botta, Alvaro Siza, Gino Valle, and other architects who fit the mold of critical regionalism, the –ism was not yet explicitly "critical." That same year, 1982, Frampton contributed "Proposals for a Critical Regionalism" to Perspecta 20: The Journal of the Yale School of Architecture. Similarities to the essay that will follow in 1983 are found in the Ricoeur quote prefacing the article and a mention of "The Grid and the Pathway." While the "Six Points" essay is abstract, with mention of just two or three architects, the Perspecta article is loaded with buildings and projects that illustrate Frampton's concept. Tadao Ando, J. A. Coderch, Ricardo Bofill, Raimund Abraham, Botta, Valle, and others serve as examples of "recent regional 'schools' whose aim has been to represent and serve, in a critical sense, the limited constituencies in which they are grounded." The essay concludes with mention of "The Grid and the Pathway," but Frampton does not give credit to the authors for coining "critical regionalism," instead using their subjects, Dimitris and Susana Antonakakis, as exemplars of the regional "school" in Greece. Curiously, even though the Perspecta editors give full credit to Tzonis and Lefaivre in the citation to their text, Frampton only mentions Tzonis, referring to "The Grid and the Pathway" as "his article"; this is indicative of the sexism still entrenched at the time but also a lack of understanding of Tzonis and Lefaivre's concept for critical regionalism beyond their 1981 essay. The information described above can be cobbled together from various sources, as cited, as well as from the recently published Kenneth Frampton: Conversations with Daniel Talesnik, in which Frampton is forthcoming about the origins of "Towards a Critical Regionalism" and the debt it owed to Tzonis and Lefaivre. (His recital of the facts to Talesnik makes it seem that it is a story he has told numerous times in the decades since his essay.) But to gain a considerably deeper understanding of the overlapping theories of critical regionalism and their origins, one recently published book is extremely valuable and highly recommended: Resisting Postmodern Architecture: Critical Regionalism before Globalisation by Stylianos Giamarelos, published by UCL Press, 2022 (Amazon / Bookshop) There are too many revelations in Giamarelos's history/historiography of critical regionalism, but only enough space here to mention three. First is the role of Robert A. M. Stern in the 1980 Venice Architecture Biennale, The Presence of the Past. Giamarelos describes Stern as "the show's overlooked protagonist [...] historically overshadowed by Portoghesi." Frampton, remember, was invited to participate, but by the time he and the other critics went to Venice, in November 1979, the direction of the exhibition was already determined during a September 1979 meeting where Stern presented his detailed proposal that "practically formed the backbone of the exhibition," per Giamarelos. No wonder most of the architects contributing to the Strada Novissima were from North America rather than Europe or Asia, and no wonder Frampton addressed his resignation letter to Stern. A second revelation is the contribution of Anthony Alofsin, who was a student of Tzonis's in the 1970s, when he was teaching at Ivy League schools in the US. Alofsin is known now for numerous books on Frank Lloyd Wright, but in the 1970s his work as a sculptor and architect in New Mexico "stimulated his interest in the historic processes that lay beneath" the area's historic buildings. He brought this interest in regionalism to Harvard GSD in 1978, where he took courses from Tzonis that "familiarized him with critical theory," per Giamarelos. Alofsin ended up joining Tzonis and Lefaivre on a paper, "The Question of Regionalism," for a conference in 1980 organized by Swiss sociologist Lucius Burckhardt. Alofsin's text submitted to Tzonis, "Constructive Regionalism," served as the basis for the paper, but Tzonis and Lefaivre modified Alofsin's conclusion, introducing the critical regionalism they would expand upon for the Architecture in Greece esssay. (Vincent B. Canizaro's excellent Architectural Regionalism: Collected Writings on Place, Identity, Modernity and Tradition includes Alofsin's original text.) So, while "The Question of Regionalism," when published in 1981, was the first appearance of critical regionalism in print, it was only in German and therefore not cited by Frampton, unlike the bilingual "The Grid and the Pathway." A third illuminating thread of information from the book involves Frampton's proposed 18-book series of "monographs on critical architecture practices of 'unsentimental regionality'" for Rizzoli, who would have published them over a period of two to four years. First proposed at the end of 1981, Frampton moved forward with two titles — on Tadao Ando and Atelier 66, the practice of Dimitris and Susana Antonakakis, published in 1984 and 85, respectively — before Rizzoli discontinued the series. (Such an ambitious, audacious proposal no doubt stemmed from Frampton serving as an acquisitions and editorial consultant at Rizzoli from 1979 to 1988.) Outside of Vittorio Gregotti, whom Frampton would have written about on his own, each book would have been edited by Frampton, included a short introduction by him, and featured a longer essay by an author familiar with their work; naturally, then, Tzonis and Lefaivre contributed to the book on Atelier 66. Giamarelos also discusses the book Frampton started to work about critical regionalism, given that his essay made such an impact in the 1980s that it warranted a book-length exposition. That never happened, but Frampton rolled some of his version of critical regionalism into Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture, an excellent and well-respected book but not one with the lasting impact of the 1983 essay. So, if Frampton did not write the book on critical regionalism, who did, assuming one exists? The first architecture book bearing the critical regionalism moniker was written by none other than Tzonis and Lefaivre. Critical Regionalism: Architecture and Identity in a Globalized World was published in 2003, the third in Prestel's "Architecture in Focus" series, which also included books on "Minimal Architecture" and "Light, Mobile and Floating Architecture." The authors used the book to provide a deeper history of regionalism, tracing it from Ancient Greece to ca. World War II in an essay by Tzonis, and delving into the ideas of Lewis Mumford in an essay by Lefaivre that looked at the three decades after the war. The other half of the book has twenty examples of critical regionalism, mainly in photos, making it as much a picture book as a text of history and theory. Given the impact of critical regionalism on architects — it is one of the few architectural concepts/theories with direct application to professional practice — I wanted to include something on it in Buildings in Print: 100 Influential and Inspiring Illustrated Architecture Books. Although Critical Regionalism is the book I chose, Giamarelos describes their later book, Architecture of Regionalism in the Age of Globalization: Peaks and Valleys in the Flat World (first published in 2011 and expanded in 2020) as the couple's definitive statement on critical regionalism, signaling its greater importance. While this review can only touch on a few points in Resisting Postmodern Architecture: Critical Regionalism Before Globalisation, Giamarelos's goals are two-fold: articulating the formulation of critical regionalism by Tzonis and Lefaivre, since it has long been overshadowed by Frampton's concept; and, in the book's second half, exploring the cross-cultural roots of critical regionalism in Greece, the home of Tzonis, Lefaivre, and their original subjects, Dimitris and Susana Antonakakis. Giamarelos wraps up the book by arguing for the continued relevance of critical regionalism today, shifting it from "an architectural theory of the 1980s into a manifesto for architectural historiography in the 21st century." If architectural historians embrace the seven points of Giamarelos's manifesto remains to be seen, but the value of the history the book tells is abundantly clear, given the lack of a history of critical regionalism before it.

Like many people with a lot of books, I keep track of my library with an app/website, tagging books with keywords to better filter and find them. The tags I use move from general terms like "architecture" (the most) and "fiction" (the least) to specific terms that reflect a high number of books by a particular author ("frampton," as in Kenneth) or maybe about a certain architect ("wright," Frank Lloyd). One of the oft-used tags on the specific end of the spectrum is "moma," which includes books published by the Museum of Modern Art, be it Robert Venturi's Complexity and Contradiction in Architecture or exhibition catalogs, as well as books actually about MoMA, like Terence Riley's The International Style: Exhibition 15 and The Museum of Modern Art. As of today, I have 34 books tagged "moma" in my library, spanning from The International Style in 1932 (the 1990s reprint, mind you, not the first edition) to Emerging Ecologies: Architecture and the Rise of Environmentalism, the catalog to the exhibition of the same name that opened yesterday at MoMA. In between the books from 1932 and 2023 are catalogs for MoMA exhibitions I attended and wrote about; exhibitions I wish I would have seen in person; and exhibitions, many of them seminal, held well before my time. The value of exhibition catalogs is evident in the latter two: they enable people who did not see an exhibition to be exposed to what the curators put together, often with the added input of scholars on the subject. One could even go further and say the catalogs are more important than the exhibitions themselves, since they have longevity, serving as archives of the exhibitions well after they've been demounted and destroyed. While I don't fully agree with such a statement, since exhibitions benefit from being spatial experiences and often — and increasingly — feature films and other media that can't be replicated in books, the value of catalogs is undeniable. Emerging Ecologies: Architecture and the Rise of Environmentalism edited by Carson Chan and Matthew Wagstaffe, published by the Museum of Modern Art, September 2023 (Amazon / Bookshop) How does Emerging Ecologies compare to previous catalogs from MoMA exhibitions on architecture? Based on my exposure to them, I would group MoMA's architecture catalogs into two broad types: printed companions to the drawings, models, and other artifacts on display in the galleries; and scholarly essays on the exhibition's subject. Often these two strands are combined, with essays prefacing plates of the works on display. But if we go all the way back to MoMA's first architecture exhibition — Modern Architecture: International Exhibition, curated by Philip Johnson and Henry-Russell Hitchcok in 1932 — we find these two types in two separate publications: a companion catalog (PDF link) and the more familiar, polemical book by Johnson and Hitchcock (sans Lewis Mumford's contribution on housing from the exhibition/catalog) that "defined 'the International Style'" at the time and in the decades to come. Emerging Ecologies, as edited by Carson Chan and Matthew Wagstaffe, falls into the "printed companion" camp. Visitors to Emerging Ecologies between now and its closing on January 24, 2023, will approach the third-floor architecture galleries in one of two ways. Stepping out of an elevator, they will be confronted by a timeline of relevant events and dates for the artifacts in the exhibition, while those arriving via escalators and the bridge next to the atrium will see the yellow wall pictured at the top of this post and then go either left or right into the exhibition's two galleries. The various exhibits are laid out thematically, but when I previewed the exhibition last week, I found the layout and presentation fairly laid back, conducive to a leisurely stroll through the numerous colorful projects comprising "the first expansive survey of the history of environmental thinking in architecture," spanning primarily the 1960s and 70s. The exhibition is also the first from MoMA's Emilio Ambasz Institute for the Joint Study of the Built and the Natural Environment, which was created in 2020 and helmed by Chan the following year. In lieu of a thematic organization following from the layout of the exhibition (e.g., "Prehistory of Environmental Architecture," "Enclosed Ecologies," "Life Forms," etc.) or one following the timeline visitors see by the elevators, the book is in alphabetical order by the names of the architects or other authors of the works in the exhibition (there is an expanded timeline in the back matter). While this results in putting Emilio Ambasz first among the more than thirty names, it more broadly puts an emphasis on the personalities behind environmental thinking, rather than the works themselves. Like other surveys, be they exhibitions or not, the structure allows comparisons to be made based on quantities: the number of pages given to each name helps signal their importance. So who is most important in Emerging Ecologies? No contest it's R. Buckminster Fuller, not only because he earns sixteen pages while most others have four or six, but because the "pathbreaking architect, writer, designer, inventor, and philosopher" (per the book) infiltrates other names in the book. Cambridge Seven Associates built one of Fuller's geodesic domes for Expo 67 and Murphy & Mackey built one at Missouri Botanical Garden; these are just the most direct permutations of Fuller elsewhere in the book. Architecture exhibitions at MoMA are, by virtue of their setting, geared to general audiences. As such, the catalogs are where the curators expend the effort in digging deeper, usually in more scholarly ways. That isn't the case with this "field guide," as Chan and Wagstaffe label it, but that doesn't mean architects and others with prior knowledge of environmentalism in the 1960s and 70s will not find something new, or new perspectives on the subject, in the book. Beyond names like Fuller, there are such groups as the Fort McDowell Yavapai Nation and Warren County Citizens Concerned about PCB that capture today's emphasis on equity and citizen engagement. It's not all hero worship, in other words. For me, a big fan of buildings merging with landscapes, I was pleased to learn about Malcolm Wells, who pivoted his practice from "conventional" to "earth-sheltered," sticking to his beliefs from the mid-1906s to his death in 2009. I was also surprised that I hadn't known about him earlier. Surely, I won't be alone in making such discoveries in Emerging Ecologies, a rich survey of a period with obvious relevance today.

Last week dose explored three "places in time": St. Louis in the early decades of the 20th century; Detroit between 1935 and 1985; and Chicago suburb Oak Park ca. 1906, when Frank Lloyd Wright completed Unity Temple. Those three US-centric books were split between two historical surveys and one case study. The same applies to the European/Asian books here, with a survey of brutalist architecture in Paris followed by a survey of Indonesian architecture trained in Germany around 1960 and a case study of a care center for people with mental disabilities in Belgium. Brutalist Paris: Post-War Brutalist Architecture in Paris and Environs by Nigel Green and Robin Wilson, published by Blue Crow Media, July 2023 (Amazon / Bookshop) Dipl.-Ing. Arsitek: German-trained Indonesian Architects from the 1960s edited by Moritz Henning and Eduard Kögel, published by DOM Publishers, July 2023 (Amazon / Bookshop) Living in Monnikenheide: Care, Inclusion and Architecture edited by Gideon Boie, published by Flanders Architecture Institute, April 2023 Before receiving Brutalist Paris from the folks at Blue Crow Media, I thought of the UK company simply as a maker of maps. I reviewed Concrete Map Chicago back in 2018 and since then have noticed them putting out maps of modern architecture, brutalist architecture, public transit — even trees. If the Chicago map is any indication, the others put out by Blue Crow Media excel at assembling a mix of quality buildings and presenting them in a way that allows people to orient themselves to the locations of the selected buildings in a particular city; that's the power of maps: orienting oneself physically, in place, and mentally, at a distance. So I was a bit surprised to find the maps on the inside front and back covers of Brutalist Paris to be, frankly, practically useless. Their scale is too small; the contrast between streets and blocks is too low; it's not clear how the four maps join up; the lists of buildings keyed to the maps do not extend to the book's pages. I could go on, but that's not necessary because this book is not about the maps. Rather it is about the words of Robin Wilson and the photographs of Nigel Green. The maps give some cursory, almost ghostly, geographic information, but they are not there to structure the book. Brutalist Paris features seven essays by Wilson and four geographical sections with Green's photos inserted between the essays. Although the duo collaborates as Photolanguage, words and images are distinct. "Whilst the photographic component provides an extensive, general survey of the production of the period as a whole," Wilson explains in the first essay, "the text necessarily develops a more selective interpretation of a smaller range of key works." Paris does not spring immediately to my mind as the city of brutalist architecture par excellence (that would be London or Boston), but Wilson's words and Green's images do a good job of arguing for the importance of Paris as a brutalist city. Jumping to the fore are not the famous examples (Breuer's UNESCO, Niemeyer's Communist Party HQ, Corbu's Maisons Jaoul) but the complex, fractal-like constructions of Jean Renaudie and Nina Susch, Renée Gailhoustet, and others. Wilson describes "a properly oblique and combinatory architecture" and Green captures the light, scale, and in some cases decay of the complexes. The photos may be just a couple of years old, but the choice of presenting them as duotones helps transport readers to the sixties, seventies, and eighties, when parts of Paris really embraced creative concrete architecture. The next book covers roughly the same timeframe as Brutalist Paris — the few decades following the year 1960 — but in two locales thousands of miles and two continents apart: Indonesia and Germany. The two places don't immediately strike me as intertwined, but editors Moritz Henning and Eduardo Kögel discovered a link between them that is quite interesting: a dozen architecture students from Indonesia who studied at TU Berlin and other schools in West Germany in 1960/61. The editors found out about them while working with the curators of Occupying Modernism, the Indonesian contribution to Encounters with Southeast Asian Modernism, an ambitious, multifaceted program directed by Henning and Kögel with Sally Below and Christian Hiller. (Out of the same program came Contested Modernities: Postcolonial Architecture and the Construction of Identities in Southeast Asia, a publication I "briefed" last year.) Like other parts of Encounters, Dipl.–Ing. Arsitek focuses on cross-cultural cooperation between Southeast Asia and Western Europe, and it even comes across subtly in the book's title, words that are probably enigmatic to English speakers: Dipl.–Ing. Arsitek is the Indonesian equivalent of the German Diplom–Ingenieur Architektur. Dipl.–Ing. Arsitek is number 171 in DOM Publishers' longstanding "Basics" series as evidenced by the square format and orange, geometric cover (like this one). While the subject seems too niche to me to be a "basics" book, the structure and presentation of the book are very clear and well done, aiding in one's understanding of the subject and recognizing its importance. Following spreads of period photographs in West Berlin, Hannover, Aachen, and Jakarta, the book's contents are fitted into five parts: "Context," with a handful of essays give relevant background on Germany and Indonesia in the period of the book; "Diplomas," a presentation of ten of the students' final projects; in-depth "Biographies" of eight of the architects; "Positions," excerpts of a few texts by some of the architects; and contemporary "Photographs" of buildings in Indonesia the architects designed after returning there to practice. So, who are these architects that studied in Germany but took their knowledge back home to Indonesia? Soejoedi Wirjoatmodjo and Han Awal were known by the editors beforehand, but the rest (Herianto Sulindro, Jan Beng Oei, Mustafa Pamuntjak, Bianpoen, Suwondo Bismo Sutedjo, Yusuf Bilyarta Mangunwijaya) were primarily discovered in the archives of TU Berlin, which kept their drawings, model photographs, and even some of the models. I can't think of a better arguments for architecture schools — and the future architects attending them — to carefully document their thesis projects and maintain them in archives. The third place-in-time book, Living in Monnikenheide, heads to Zoersel, in Belgium, and jumps forward in time to near the present. The book's subject, Monnikenheide, is a residential care center for people with mental disabilities that was created around 1973 and has seen more than a dozen buildings added to its "campus" in the half-century since. I had never heard of the place — neither Monnikenheide nor Zoersel, the Flemish village now home to around 22,000 people — so reading some of the essays and perusing the case studies of the buildings were acts of discovery. Gideon Boie, the book's editor and instigator of the book project, describes Monnikenheide as "an unprecedented housing project" that "searched for the normalization of housing for people with mental disabilities" and, in wording that echoes recent trends in architectural culture, "a testing ground for care architecture." The book's subtitle, Care, Inclusion and Architecture, sets up the half-dozen essays that carry the titles "Living with Disability," "At Home in the Care Centre," and "Caring for the Landscape of Care," among others. The essays capably address the myriad issues around the place, from its niche typology to the politics of "inclusion" and the important role of the beautiful wooded landscape connecting the various buildings. The bulk of the book — 70 of its 160 pages — is devoted to the case studies of the buildings, primarily the ones built between 1997 and 2021; the early, "first-period" (of three periods, per Boie) buildings are just described briefly at the beginning of this long section. Architecturally, the buildings range from somewhat typical modern Belgian brick dwellings to low-slung glass-walled updates to older buildings, pitched-roof care homes clad in corrugated metal, and a three-story care home covered in blackened wood. While each building is pleasing in one way or another, Monnikenheide is not about any individual building: it is about the interaction of the buildings with each other and the landscapes between them and, in the case of the brick dwellings in the village, the logical extension of "inclusion" to a context more urban than pastoral. Full-bleed photographs between the different sections of the book do a decent job in capturing the character of the landscape and the village; I say "decent" because their silver duotones, akin to the cover, are more aesthetic than informative. But in concert with the essays, case studies, and the book's design, the photos contribute well to a beautiful document of a special place that architects interested in this facet of care will find valuable.

Like most human beings, I can be contradictory at times. One area where this manifests is architectural surveys: books that usually collect buildings of a certain typology, but also ones spanning a particular timeframe or through some other theme. I've written a few of them myself, so I don't inherently hate them. But I tend to pass on them when it comes to new books, which most likely boils down to the fact I'm not a practicing architect and therefore don't need to look at, say, a roundup of libraries when I'm designing one. Yet, when it comes to old surveys — as in my latest #archidosereads — I have a hard time saying no to them after spotting them in used bookstores. I think part of their appeal is the way they capture the character of a certain time, and often, with the occasional geographical focus of surveys, a particular place in time. Being seen decades after they were made, the best ones manage to transport me back to a certain place in time — something I find irresistible, even if subconsciously, before putting it down in words here. A book need not be old to do such a thing, so this week and next week I'm featuring books that manage to capture certain places at certain times. The six books aren't all surveys, but the majority of them do fall into that subcategory of architectural books. Following the three US-central books here, next week's installment will head to Europe and Asia. Detroit Modern: 1935–1985 by Peter Forguson, photography by Amy Claeys, published by Visual Profile Books, November 2022 (Amazon / Bookshop) Frank Lloyd Wright's Unity Temple: A Good Time Place Reborn by Pat Cannon, photography by James Caulfield, published by Unity Temple Restoration Foundation, December 2022 (Amazon / Bookshop) A. A. Fischer's St. Louis Streetscapes by Nancy Moore Hamilton, published by Missouri Historical Society, June 2023 (Amazon / Bookshop) In its geography and name, Detroit Modern sounds like a sequel to Michigan Modern: An Architectural Legacy, the 2018 book written by preservationist Brian D. Conway with photographs by James Haefner, also published by Visual Profile Books. But they are two different beasts, given that the earlier book was the product of the Michigan State Historic Preservation Office, which received a grant from the National Park Service for the project, while the nearly one-year-old Detroit Modern was written by Peter Forguson, a landscape designer and landscaping contractor who has worked on the grounds of some of the 70 houses collected in his book. Forguson's book, in turn, is a labor of love, one that draws attention to an overlooked geographical subset of mid-20th-century modern residential architecture, something Michigan Modern similarly did for a wider array of building typologies on a larger geographical scale. The 70 houses spanning 50 years were designed by names both familiar and lesser known: from Eliel and Eero Saarinen, Minoru Yamasaki, Edward Durell Stone, and Gunnar Birkets among the former, to Irving Tobocman, Don Paul Young, Louis DesRosiers, and Robert L. Ziegelman in the latter. While those last four names, among numerous others in the book, are new to me, they may be fairly well-known names in the larger Detroit area (the book is more Grosse Pointe Farms and Bloomfield Hills that Detroit proper, it should be noted), given that they designed roughly 20 of the book's 70 houses. This book will no doubt appeal to locals interested in mid-20th-century houses, but it should also appeal to people living outside the Detroit area who like the same. It should be pointed out that although photographer Amy Claeys is billed as photographer, many of the houses feature photographs by others, including Haefner and occasional period photographs by the great Balthazar Korab. As such, the book doesn't have the visual consistency of Michigan Modern (it's also lacking in floor plans, valuable elements in any good book on residential architecture), but the book's ability to capture the high-quality architecture created in a place over a fairly long time period makes it a valuable document. The buildings of Frank Lloyd Wright, unlike the houses of suburban Detroit, don't need to worry about being overlooked. There are more than 400 extant buildings designed by Wright, and although only a small number of them are considered masterpieces, that number is higher than most — save perhaps Le Corbusier. One way of quantifying greatness is via UNESCO, which put 17 Corbu sites on its 2016 list but only eight Wright buildings on a similar list a few years later. One of those eight is Unity Temple in Oak Park, Illinois, the Chicago suburb home to Wright at the time; ground broke on the building in 1906 and it was dedicated in 1909, the same year Wright left for Europe to work on the Wasmuth Portfolio. Given the importance of Unity Temple in Wright's oeuvre, it made sense that Frank Lloyd Wright's Unity Temple: A Good Time Place, a celebration of the edifice, was released in 2009. Although restoration plans, led by T. Gunny Harboe, began around 2006, the "award-winning transformative restoration" would not be complete until 2017, twelve years after the building celebrated its centennial. With Unity Temple carefully restored and open to the public for about five years, the time was right to update the 2009 book by Patrick F. Cannon with photographer James Caulfield. I have not seen the earlier book, but it appears to be a square book of approximately nine inches, whereas the newly "reborn" book taking on a larger page size — nearly 10 x 12 inches. The slim, 120-page book has a brief history of the commission, its design and its construction, at the beginning, with a text by Harboe on the restoration, a selective bibliography (including Robert McCarter's 1997 case study from the "Architecture in Detail" series), and some texts from ca. 1909 in the back matter. In between are approximately 75 pages of photographs by Caulfield. Unfortunately, what should be the best part of the book — post-restoration photographs of Unity Temple's exterior and interior — is the most disappointing. Without knowing the details, Caulfield appears to have a preference for HDR photography, which makes the concrete building look like a computer model on the outside and too evenly illuminated on the inside. Only in the photos where Caulfield lets shadows be dark (the cover photo being one of those) can readers fully appreciate what Wright accomplished more than a century ago. I'm from suburban Chicago so am quite familiar with the numerous Frank Lloyd Wright buildings in Oak Park. But even though my wife hails from St. Louis, and therefore I've been there quite a few times and have seen firsthand various parts of the city and county, I was not previously familiar with Alexander August Fischer, the subject of this hefty book by his inadvertent biographer, Nancy Moore Hamilton. I say inadvertent because in retirement Hamilton, a longtime resident of Kalamazoo, Michigan, and former geographer and data analyst who had spent just one year of her life in St. Louis, found herself drawn to St. Louis and the streetscapes built by A. A. Fischer. As the photos on the cover of the book (some of many in the book shot by photographer Reed R. Ratcliffe in 2022) attest, the streetscapes of Fischer are a pleasing lot — or, at least the ones that have survived intact to 2022, a century or more after they were created, are. After all, when I think of the streetscapes of St. Louis, what comes to mind are vacant lots and vacant or condemned buildings being just as numerous on any block as extant and/or occupied buildings, such is the unfortunate present of the Midwestern city. Hamilton's large book published by the Missouri Historical Society is like two books in one: a biography of Fischer and a directory of the many buildings by Fischer's company. Following Hamilton's semi-autobiographical introduction, which goes into some detail on how she ended up spending close to two decades focused on the subject of Fischer and his buildings, is the biography: four chronological chapters on Fischer's life, from his German ancestors to his death (in 1936 at the age of 70) and legacy. The subject may only seem appealing to residents of St. Louis, but it is a lavishly illustrated biography, with numerous large photographs by Ratcliffe as well as archival photographs and other documents. At just 120 pages and accompanied by the illustrations, the biography is a fairly quick read. The bulk of the book follows: the 340-page "Directory of A. A. Fischer Builds" that methodically presents one building per page with data and illustrations. It doesn't matter if a building was razed, it is given a page and indicated as such. While extant buildings receive photos by Radcliffe, buildings long-gone have older photographs or just maps. And speaking of maps, the book is accompanied by a foldout poster that locates every building in the book — very helpful. The pros of the book are obvious, mainly that Hamilton fills a void in the scholarship of the built environment in St. Louis. A. A. Fischer was a prolific builder of residential buildings across the city in the first decades of the 20th century, though his impact was basically unheralded. In this sense, the book is more than welcome. My only con with the book is its hefty format. With a 10 x 12" paper size and nearly 2" thick, it is a large, unwieldy book. The pages are nearly full in the biography, but the photos in the directly are small and the margins across those same pages are large. With the layout of the directory apparently sized to entries with the most available information, most of the these pages are therefore empty space. I feel that either the photos should have been larger across the directory pages, or the whole book should have opted for a smaller page size. Of course, the latter would make the book a less impressive object — one that wouldn't have immediately conveyed the size of Fischer's contributions to St. Louis.

Of the numerous books publishers send me for review — be they requested by me, pitched by them, or arriving at my doorstep unsolicited — the highest percentage of them are monographs. This fact goes against the occasional sirens over the irrelevance and anachronistic nature of monographs in our digital age, with free access (for now) to voluminous amounts of information on buildings and architects readily available online. But books, in my opinion, are better archives than websites, offering architects a further level of control over the finished product compared to websites. It's not uncommon today to find architecture firms, no doubt driven by savvy marketing departments and PR firms, merging their brands across platforms, such that their monographs resemble their websites. But in five or ten years time, only the books will retain that expression, thereby making them important archives of architects' work and the means of presenting it. The four recently published monographs that follow provide four diverse expressions for architectural monographs today. Speculative Coolness: Architecture, Media, the Real, and the Virtual by Bryan Cantley, edited by Peter J. Baldwin, published by Routledge, April 2023 (Amazon / Bookshop) Merging City and Nature: 30 Commitments to Combat Climate Change by Batlleiroig, published by Actar Publishers, March 2023 (Amazon / Bookshop) I'm not sure when I came across the architecture of Bryan Cantley, but for sure it was through his popular Instagram account — with nearly 30,000 followers now, at least it is popular by architecture standards. The images saturating his account transport me to my undergrad days in the early 1990s, when Neil Denari, Peter Pfau and Wes Jones, and other machine-minded architects were in vogue. Building; Machines, the twelfth issue of Pamphlet Architecture, was the bible of this strain of contemporary architecture, where structure and services were exposed, elements moved (or at least appeared to do so), and surfaces (almost always metallic) featured curves that echoed the form of concrete mixer trucks. I figured I wasn't alone in connecting those aesthetic dots, but I also assumed such a reading was overly superficial and potentially unfair toward whatever Cantley is doing through his designs and illustrations. Neil Spiller actually mentions Neil Denari and Wes Jones in his introductory essay to Speculative Coolness, but only briefly, lumping them with a wider swath of visionaries ("the Wright brothers, Barnes Wallace, Archigram, Norman Foster and Richard Rogers") and stating that "nowadays these preoccupations have their epicenter in SoCaL." Cantley is a professor at California State University, Fullerton (CSUF) and has taught at SCI-Arc and Woodbury University, all SoCal schools, though his bio at the start of the book also points out that "his work is in the permanent collection at SFMOMA, as well as in the personal collection of Thom Mayne." If such "preoccupations" have their epicenter in and around Los Angeles now, they did so thirty years ago, too, when Denari, Jones, etc. taught and practiced there. This network with shared interests and formal similarities is accentuated by Wes Jones's essay in the pages of Speculative Coolness and Mayne's afterword in the same. A major thing separating the work of Denari and Jones with that of Cantley is the brief, or program, or whatever one wants to call it. Although much of the machine-inspired architecture of the nineties remained on paper or in model form, the projects were clearly proposals to be built, be it an unlikely monastery, a more reasonable house or apartment building, or most obviously an industrial structure (an example of the last, by Holt Hinshaw Jones, was built at UCLA in 1994). But it's difficult to grasp what Cantley's projects might function as if they are considered as models for actual buildings, or if they were designed in response to particular briefs, for instance in the way Brodsky and Utkin created designs for competitions but hardly ever had them approach being recognizable buildings. But do I care if Cantley's designs are speculative, self-generated programs rather than proposals for specific briefs from others? Do I care if I grasp his intentions, further obscured by the texts accompanying the images? Well, frankly, no. His projects, as rendered in sketches, drawings, models, perspectives, and collages, are just too beautiful. No wonder his website sells prints of his architectural imagery — and no wonder this monograph is saturated with the same, sure to woo architects and architecture students too young to remember the nineties. Half a world away from Southern California is the equally warm-and-dry region of Catalonia and the metropolis of Barcelona, where the multi-disciplinary firm Batlleiroig, founded by Enric Batlle and Joan Roig in 1981, is located. Forty years is a long time for an architecture firm, and across those years Batlleiroig has realized many projects spanning multiple disciplines: architecture, landscape, and planning. Those same disciplines structure the book, which features ten chapters with three projects per chapter — one planning project, one landscape, and one building per chapter. But let's not call them chapters: Batlle describes them as "ten concepts that we believe must be incorporated into our daily lives to combat the climate emergency and improve living conditions on the planet." 10 x 3 = 30, hence the thirty projects presented in Merging City and Nature are also "30 commitments to combat climate change." Over Batlleiroig's 40-plus years, the firm has grown to 140 people, making them a large firm in any of their three disciplines. Such size often means, at least in terms of architectural monographs, a business-like approach over an artistic one. This approach is definitely on display in Merging City and Nature, from the 10x3 structure and the descriptions of the projects/commitments (more bullet points than narratives) to the design and layout of the book, which resembles a textbook at times. Structure trumps reality, such that even though the firm has fifteen times more architects than planners and twice as many architects as landscape architects (as expressed in a bubble diagram at the back of the book), there are ten projects presented for each discipline. I would have loved to see more landscapes, which are the strongest parts of Batlleiroig's output (the Garraf Controlled Waste Landfill project is one of many highlights). As is, the book's rigid structure enables the firm to show how each of their disciplines addresses each of the ten concepts: commendable from a marketing perspective but dry and fatiguing for anyone looking for inspiration. So, if you're looking for a practical book loaded with well-designed examples of how architects and planners can address the climate emergency, Merging City and Nature is the book for you. Allied Works Architecture 2003- 2022 (TC 156) by Brad Cloepfil and Allied Works, published by TC Cuadernos, July 2022 (Amazon) Skylab: The Nature of Buildings by Skylab and Jeff Kovel, published by Thames & Hudson, June 2023 (Amazon / Bookshop) Often my excitement with learning about an architectural imprint is tempered by the fact I didn't know about it sooner. How did Valencia's TC Cuadernos put out dozens and dozens of monographic issues on contemporary architects in and beyond Spain before Allied Works sent me number 156 without me knowing about them? Am I that out of touch with European architectural publications? Or are there just too many to keep track of? The quality of the issue devoted to about twenty years of Allied Works' buildings is exemplary, indicating that the wider TC Cuadernos oeuvre melds the qualities of, say, El Croquis with Detail: offering color photographs on high-quality paper accompanied by detailed architectural drawings. (That said, I do wish the font for the project descriptions and essays was easier to read and that all the drawings were labeled, not just the wall sections — reading floor plans without labels is not very helpful.) Allied Works Architecture 2003- 2022 is the first expansive monograph on Allied Works since Occupation, the 2011 release covering the first sixteen years of the studio founded by Brad Cloepfil in Portland, Oregon, in 1994. I have not seen that earlier monograph, but the level of control I mentioned in the prologue to this post is naturally eschewed in the new book (essentially a periodical), in terms of page design and the couple of things I quibbled about above. Still, for the most part it is an Allied Works product, with the drawings, models, photographs, and text provided by the studio. Most refreshing is the span of the book, with fourteen completed buildings over nearly twenty years presented; it even includes Cloepfil's fairly well-known early essay/project "Sitings: Five Reflections on Architectural Domain" (PDF link), which functioned as a statement of intent when he founded his firm now nearly thirty years ago. Back in 2017, I attended the Vectorworks Design Summit in Baltimore, where Cloepfil gave the keynote and I was able to speak with him one-on-one after his presentation for an article at World-Architects. Before that talk, the projects I was most familiar with were the Maryhill Overlook (1998), the Wieden+Kennedy Headquarters (2000), the Contemporary Art Museum St. Louis (2003), and the Clyfford Still Museum (2011). These four projects are thoroughly orthogonal buildings, but the projects he presented in Baltimore, such as the National Music Centre of Canada (2016) and National Veterans Memorial and Museum (2018), are dramatic departures from the apparent norm: curved and spatially complex constructions that see Cloepfil and Allied Works apparently striving to create architectural icons. Not surprisingly, these last two projects are found at the beginning of TC 156, signaling their importance in this phase of Cloepfil's career and the output of his studio. The diversity of Allied Works' designs can be seen in the other cultural, residential, and commercial projects that fill the monograph, including the issue's closer: Providence Park Stadium Expansion (2019), a project that hardly screams "Allied Works" but exhibits the studio's attentiveness to form, material, and structure — especially as presented in the pages of TC 156. Also based in Portland, Skylab was founded by Jeff Koval in 2000 — more than twenty years ago, meaning it was about time for the firm to produce its first monograph. Although Skylab is best known for a series of projects with Nike — especially the Serena Williams Building (2021) and a temporary installation for the shoe brand at the 2012 United States Olympic Trials for Track & Field — the format of the book reflects the music business: The square book features foldout cover boards, a circular cutout and "parental advisory" sticker on the cover, multiple large double-fold gatefolds, and "sides" rather than chapters (Side-A, Side-B, etc.). There isn't even a table of contents, something that makes flipping through the book a voyage of discovery, much like dropping a needle on an album, putting on headphones, and listening deeply. From the photographs of the ten presented buildings under construction to photographs of them completed and everything in between, there is an almost rock n' roll aesthetic suffusing Skylab — a certain coolness that makes the LP format appropriate, if a bit quizzical at times. (If taken to its logical conclusion, wouldn't each "side" be the same length, instead of just 12 pages for Side A, for instance, versus 130 pages for Side B?) One can easily flip through The Nature of Buildings without any awareness of the LP metaphor and gain just as much understanding of Skylab's work: digesting the projects through images layered with green text and drawings; relishing the surprise each gatefold elicits; and reading the trio of conversations between Kovel and others, including clients. The latter are presented sideways on the page, a bit like liner notes, I assume, though they can also be seen just as readily as print elements meant to stand out from the projects that are right side up throughout the book. Like fellow Portlanders Allied Works, the portfolio of Skylab is formally and typologically diverse. Kovel and company's projects might not be as geographically widespread as Cloepfil's, with most of Skylab projects keeping Portland weird, but with commissions in Utah and Idaho they're gaining in popularity beyond their local following.

From the middle of March, when a family emergency put this blog on hiatus, until the middle of July, when a funeral mass was held for my dad, my life was split almost evenly between my home in New York City and my parent's home in Central Florida. The emergency in March was an incident putting my father in the hospital, and it was followed by numerous diagnoses, the need for him to go into assisted living, and eventually him going back into the hospital, where he died — peacefully, with me, my mother, and my sister at his bedside. Back in March I anticipated, even with his diagnoses, to be helping him in various capacities for a few years, not just a few months. They were difficult and taxing months that found me as relieved as saddened when he passed; the obvious pain and frustration he felt are gone, but memories of him remain and in some ways are stronger and more prevalent now than before. Over those three months, I managed to eke out a half-dozen posts on this blog: a roundup of some books published during the first part of this year; some thoughts on the New York International Antiquarian Book Fair, which I managed to attend between trips; a couple work-related posts, one on self-publishing by architecture firms and the other featuring books from my trip to the Venice Architecture Biennale; a "cheater" revisiting an old post as an excuse to explore ChatGPT; and my first installment of "Book Briefs" this calendar year. That sporadic frequency will continue for the rest of the summer, as I take time to do things with my wife and daughter and just generally decompress. But one thing the last three months did, in the context of this first blog post in six weeks, was push me toward a local focus. So here I present two books on the phenomenon of supertall residential towers, the most high-profile ones found along 57th Street, aka "Billionaires' Row." Billionaires’ Row: Tycoons, High Rollers, and the Epic Race To Build the World’s Most Exclusive Skyscrapers by Katherine Clarke, published by Currency, June 2023 (Amazon / Bookshop) Sky-High: A Critique of NYC's Supertall Towers from Top to Bottom by Eric P. Nash, photography by Bruce Katz, published by Princeton Architectural Press, June 2023 (Amazon / Bookshop) In the prologue to Billionaires' Row, Wall Street Journal reporter Katherine Clarke describes the construction of 40 Wall Street, the Chrysler Building, and the Empire State Building nearly a full century ago as "a veritable race to the sky as wealthy titans of industry vied to build a succession of towers, each taller than the last." (It's a race recounted by Neal Bascomb in Higher: A Historic Race to the Sky and the Making of a City back in 2003.) The brief historical anecdote gives the new book an angle, one expressed clearly in its subtitle. Yet I have a hard time buying that the developers of One57 (Gary Barnett/Extell), 432 Park Avenue (Harry Macklowe and CIM Group), 111 West 57th Street (Michael Stern/JDS), 220 Central Park South (Steve Roth/Vornado), and Central Park Tower (also Barnett/Extell) were involved in any sort of race, figurative or otherwise. I've been paying attention to this handful of buildings along Billionaires' Row as long as Clarke has, though not nearly to the same in-depth and insider degree as her, I'll admit, yet I still struggle to find a correlation between these towers and the Manhattan office buildings from the 1920s and 30s. Yes, there is synergy in that each grouping was born from the circumstances of the time (architectural, technological, economic, etc.), but the only "race" I find now is not between the developers themselves, but between the developers and the market — the developers had to quickly sell their eight- and nine-digit aeries before the market for them dried up. If anything, the assemblage of these five towers sitting mainly along 57th Street, a wide street they exploited for unused FAR (floor-area ratio) and reshaped in the process, are less an example of competition and more so an instance of geographical synergy, like a row of car dealers along a busy thoroughfare. People looking for a behind-the-scenes look at the development of these Billionaires' Row towers will be very happy with Clarke's book. The focus is squarely on the four men listed above, the developers behind the five towers. Readers will learn a little bit about the architecture, interior design, engineering and other physical attributes of the towers, but they will learn a lot more about the legal and economic means of how each individual tower happened, as well as the personalities of those men and the people they had relationships with, both business and personal. I have given walking tours of 57th Street and other parts of the city where luxury residential towers are in abundance, and while I tend to focus on aspects of architecture, engineering, and zoning, I never forget to mention how much celebrities and other high-worth people pay for the units; slenderness ratio is exciting to some, but the most audible gasps come from patrons hearing about condos selling for tens or hundreds of millions of dollars. Similarly, Clarke knows her audience; she is attuned to the public's interest in money — plus how much people love to hear about bad things happening to rich people. So the book, a chronological account spanning just over a decade, has plenty of information on the money problems, leaks and creaks, lawsuits, and personal squabbles playing out over that time. If you like hearing that sort of thing, you'll love this book. Although I found Billionaires' Row at a used bookstore a few weeks ago, it was released just last month, exactly two weeks before Sky-High, by former New York Times writer Eric P. Nash. Was there a publishing race to get the first book about Manhattan's supertall towers for the super rich in print? I doubt it, especially since Nash's book has a wider scope than Clarke's, and his book is as much about the photographs by Bruce Katz as it is Nash's critical takes on a dozen 300-meter-plus towers, residential and otherwise, in Manhattan and Brooklyn. Also, the two books lag two years behind Andi Schmied's wonderful and artsy Private Views: A High-Rise Panorama of Manhattan (VI PER Gallery, 2021), arguably the first book on the phenomenon. Last year, well before it was published, an editor at Princeton Architecture Press sent me a preview of Sky-High for a potential blurb on the cover. It wasn't used (the book ended up without any blurbs), but this is what I wrote: "I don't know whether to join Eric P. Nash's fact-filled, opinion-laden chorus and decry some of the dozen supertalls that have reconfigured New York City’s skyline this century, or adore them all through Bruce Katz's loving wide-angle lens. All I know for sure is that this is a much-needed book." Now seeing the book in print, sent to me recently by the publisher, I stand by my statement and its implication that it's nigh impossible to reach any conclusions on the phenomenon of NYC skyscrapers this century when imbibing critical takes, mainly of the aesthetic variety, joined by architectural photography presenting the buildings in the best possible manner. No wonder the back-cover description calls it "part architectural guidebook and part critique." Nash's thirteen numbered chapters are grouped in three parts — "A Short History of the Tall Building in New York City," "Supertalls," and "Is Bigger Better?" — with Katz's documentation of the dozen towers inserted as project spreads with black backgrounds. The latter would seem to demarcate photo contributions from text, but more of Katz's photographs are provided alongside Nash's text, making the book more visual than textual. As such, the tug of war between verbal critique and visual praise is near constant. Unfortunately, in the last part of the book, when Nash states that "the real question skyscrapers of any height pose is [...] how they impact the quality of street life," very few photos of that condition, where a skyscraper meets the sidewalk, are provided — and we only see the good examples, including the pedestrian plaza next to One Vanderbilt. Perhaps this dearth is due to timing (the retail at the base of 111 West 57th is still empty, for instance, while its residential entrance on 58th Street sits behind scaffolding), but perhaps it's an inadvertent commentary on the fact these towers contribute very little to the quality of street life. Yes, 432 Park Avenue has a nice POPS between the tower and its detached retail component, but 220 Central Park South puts a private drop-off along 58th Street, opposite where Central Park Tower has an entrance to the pricey Nordstrom department store. Most of these Billionaires' Row towers put their loading docks along narrow 58th Street, but photos similar to those I captured recently would stand out like proverbial sore thumbs in this book. Instead, Nash references Edward Soja, Rebecca Solnit, Shoshna Zuboff, and Henri Lefebvre in a chapter in part three, when he quotes Elizabeth Diller, architect of the near-supertall at 15 Hudson Yards, as saying skyscrapers like 432 Park Avenue and 111 West 57th Street "damage the city fabric." If they do, visual evidence of it is hard to find in Sky-High.

The most recent numbered installment of "Book Briefs," the series of occasional posts featuring short first-hand descriptions of some of the numerous books that publishers send to me for consideration on this blog, was #48, back in December. I wasn't planning on continuing the series this year-of-doing-things-differently (or so I thought), but a couple of weeks ago I brought back the "Briefs" to play around with ChatGPT, which I had been hesitant to dive into but was told by numerous people that I MUST try it. At that time I also mentioned an in-progress "Brief" with eight books — here they are. Concrete in Switzerland: Histories from the Recent Past edited by Salvatore Aprea, Nicola Navone, Laurent Stalder and Sarah Nichols, published by EPFL Press in May 2022 (Amazon / Bookshop) Concrete in Switzerland is a companion publication to Beton, the exhibition held at S AM (Swiss Architecture Museum) in Basel from November 2021 to April 2022. In addition to the involvement of S AM, both the exhibition and the book boast three partners: the gta Archiv, ETH Zürich; the Archives de la construction moderne, EPF Lausanne (EPFL); and Archivio del Moderno dell’Academia di Architettura, Università della Svizzera italiana (USI). The editors from each of these three institutions — Salvatore Aprea (ETH), Nicola Navone (USI), and Laurent Stalder (EPFL) — also contributed one essay each among the book's thirteen essays: Aprea's contribution is about the famous Hennebique System; Navone's focuses, appropriately, on reinforced concrete architecture in Ticino; and Stalder traces about a century of technology's role in the Swiss pastoral, moving from Bruno Taut's Alpine Architecture to near the present day. Appropriately, Stalder's essay is first in the book, effectively serving as an overview or appetizer, if you will, for the essays that take deeper dives into individual subjects. Some standouts include: Silvia Berger Ziauddin's take on concrete bunkers, reminding me of my visit to Sasso San Gottardo; Lorenzo Stieger's essay on terraced hillside housing; Giulia Marino's presentation of the IGECO heavy prefabrication system; and Roberto Gargiani's piece on concrete in the early works of Herzog & de Meuron. This being a companion to an exhibition, the essays comprise about two-thirds of the book, the remainder filled by a lengthy visual essay, "Concrete Stories," by Sarah Nichols, curator of Beton. Her nearly 100-page contribution is broken down into shorter sections with such names as "Concrete is Rock," "Concrete is Energy," and "Concrete is Immaterial." The last shows how ideas around concrete are as important as the physical material itself. Urban Design in the 20th Century: A History by Tom Avermaete and Janina Gosseye, published by gta Verlag in January 2021 (Amazon) In its selection of Urban Design in the 20th Century as one of the ten recipients of a 2022 DAM Architectural Book Award, the jury described the book as "a handy and extensive" publication that is "an exciting, informative, and likewise uncluttered read, giving the complex mass of material a good structure and making it easy to consume." That is an apt description for the 100-plus urban design projects described through hundreds of illustrations across nine chapters spanning 440 pages. Organization is paramount, from the chronological-thematic structure of the chapters to the layout of said images (on black pages) and text (on white). Born from a course in urban design history taught by the authors at ETH Zurich, the book traces a history along the lines of what has been covered before (e.g., the books of Peter Hall and David Grahame Shane) but occasionally broadens the scope beyond a European center, and does it in a way that is appealing for students today: lots of images, large text, and bite-sized (sub)chapters. Today, one might expect a more culturally relevant take on the subject, but the authors point out in the book's coda that most developments in urban design the 20th century were "informed by a European point of view" and that telling a more global history would "undermine current attempts to decolonize history." The last point hints at some forthcoming scholarship that should flesh out histories like this one, presenting alternatives to familiar European perspectives. Modern Architecture in Japan by Manfredo Tafuri, edited by Mohsen Mostafavi, published by MACK in October 2022 (Amazon) Even though, as my collection of books has grown, my appetite for first editions has increased, I still have a soft spot for reprints. (It was one of the likes in my Valentine to architecture books, after all.) They allow hard-to-find, often prohibitively expensive books to be readily available once again and appreciated by new generations of audiences. Even if the ideas in an old book are dated, decisions regarding what merits reprinting point to some renewed interest in a subject or an author's take on a subject, among other things. A few months ago I happened upon a 1982 reprint of Ralph Adams Cram's Impressions of Japanese Architecture and the Allied Arts, first published in 1905 then revised in 1930; I had never heard of the book, but the fact it was reprinted and was relatively cheap led me to buy it. It has a little bit of overlap with one of the fall 2022 books MACK sent me, a handsome reprint of Manfredo Tafuri's Modern Architecture in Japan from 1964. The differences between the two books are as great as their similarities: Both are outsiders' views of Japan (Cram from the US, Tafuri from Italy), but the ensuing changes in the half-century between books meant Tafuri focused on modern architecture over Cram's exploration of temples, shrines, and other creations from previous centuries. (Only in the brief conclusion does Cram jump to the present and Frank Lloyd Wright's Imperial Hotel and the influence of European architecture on Japan.) Although Cram based his book, as the name indicates, on travels to Japan, curiously, when Tafuri wrote his guide to the country's modern architecture at the age of just 29, he had never even been to Japan! But the biggest difference, at least in terms of the reprints themselves, is that Tafuri's book was originally released in Italian, so the book put out by MACK is notable as the first English translation of his armchair guidebook. The nearly 60-year lag between original and translation means its importance is minor relative to Architecture and Utopia (just six years between the 1973 Italian original and English translation in 1979) or even Theories and History of Architecture (twelve years: 1968 and 1980). Still, Mohsen Mostafavi's preface argues for the relevance of Tafuri's book today "despite its reliance on secondary sources and its occasional inaccuracies," while a handful of essays following Tafuri's text put it in a greater context. A most interesting take is Tafuri writing the book as much to influence contemporary architecture in Italy as to understand it in Japan. Modern Architecture in Japan was part of a series edited by Leonardo Benevolo, in which other architects and writers wrote about the Soviet Union, Great Britain, Brazil, and a few European countries. I can't help but wonder if those books will find their way into English, or if Tafuri's book, thanks to the longevity of his name, will be the only one meriting a reprint. The Pliable Plane: The Wall as Surface in Sculpture and Architecture, 1945–75 by Penelope Curtis, published by MACK in October 2022 (Amazon) Just as MACK's translated reprint of Tafuri's book reminded me of an older book on Japan, the subject of Penelope Curtis's The Pliable Plane — the manipulation of the wall surface bridging art and architecture in the decades after WWII — made me think of another old book: Paul F. Damaz's Art in Latin American Architecture. I became aware of the 1963 book when writing 100 Years, 100 Buildings, using it as a reference on two of the buildings: Oscar Niemeyer's Saint Francis of Assisi Church at Pampulha (1947) and University City of Caracas by Carlos Raúl Villanueva (1953). Niemeyer actually wrote a preface for Damaz's book, and no wonder, considering the author called his church "the best instance of collaboration between an architect and artists"; the expressive azulejo artwork on the street facade is the most famous instance of many artistic contributions integrated with the church, outside and in. Are these or other examples of wall-heavy art in Damaz's survey also found in Curtis's book? Not that I could see. Her short yet very interesting book is limited to European and US examples, with an abundance of Henry Moore — no surprise, given her former role as director of the Henry Moore Institute. While some of the projects are very well known, Curtis examines them in atypical ways. Paul Rudolph's A&A Building at Yale (now Rudolph Hall), for instance, is bound to come to any architect's mind when considering wall surfaces, but Curtis focuses on the lesser-known sculptural plaster casts from classical architecture integrated into the hammered corduroy concrete walls. Part of the joy in the book, at least for me, was discovering previously unknown projects, a standout being the Mausoleum Fosse Ardeatine (1949) in Rome. Foundations of Urban Design by Marcel Smets, published by Actar Publishers in January 2023 (Amazon / Bookshop) The latest by Marcel Smets, whom I know of as the author, with Kelly Shannon, of the excellent The Landscape of Contemporary Infrastructure, is a short book with short texts that aim to "open up the core ideas of urban design to the wider public." The Foundations of the title are 29 numbered chapters (F01–F29) that consist of apparently oppositional yet complementary pairs that touch on organizational strategies (Ribbon/Cluster, Ladder/Star), urban spaces (Market Square/Parade Ground, Hole/Void), circulation corridors (Street/Road, Path/Avenue), waterways (Brook/Detch, River, Canal), and other less formal aspects of urban design (Use/Morphology, Creator/Curator), among other things. The short texts (none appeared to be more than four pages) are accompanied by pairs of images that capture the essence of Smets's lessons. Given the intended audience, the text is far from challenging and is further leavened by the illustrations, though I wouldn't go so far to say it's a stimulating read. Still, the book is a good introduction to urban design for students — and that wider public curious about the field. Spatial Infrastructure: Essays on Architectural Thinking as a Form of Knowledge by José Aragüez, published by Actar Publishers and Public Space in January 2023 (Amazon / Bookshop) Back in 2016, José Aragüez's The Building was released. I never saw the book back then, but I recently picked it up and, despite its occasional academic abstruseness, really like the collection of 43 brief, three-page theoretical takes on what the title indicates: buildings. Born from symposia at the Architectural Association in 2014, it reads a bit like TED Talks for architectural educators and theoreticians. Clearly not a followup, even though it does include the introductory essay from the earlier book, Aragüez's second book, Spatial Infrastructure, takes a different, longform approach, featuring just eight essays across roughly 150 pages (that's nearly 20 pages per essay, on average). The topics in the essays spanning from 2010 to 2022 are very much aligned with The Building, with heady theoretical takes grounded in discussions of real-world examples, such as Toyo Ito's Taichung Metropolitan Opera House in Taiwan (the subject of "Sponge Territory") and FOA's Yokohama Ferry Terminal among other buildings in the essay that lends the book its title. Em obras: história do vazio em Belo Horizonte (Under Construction: History of the Void in Belo Horizonte) by Carlos M. Teixeira, published by Romano Guerra Editora in 2022 (Amazon) Think of cities in Brazil and most likely the three most-populous ones spring to mind: Rio de Janeiro, São Paulo, and Brasilia. Sixth on the list of Brazilian cities by population, though right up top in the life of architect Carlos M. Teixeira, is Belo Horizonte, a not-too-small city of 2.5 million in Minas Gerais. The name of Teixeira's studio, Vazio S/A, translates as "empty" but refers to the voids in Belo Horizonte that have preoccupied him for decades. In my review of his 2012 monograph, Entre, I wrote how "the stagings and sets [of his performance-based projects] attempt to activate the leftover voids of his home city," using the second Topographical Amnesia as an example. For his latest, more thematically ambitious and chronologically sweeping book, Teixeira presents the 100-plus-year history of Belo Horizonte (it was founded in 1897) with a focus on everything that has not been built: "The city, fragmented and prosaic, accepted with no nostalgic sentiment and exalted as what is most important in the city." This atypical history is told through photographs — "anti-postcards" — and numbered texts (001–122) that are interspersed with the photos. (The English translation placed at the end of the book means some back-and-forth flipping is needed to see any relationships between image and text.) Architects outside Brazil will see something familiar when they reach number 82, circa 1947: Oscar Niemeyer's buildings at Pampulha, what Teixeira calls "the occupation of a suburban void." In 1994, Teixeira writes, when residents were give a referendum to select a symbol of the city, Niemeyer's Pampulha Church was in the running but, in the end, the Serra do Curral — a sprawling natural void at the southern boundary of the municipality — won with 270,000 votes. With that "victory," I can't think of a stronger argument for Teixeira's ongoing infatuation with the void in the city where he lives and works. Lina Bo Bardi: Material Ideologies edited by Monica Ponce de Leon, published by Princeton University School of Architecture in October 2022 (Amazon / Bookshop) The Womxn in Design and Architecture (WDA) formed at Princeton University School of Architecture in 2014, and three years later the graduate student group held its first annual conference, commemorating the one-year anniversary of Zaha Hadid’s passing. But it would be the second conference, Lina Bo Bardi: Material Ecologies, that became the first in WDA's Publication Series, published as a beautiful linen flexicover with numerous gatefolds among the numerous contributions coming out of the March 2018 conference. The conference had a three-part thematic structure (Concrete Brut, Natura, Material Re-Use) stemming from the "Material Ecologies" subtitle, and while the contents of the book follow the schedule of the conference's keynotes and panels, with two notable additions (Beatriz Colomina and Mario Gandelsonas), the book does not belabor the three themes, instead letting the essays stand out on their own merits. An obvious highlight is "Betwixt and Between" by Zeuler R. M. de A. Lima, author of an excellent 2013 monograph on Bo Bardi. Photo contributions by Veronika Kellndorfer ("Sprawling Nature") and Joana França ("Lina, In Situ") are stunning. Mike Cooter's "Artifacts of Work" is an unanticipated standout, one that translates a piece of one of Bo Bardi's buildings into an installation in an architecture exhibition. Kudos to CLANADA (Lana Cavar and Natasha Chandani) for the lovely design of the highly tactile book.

Last week I cobbled together eight books, some of which publishers had sent me more than a year ago, in an effort to write a "Better Late Than Never" installment of "Book Briefs," something I had done back in April 2018 with Book Briefs #35. But, sensing I would not be able to absorb the books quickly enough to get the post done in less than a week, I thought that revisiting that five-year-old post would be a great way of (finally) dipping into the timesaver that is AI, asking OpenAI's ChatGPT to write similar one-paragraph reviews and see what it came up with. So that's what I did. Specifically, I told ChatGPT to "Give a short, one-paragraph review of 'X Book' by Y author." Its output is featured below, in four of the six books that were part of Book Briefs #35, accompanied by my own "briefs" from 2018 and blurbs from the publishers. How do the reviews compare, my own vs. OpenAI? My takes are certainly more personal, with first-person commentary that isn't always germane to the book at hand but indicates where I'm coming from and what I find of interest and/or value. ChatGPT is, on the other hand, formulaic, with four sentences in a clearly repetitive structure for each review: statement of importance; two descriptive sentences; a closing statement indicating relevance to a particular audience. The AI "reviews" read well and have a clear position, but they are prescriptive, repetitive, and boring (so many rules of three!), especially when read in multiples, as here. I included the blurbs to see if OpenAI was drawing any phrases from them in shaping the reviews; that does not appear to be the case, nor does it appear that it used my "briefs" to formulate its speedy takes (each one took about five seconds to generate) on the books I gave it. Maybe ChatGPT is more effective in longer reviews, but this exercise does not lend any urgency to such an attempt on my part. African Modernism: The Architecture of Independence. Ghana, Senegal, Côte d'Ivoire, Kenya, Zambia edited by Manuel Herz, published by Park Books in 2015 (reprinted in 2023) (Amazon | Bookshop) Blurb: "In the 1950s and 1960s, most African countries gained independence from their respective colonial power. Architecture became one of the principal means by which the newly formed countries expressed their national identity. African Modernism investigates the close relationship between architecture and nation-building in Ghana, Senegal, Côte d’Ivoire, Kenya, and Zambia. It features one hundred buildings with brief descriptive texts, images, site plans, and selected floor plans and sections. The vast majority of images were newly taken by Iwan Baan and Alexia Webster for the book’s first edition. Their photographs document the buildings in their present state. Each country is portrayed in an introductory text and a timeline of historic events. Further essays on postcolonial Africa and specific aspects and topics, also illustrated with images and documents, round out this outstanding volume." JohnHILL: Although the size of a coffee table book and graced by full-page Iwan Baan photographs, African Modernism is a deep, scholarly work, not just something to flip through. Focused on the five subtitled African countries that gained their independence in the late 1950s and early 1960s (5 of 32 countries on the continent that did so), the book examines how architecture played a role in expressing their independence and modernity. Each country is given an introduction, a timeline, a photo spread by Baan, documentation of important buildings in photos (most by Baan) and words, and an in-depth academic essay. Though many buildings show signs of wear (not surprising, given the time between their realization and today), the architectural quality is astounding. That the buildings in the book are largely unknown points to a deficit in architectural education and publishing — and the need for more books like this one and Adjaye Africa Architecture. ChatGPT: "'African Modernism: The Architecture of Independence. Ghana, Senegal, Côte d'Ivoire, Kenya, Zambia' edited by Manuel Herz is a groundbreaking book that sheds light on the architectural legacy of African modernism. With a focus on five countries, the book explores the post-independence era and the architectural projects that emerged during this period of political and cultural transformation. The book's rich collection of photographs, plans, and essays provides valuable insight into the unique blend of local and international influences that shaped African modernist architecture. It is an essential resource for anyone interested in the intersection of architecture, history, and cultural identity in Africa." The Architecture of Paul Rudolph by Timothy M. Rohan, published by Yale University Press in 2014 (Amazon | Bookshop) Blurb (excerpt): "Based on extensive archival research and unpublished materials, The Architecture of Paul Rudolph is the first in-depth study of the architect, neglected since his postwar zenith. Author Timothy M. Rohan unearths the ideas that informed Rudolph’s architecture, from his Florida beach houses of the 1940s to his concrete buildings of the 1960s to his lesser-known East Asian skyscrapers of the 1990s. Situating Rudolph within the architectural discourse of his day, Rohan shows how Rudolph countered the perceived monotony of mid-century modernism with a dramatically expressive architecture for postwar America, exemplified by his Yale Art and Architecture Building of 1963, famously clad in corrugated concrete. The fascinating story of Rudolph’s spectacular rise and fall considerably deepens longstanding conceptions about postwar architecture: Rudolph emerges as a pivotal figure who anticipated new directions for architecture, ranging from postmodernism to sustainability." JohnHILL: A lot has happened in the four years since this book's publication [between 2014 and 2018]: Bertrand Goldberg's Prentice Women's Hospital in Chicago was demolished, Paul Rudolph's own Orange County Government Center was maligned through a partial demolition and insensitive addition, and the famed Robin Hood Gardens was demolished. A new exhibition, in fact, hones in on the demolition of Brutalist structures, something that books like Rohan's haven't been able to reverse. This isn't to say that saving Rudolph's buildings and others like it was Rohan's goal, but as Alexandra Lange points out in her 2014 review of The Architecture of Paul Rudolph, "it's a timely publication." That time seems to have slid by rapidly, but given that 2018 is the centennial of Rudolph's birth, we might just see a renewed appreciation in his work. If so, Rohan's thorough, well-researched book will surely play a part. ChatGPT: "'The Architecture of Paul Rudolph' by Timothy M. Rohan is a comprehensive and insightful exploration of the influential architect's work. Rohan delves into Rudolph's distinctive design language, innovative use of materials, and his significant contributions to modern architecture. Through detailed analysis and stunning visuals, the book captures the complexity and dynamism of Rudolph's buildings, showcasing his mastery of space, form, and light. This book serves as an invaluable resource for architects, students, and enthusiasts seeking a deeper understanding of Rudolph's architectural legacy and his lasting impact on the field." Brodsky & Utkin by Alexander Brodsky and Ilya Utkin, published by Princeton Architectural Press in 2015 (Amazon) Blurb: "From 1978 to 1993, the renowned Soviet 'paper architects' Alexander Brodsky and Ilya Utkin created an incredible collection of elaborate etchings depicting outlandish, often impossible, buildings and cityscapes. Funny, cerebral, and deeply human, their obsessively detailed work layers elements borrowed from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master plans, and other historical precedents in etchings of breathtaking complexity and beauty. Back by popular demand following the sold-out original 1991 edition and 2003 reprint, Brodsky & Utkin presents the sum of the architects' collaborative prints and adds new material, including an updated preface by the artists' gallery representative, Ron Feldman, a new introductory essay by architect Aleksandr Mergold, visual documentation of the duo's installation work, and rare personal photographs." JohnHILL: I'm not certain when I first learned about Russian Architects Alexander Brodsky and Ilya Utkin. Maybe it was in a 2005 blog post at Pruned. For sure it was well after the title Princeton Architectural Press put out on the duo in the early 1990s, as well as the 2003 first edition they put out and then printed again (with new preface) in 2015. The duo's intricate etchings are more art than architecture (they're represented by Feldman Gallery, after all), though many were submissions for architectural competitions hosted by Shinkenchiku and others in the 1980s. At 9x12 inches, the book isn't small, but with so many layers of information in their images it could easily be twice as large. ChatGPT: "'Brodsky & Utkin' by Alexander Brodsky and Ilya Utkin, published by Princeton Architectural Press, is a captivating and visually stunning retrospective of the renowned Russian architectural duo. The book showcases the imaginative and whimsical architectural drawings and etchings that Brodsky and Utkin are known for. With their unique blend of historical references, surrealism, and social commentary, their works transport readers to a dreamlike world of fantastical structures. This publication serves as a valuable tribute to their distinctive artistic vision and is a must-have for architecture enthusiasts, artists, and anyone captivated by the power of architectural illustration." Le Corbusier, Homme de Lettres by M. Christine Boyer, published by Princeton Architectural Press in 2010 (Amazon) Blurb (excerpt): "On his French identity card, legendary architect Le Corbusier listed his profession as 'Homme de Lettres' (Man of Letters). Celebrated for his architecture, which numbers fewer than sixty buildings, Le Corbusier also wrote more than fifty books, hundreds of articles, and thousands of letters. Le Corbusier, Homme de Lettres is the first in-depth study of Le Corbusier as a writer as well as an architect. [...] In Le Corbusier, Homme de Lettres author M. Christine Boyer focuses on the development of his writing style as it morphed from romantic prose to aphorisms and telegraphic bulletins. [...] Le Corbusier, Homme de Lettres shows for the first time how his voluminous output — books, diaries, letters, sketchbooks, travel notebooks, lecture transcriptions, exposition catalogs, journal articles — reflects not just a compulsion to write, but a passion for advancing his ideas about the relationship between architecture, urbanism, and society in a new machine age." JohnHILL: When I received this book way back in 2010, I had every intention of reading the whole thing — all 702 pages (780 pages with notes and index). Well, life got in the way and I only got through two of the book's twelve chapters before putting it down and, unfortunately, not returning to it again. I recall those hundred or so pages being, though not an easy read, certainly an enjoyable one. Boyer managed to mine Le Corbusier's original documents and discuss them in a way that pulls the reader along. A strong interest in Le Corbusier and his writings (the book focuses on 1907-1947) helps greatly; though there are plenty of architects out there meeting that criteria. ChatGPT: "'Le Corbusier, Homme de Lettres' by M. Christine Boyer is a compelling exploration of Le Corbusier's lesser-known role as a man of letters. Boyer sheds light on the prolific writings of the renowned architect, showcasing his literary talents and intellectual pursuits. Through a meticulous examination of his letters, essays, and manifestos, the book reveals the breadth and depth of Le Corbusier's ideas on architecture, urbanism, and society. This book is a valuable resource for scholars and enthusiasts seeking a deeper understanding of Le Corbusier's multifaceted contributions to the fields of architecture and literature." As an expansion of my partial revisiting of Book Briefs #35, below are catalogs of two exhibitions I wrote about for World-Architects back in 2022 (MoMA's The Project of Independence in February of that year, The Met's Bernd & Hilla Becher in July) but never got around to reviewing here. These are books I consulted after my initial visits and while writing my exhibition reviews, so I have some familiarity with them, albeit now from a distance of roughly a year or more. But given that I'd yet to articulate my thoughts on them, I decided to write "briefs" on them after inputting the same prompt into ChatGPT — a reverse of the reviews above. Will the AI-generated affect how I write about them? Should I adopt the style of ChatGPT in my one-paragraph reviews? Read on to see... The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985 edited by Martino Stierli, Anoma Pieris and Sean Anderson, published by the Museum of Modern Art in March 2022 (Amazon | Bookshop) Blurb (excerpt): "Anchored by a newly commissioned portfolio of images from architectural photographer Randhir Singh, this richly illustrated and meticulously researched catalogue features essays by the curators and leading scholars in the field on subjects such as the politics of concrete, institution-building, higher education, housing, infrastructure and industry, landscape, and design, as well as presentations of seventeen transformative projects from around the subcontinent. While several of the architects appearing in these pages have in recent years received monographic exhibitions, The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985 marks the first attempt to consider their work within the ideological frameworks of its creation and the political context of the region as a whole." ChatGPT: "'The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985' edited by Martino Stierli, Anoma Pieris, and Sean Anderson is a thought-provoking and enlightening anthology that explores the architectural landscape of South Asia during the post-independence era. Through a collection of essays, case studies, and visual documentation, the book examines the complex interplay between politics, identity, and architectural production in the region. It sheds light on the diverse range of architectural projects that emerged during this transformative period, offering valuable insights into the decolonization process and its impact on the built environment. This book is an essential resource for architects, historians, and anyone interested in the intersection of architecture, history, and postcolonial studies." JohnHILL: Museum of Modern Art curator Martino Stierli, in an interview at World-Architects that I edited ahead of the opening of The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985, described that exhibition as "a continuation of the 2018 exhibition, Toward A Concrete Utopia," subtitled Architecture in Yugoslavia, 1948–1980 and notably his first major show at MoMA. Stierli actually proposed the exhibition on India, Pakistan, Bangladesh, and Sri Lanka in his 2014 interview for the MoMA post, a clear sign that he sees the contemporary importance in "destabilizing the Western-centric canon of modern architectural history," one notably fostered by MoMA for decades. The catalog is as good as the exhibition was, with a portfolio of contemporary photographs by Randhir Singh, essays by architects and scholars (on cities, housing, infrastructure, education, and other subjects), and case studies on more than a dozen buildings, from Antonin Raymond' s Golconde dormitory in Pondicherry, India, to Yasmeen Lari's Anguri Bagh Housing in Lahore, Pakistan. As befits Stierli, an architectural historian, the catalog is more thorough and wide-ranging than the exhibition it accompanied. Bernd & Hilla Becher by Jeff L. Rosenheim, published by the Metropolitan Museum of Art in August 2022 (Amazon / Bookshop) Blurb: "For more than five decades, Bernd (1931–2007) and Hilla (1934–2015) Becher collaborated on photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features the Bechers’ quintessential pictures, which present water towers, gas tanks, blast furnaces, and more as sculptural objects. Beyond the Bechers’ iconic Typologies, the book includes Bernd’s early drawings, Hilla’s independent photographs, and excerpts from their notes, sketchbooks, and journals. The book’s authors offer new insights into the development of the artists’ process, their work’s conceptual underpinnings, the photographers’ relationship to deindustrialization, and the artists’ legacy. An essay by award-winning cultural historian Lucy Sante and an interview with Max Becher, the artists’ son, make this volume an unrivaled look into the Bechers’ art alongside their career, life, and subjects." ChatGPT: "'Bernd & Hilla Becher' by Jeff L. Rosenheim is a captivating tribute to the renowned German photographic duo known for their systematic documentation of industrial architecture. The book delves into the Bechers' distinctive approach to capturing the beauty and functionality of industrial structures, presenting their work as a unique blend of art and documentary photography. With insightful essays, stunning reproductions of their iconic images, and a comprehensive overview of their artistic journey, this book is an essential resource for photography enthusiasts, art historians, and anyone fascinated by the power of visual storytelling." JohnHILL: In the last of six numbered galleries of the Bernd & Hilla Becher exhibition at The Met last year, a glass vitrine displayed a selection of books published by the photographers in their lifetime. I wrote in my review of the exhibition that "books [were] an integral part of their career — the primary means of making their work accessible to artists, architects, historians, and the general public." Their books, furthermore, are highly prized — expensive even as reprints, and somewhat scarce — so any book on the Bechers, in my mind, is welcome, especially this one by Met curator Jeff L. Rosenheim. Highlights of the beautifully produced catalog include Gabrielle Conrath-Scholl's essay on the Bechers' documentation of Zeche Concordia between 1967 and 1970; Rosenheim's interview with Max, the Bechers' son; and 120 pages of plates that include a couple gatefolds. The plates may not be a substitute for seeing the Bechers' photographs — larger — in a gallery setting, but their accompaniments make them that as valuable here.

Two weeks ago I was in Venice for the Biennale, covering the 18th International Architecture Exhibition curated by Lesley Lokko for World-Architects. It was my first trip back to Venice since the 2018 Biennale, which was the 16th edition and was curated by Yvonne Farrell and Shelley McNamara of Grafton Architects. Like other writers outside of Europe, the interim edition, though delayed from 2020 to 2021 due the pandemic, still opened at a time when international travel was difficult. I passed on it, as many others did. My 2018 trip yielded a pair of "book briefs" on this blog with two handfuls of catalogs from the main exhibition, some from the national pavilions, and some on collateral events. Although a similar number of books from the current Biennale is featured below, it felt this year that print catalogs were slimmer than in years past. For instance, the national pavilions were focused more on digital than print publications, making them available via QR codes and offering to ship print versions later. And only one pavilion, Bahrain, had a large stack of books that whittled down over the course of the two-day vernissage. The FOODSCAPES book in the Spanish Pavilion I have a hard time passing up any printed catalog, but I could only carry so much with me, so the below list is limited to the ones I felt were important enough to bring home with me. What's missing? The most exceptional printed catalog I came across was for the Spanish Pavilion, FOODSCAPES, whose website indicates part of the exhibition includes "an archive in the form of a recipe book." The book I flipped through on the large table in the middle of the venue (photo above) was large, the size of an atlas; its large pages were full of essays, images, architectural projects, and other content related to the theme. But only a newsprint was distributed during the vernissage and, while the Biennale bookshop was selling catalogs to other pavilions, Spain was not one of them. For now, this book remains a mystery. The days leading up to the opening of the Biennale on May 20 were also packed with book launches, some that I signed up for ahead of time but, for one reason or another, didn't make it to, and others that I happened upon as I trekked the Biennale grounds or ventured around Venice. These books I missed include: Sketches on Everlasting Plastics, the first iteration of an ongoing editorial intervention around the US Pavilion exhibition Everlasting Plastics; Architecture in Islamic Countries: Selections from the Catalogue for the Second International Exhibition of Architecture Venice 1982/83, the first English translation of the Italian catalog for the second Venice Architecture Biennale, directed by Paolo Portoghesi; and the launch of the first volume of Khōrein: Journal for Architecture and Philosophy. Main Exhibition: Biennale Architettura 2023: The Laboratory of the Future edited by Lesley Lokko, published by Silvana Editoriale (Amazon / Bookshop) As seems to be the norm in Biennales this century, the catalog for the International Architecture Exhibition is published in two sizes (small and large) and, at least in the large size, in two volumes: one volume devoted to the main exhibition and one volume cataloging the dozens of national pavilions. The latter for this year is the slimmer volume (176 pages) and is basically unnecessary, given the numerous standalone catalogs for the national pavilions and the only cursory, preliminary content available for each contribution. The volume basically serves as a reference, with two-page spreads providing a curatorial statement, list of contributors, and an image giving a sense of the theme for each pavilion and collateral event. On the other hand, the longer, 440-page volume devoted to Lesley Lokko's exhibition, The Laboratory of the Future, is more than necessary. Not only does it provide similar statements, team information, and images on the 89 contributors to the exhibition, it helpfully presents them in the multifaceted structure Lokko set up for the exhibition. Within the theme are a handful of sections (Force Majeure, Dangerous Liaisons, Curator's Special Projects, etc.) that are split between the Giardini and Arsenale venues but also intertwined. The catalog presents the contributions within this thematic structure and in alphabetical order; plans of the venues with numbered keys indicate their physical location. Short essays and images inserted between the color-coded sections round out the beautifully produced volume. National Pavilions: Cloud-to-ground edited by Oren Eldar, Edith Kofsky and Hadas Maor, published by Park Books (Amazon / Bookshop) Open for Maintenance – Wegen Umbau geöffnet edited by Anh-Linh Ngo, published by ARCH+ / Spector Books (Amazon / Bookshop) Partecipazione / Beteiligung edited by AKT and Hermann Czech, published by Luftschacht Verlag (Amazon / Bookshop) Walkers in Amazonia: The Calendar Project edited by Alexia León and Lucho Marcial, published by Patronato Cultural del Peru (PDF download) With just two days of the vernissage to take in the large main exhibition, dozens of national pavilions, and even more collateral events and other exhibitions around the city — and with most visitors to the Biennale spending a day or two there anyways — catalogs are valuable for allowing visitors to devote more time to exhibits of interest. They're particularly valuable for the national pavilions, which are major efforts that often treat the catalogs as extensions of the materials on display. A case in point is Israel's pavilion, cloud-to-ground, which is empty this year and just consists of a few models of buildings on stands in the adjacent courtyard. The concrete models depict old telephone exchanges that are, in reality like the Israel Pavilion, closed off, symbols of how technological change leads to a residue of "black boxes" and provoke the obvious question: What will happen to today's server farms tomorrow, when their technology is obsolete? If the pavilion is slim on information, the book is thorough — and lovely, in its own way — overloaded with essays, interviews, a 112-page "telephone exchanges index," an index of data centers, and much more content. Brazil and Great Britain won the jury's awards for national pavilions, but two of my favorites didn't: Austria and Germany. Though markedly different in content, each pavilion is about connecting to the Venetian context; Austria does it through a proposal to physically link its pavilion to the Sant'Elena neighborhood just beyond its walls, and Germany does it by turning its pavilion into a materials depot and workshop for Venetian students and craftspeople to use scrap from the 2022 Venice Art Biennale for school and building projects. Austria's bilingual catalog gives a background on the Biennale's gradual encroachment into Sant'Elena as the reasoning behind the temporary footbridge the curators wanted to build for this year's exhibition; the book also catalogs the expansion of the Biennale this century into the rest of the city via small venues and has essays on the right to the city and other relevant topics. It's a strong, politically charged idea — no wonder the Biennale and other authorities shot down the proposed temporary bridge. The German Pavilion is curated in part by the editors of ARCH+, so logically the catalog to Open for Maintenance – Wegen Umbau geöffnet is published by the German architecture magazine; it has been released in separate German and English issues, the latter done with Spector Books. The 208-page matte-paper issue, number 252, comes with a 24-page glossy insert that explains the premise of the pavilion and documents its realization through color photographs. The various pieces of the pavilion — exterior ramp, material repository, workshop, kitchenette, waterless toilet, and meeting space — are both illustrative and functioning parts of the circular economy promoted by the curators. The numerous contributions to the issue proper address everything from maintenance and care to race and gender, from the politics of disability to squatting and the right to the city. The issue even has built projects, set off from the rest on gray pages, that follow from the pavilion's theme. Last of the national pavilion catalogs I brought home is Walkers in Amazonia: The Calendar Project, Peru's contribution to the Biennale. Housed in a smallish building at the Arsenale alongside a few other nations that don't have their own pavilions in the Giardini, Walkers in Amazonia is structured as an A-frame displaying colorful calendars created by indigenous communities in the Peruvian jungle. The catalog contains all of those calendars on glossy pages, but at a smaller size that means many of the words accompanying the drawings are too small to read (they're all in Spanish, obviously, but still). The calendars clearly express a circular understanding of time that is rooted in natural cycles, of reciprocally living in and caring for the jungle. Coincidentally, I met architect Marta Maccaglia, who was in town to accept the inaugural divia award (see below) for the work she's been doing in Peru for about a decade; she told me how happy she was to see the Peruvian jungle as the subject of the pavilion, especially its expression in the colorful circular calendars. Elsewhere in Venice: divia award 2023: Diversity in Architecture edited by Ursula Schwitalla and Christiane Fath, published by Hatje Cantz (Amazon) Kengo Kuma: Onomatopoeia Architecture edited by Elena Caldara, published by Dario Cimorelli Editore Quaderns Biennale, 2023: Following the Fish edited by Daniel Cid, Francesc Pla and Eva Serrats, published by Col·legi d'Arquitectes de Catalunya (COAC) Zero Gravity Urbanism: Principles for a New Livability published by NEOM La Biennale di Venezia has a structure that is clear but can be confusing for people visiting Venice during the Biennale — which is about half of every year, when considered between the alternating art and architecture exhibitions. The official exhibitions and events for the Venice Architecture Biennale consist of the International Architecture Exhibition (the one curated by Lesley Lokko this year), the national pavilions (in the Giardini, traditionally, but also in the Arsenale), special projects like V&A's Applied Arts Pavilion, and collateral events that are distributed around the city. But many unofficial exhibitions and events overlap with the Biennale, taking advantage of the people visiting the city to look at architecture exhibitions but also giving the impression that any exhibition in Venice in that time is part of the Biennale. Of these four books, only one is for an official Biennale event. One of the just nine collateral events in this year's Biennale is Catalonia in Venice_ Following the Fish, which is strongly aligned with Lesley Lokko's exhibition. (National pavilions, or in this case a regional collateral event, don't need to follow the theme of the main exhibition, but they have every right to — and often they do.) It looks at the community of vendors ("manters") in Barcelona who traveled there from Senegal for better opportunities, but instead of being able to ply their trades they are left to hustle cheap wares on the sidewalks, always on the lookout for police ready to arrest them. The story is more complicated than this description, but the exhibition bravely addresses the racism the manters confront on a daily basis; and it reveals to visitors the unseen or ignored community that the curators have formed an alliance with, one aimed at much-needed reparations. Architecturally, the pavilion includes some small-scale solutions for community places in Barcelona, but the catalog focuses on texts that contextualize the complex issue. Want an experience that is the near-opposite of Following the Fish? Head to Abbazia di San Gregorio and the over-the-top, non-Biennale exhibition of The Line and other NEOM projects. Zero Gravity Urbanism—Principles for a New Livability is, I wrote, more marketing than culture: numerous models of various scales for The Line, the inane — or it it insane? — proposal for a 170-km-long "city" in the Saudi Arabian desert that would house 9 million people and somehow be a model for sustainable living. I'll admit that the models on display are impressive, and the architect in me who was educated in the early 1990s liked seeing designs that were almost plucked from the decade ... but this is irresponsible planning, to say the least. Yet, with the country's deep pockets and architects willing to go along with it, at least a portion of it is being realized: The Hidden Marina, clearly catering to the super rich and their vessels. The catalog I was able to get a hold of is "not for sale," per its insides, but like the exhibition it's more marketing than anything else of value. Not far from the NEOM exhibition, at the Berührungspunkte venue along the Grand Canal, the inaugural divia award was celebrated the Friday of the vernissage. The event was not the unveiling of the winner, Marta Maccaglia, which had taken place a couple weeks prior in Berlin, but a celebration of the award taking place during the Biennale and the distribution of a few copies of the book on the award. (World-Architects is a media partner for divia, which is short of Diversity in Architecture, so I was able to get a copy.) The book is slim, at less than 100 pages, but is very well done, from its red cover boards to the color photos with projects of the winner and finalists, and interviews with the same. While the inaugural award created by Ursula Schwitalla and Christiane Fath is focused on women in architecture, future iterations of the award are supposed to branch out to encompass other areas of diversity within the profession. Directly across the Grand Canal from Berührungspunkte is Palazzo Franchetti, a venue for Portugal's national pavilion but also host to an exhibition of cultural projects underway in Qatar (almost as questionable as NEOM) and a sizable monographic exhibition on Kengo Kuma. Onomatopoeia Architecture, which I'll be reviewing for World-Architects in the coming weeks, is a pleasing show, with beautiful models of Kuma's buildings sitting in the palazzo's lushly appointed rooms. The displays are accompanied by two installations: a wooden structure at the entrance to the exhibition on the piano nobile and a larger aluminum piece in the garden overlooking the Grand Canal and the Accademia Bridge. The catalog isn't a particularly deep exploration of Kuma's buildings, but it does a good job of articulating the ideas behind the Japanese architect's "onomatopoeia architecture."

Over at World-Architects I wrote about two self-published books recently published by BNIM and KPF: ALL - The Tom and Ruth Harkin Center by BNIM Design in Detail by Kohn Pedersen Fox The "Found" feature also includes responses to a few questions on why the firms opted to self-publish rather than work with publishers on these books.

This year's New York International Antiquarian Book Fair is my third, following the 2022 book fair and, just days before lockdown, the 2020 book fair. Three hardly makes me an expert, even in my specialization of architecture books, but it does help with gauging the value given to books on the subject and getting a sense of how architecture books are seen within the wider rare books market. Generally, "rare" equates with "old" first editions that have signatures and, in some cases, limited print runs. The last, in the realm of architecture, points to anything pre-capital-M-modern but also, ironically, architecture books in general, since they tend to have limited print runs compared to fiction — compared to anything but artist books, really — and usually just one printing. But the small print runs of architecture books do not equate to high asking prices, as could be grasped by the smattering of architecture books that I came across at the 2023 edition of the New York International Antiquarian Book Fair — at the Park Avenue Armory until Sunday. The ones on display are a narrow bunch, tending almost exclusively toward big-name architects from the 20th century (Le Corbusier, Frank Lloyd Wright, Venturi Scott Brown) and old Europeans (Alberti, Palladio, Vitrivius, Piranesi). Along these lines, below are some things I learned while browsing the booths at this year's book fair trying to find some architectural gems. Lesson 1: Corbu is (still) king. If one architect appeared more than any other in my quick scan of the booksellers' offerings yesterday afternoon, it was definitely Le Corbusier; he made roughly fifty books in his lifetime, so that's hardly a surprise. It also helps that it's been a half-century since his death and, even with a lot of criticism of his legacy in recent years, he seems more popular than ever in rare book circles. A few of the Corbu books I came across: Johnson Rare Books & Archives has a first edition of Des Canons, Des Munitions? Merci! Des Logis... S.V.P. from 1937, complete with a typed signed letter by Corbu. It is going for $7,500. Ursus Books is selling an "incredibly rare first edition of Le Corbusier's legendary Farbenklaviatur [Color Keyboards ...] the first of the two collections of colors which he designed for the Salubra wallpaper company" in 1931. Birkhäuser did a reproduction about 25 years ago that can be found for a few hundred dollars, but a first edition at Ursus will put you back $22,500. Those offerings pale in comparison to one of the 250 copies of La Poème de l'Angle Droit from 1955; Bernett Penka Rare Books on the Arts and Visual Culture has it, complete with an original case, for $50,000. Lesson 2: Old + European = Rare + Valuable. While walking the aisles of the fair, it felt at times that "architecture" was limited to old treatises, pattern books, etchings, and the like, all coming from Europe centuries ago. Large folios opened to drawings were in many glass cases, standing out as skilled and (once) influential creations but also anachronistic images of what many people think buildings should be: classical. Traditionally, architecture libraries — be they institutional, professional, or private — have been practical: providing guidance and inspiration for architects. Outside of a few architectural historians, that's not the case with books like these, which are prized for their age, scarcity, and beauty, not their practicality to architects. And even if architects still used them, such as those at the Institute of Classical Architecture & Art, they'd probably use reprints rather than valuable 500-year-old originals. Ursus Books makes another appearance here, this time with a portfolio (ca. 1810) of 24 plates by Antoine Joseph Gaitte of Claude Nicholas Ledoux's 18th-century toll-gates in Paris. Price: $8,500. Books — or, more accurately, scrolls — of Vitruvius's foundational text on architecture, De architectura, don't exist, so later Renaissance versions of it are prized, such as this one edited by Fra Giovanni Tacuino in 1511. Erasmushaus is selling it for $65,000. (The Basel-based bookseller also has a first edition of Palladio's Quattro Libri for $66,000.) The enduring legacy of Giovanni Battista Piranesi is evident in "The Grand Tour" booth of Mayfair Rare Books & Manuscripts, which has a folio with 20 etched plates of Paestum (ca. 1778) going for €25,000. Lesson 3: Architects love certain artists and designers. Audience is always important when it comes to book sales. If we lump architects together as one audience, I'd argue that they purchase books outside of architecture as often as they amass books on architecture. Books on art and design are high among the former, with very particular artists and designers — ones with shared affinities for form, space, texture, etc. — standing out over others. A couple are below, plus one surprise (to me). In his lifetime Massimo Vignelli designed many architecture books, though in NYC he is known for his redesign of the MTA subway map in the 1970s. Never widely implemented, the Vignelli Map made a comeback this century for the MTA's Weekender website, and in recent years I've seen it popping up in stations. Still, seeing an original map from 1978 at Geographicus Rare Antique Maps made me stop in my tracks (no pun intended). How much? $7,500. Architects love artists who trained as architects, and right up top is Gordon Matta-Clark, who sliced and cut open buildings, documenting the transient (de)constructions in photographs. A book of his I'd heard about but hadn't seen in person is Walls Paper, which the artist made from photographs of partially demolished buildings in the Bronx in the early 1970s (he died in 1978 at just 35 years old). He colored the b/w photos and then cut the pages in the middle so juxtapositions are created as one flips through it. Two copies were on display at the fair: at Sims Reed Ltd. ($5,000) and Jeff Hirsch Books ($3,000). Who is this Utopian architectural designer that Vivien Greene supposedly called the "Edgar Allan Poe of Architecture"? I'd never heard of Albert Trachsel before coming across this signed copy of Les Fêtes réelles, an "architectural poem" he made in 1897. Martyan Lan is selling it for $9,500. Lesson 4: Learning from Las Vegas is the architect's "one book." If there is one book today that every architect should have, it's not Le Corbusier's Vers une architecture or Koolhaas and company's S,M,L,XL or even Christopher Alexander's A Pattern Language. It's Learning from Las Vegas by Robert Venturi, Denise Scott Brown, and Steven Izenour. (No explanation needed on its importance and influence, I hope, but here's something I wrote about it five years ago.) Heck, most architects already have the book, but I'm referring to the 1972 first edition, not the 1977 paperback. It's big, expensive (even the facsimile edition put out by MIT Press in 2017 is $100), and rare. I'm lucky enough to have a first edition, but mine is lacking the glassine jacket that Johnson Rare Books & Archives has on display next to Corbusier's Munitions. That's not an original box at right, but inside the book are the authors' signatures, which brings the price to $3,000.