Architecture

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A low-key restaurant has opened in a secluded residential area in Yoyogi. It is located where a small cafe and grocery store, "FarmMart & Friends," that we previously designed had been. In a newly rented corner of the space, a small, special place where strangers could sit side by side and enjoy a meal was born.

© Tetsuya Ito architects: Jo Nagasaka architects: Schemata Architects Project Year: 2024 Photographs: Tetsuya Ito Area: 46.0 m2 Read more »

The cabins are located 1,650 metres above sea level, just outside the Ile Alatau National Park, 25 kilometres south of Almaty, on the northern slope of Trans-Ili Alatau in Kazakhstan. The client's family decided to build two guest cabins for their friends in order to showcase the magnificent highland landscapes of the Kazakh Tien Shan. The idea behind the project was to create a warm and welcoming place while safeguarding nature. Today, global trends celebrate high-end comforts, but this Central Asian land preserves ancient nomadic traditions. The clients and the architect, Arthur Kariev, believe that for the modern urban dweller, true luxury lies in creating an opportunity to enjoy nature without disturbing the ecosystem, retrace one's roots in everyday life, and spend quality time with the near and dear ones. 

© Ilya Ivanov architects: Arthur Kariev Architects Location: Almaty Region, Beskainar Village, Kazakhstan Project Year: 2025 Photographs: Ilya Ivanov Area: 75.3 m2 Read more »

Seriema House is located in a bucolic refuge on the outskirts of Belo Horizonte. To access it, you must cross a mountain range, a journey that marks a transition. By leaving behind the noise of the city, visitors enter a serene environment, fully integrated with nature.

© Luisa Lage architects: TETRO Arquitetura Location: Brumadinho, Minas Gerais, Brazil Project Year: 2025 Photograph: Luisa Lage Area: 350.0 m2 Read more »

Skaistakalnis Park is the oldest park in Panevėžys, Lithuania. Set in a scenic landscape along the bend of the Nevežis River, the park features hilly, wooded areas, small streams, and ponds. The architectural team "PUPA / Life Over Space" redesigned the park to enhance its beauty and accessibility. New bridges and paths improved access to previously hidden areas, while new activity zones, refreshed greenery, and increased biodiversity made the park more enjoyable for citizens.

© Aistė Rakauskaitė architects: PUPA Life Over Space Location: J. Biliūno g. 3, Panevėžys, 36102, Lithuania Project Year: 2023 Photographs: Aistė Rakauskaitė Photographs: Norbert Tukaj Area: 297000.0 m2 Read more »

Not a Rural House highlights an Italian regulatory paradox. An old, crumbling barn to be demolished constrains the shape and height of the new house, forced into the outline of the old ruin. The result is a "fake," a contemporary home with the appearance of a historic one. Memory and history are thus reduced to a blind reiteration of traditional façade finishes or ratios, typical of a time gone by and offspring of abandoned building techniques. If regulations impose a fake rural house, a non-rural house indeed, dressed up in the costume of tradition, architecture has the task of declaring its true nature, unmasking the " make-up " of forgery.

© Lorenzo Zandri architects: AACM - Atelier Architettura Chinello Morandi Location: San Giorgio in Bosco, Padova, Italy Project Year: 2024 Photographs: Lorenzo Zandri Photographs: AACM - Atelier Architettura Chinello Morandi Read more »

The modern world is disconnected. Online interactions dominate the daily lives of people across the world. This shift is not just a result of the rise of the internet, but also a stark reflection of the decline of public spaces, particularly third places. Third places, once essential for promoting community and social cohesion, have evolved drastically over the past few decades. In today's commercialized landscape, third places face plenty of demands from users and designers alike, calling for a need to reconsider their accessibility and purpose.

Media Library [Third-Place] in Thionville / Dominique Coulon & associés. Image © Eugeni PONS The modern world is disconnected. Online interactions dominate the daily lives of people across the world. This shift is not just a result of the rise of the internet, but also a stark reflection of the decline of public spaces, particularly third places. Third places, once essential for promoting community and social cohesion, have evolved drastically over the past few decades. In today's commercialized landscape, third places face plenty of demands from users and designers alike, calling for a need to reconsider their accessibility and purpose. Read more »

Bohumil Coffee opened in Seoul, South Korea, in May 2023. Since the summer of 2024, it has also operated as Bohumil sendagaya in the corner of Schemata Architect's office in Tokyo. Bohumil Coffee in Seoul is located in an old reinforced concrete building in Seongsu, a former factory district that has transformed into a trendy area with cafes, shops, and galleries. However, the building was slated for demolition and reconstruction, and the owner, Mr. Kim, was looking for a place to open a temporary shop while reconstruction was underway.

© Takeshi Abe architects: Jo Nagasaka architects: Schemata Architects Project Year: 2024 Photographs: Takeshi Abe Area: 25.0 m2 Read more »

The Lithuanian Pavilion at the 2025 Venice Architecture Biennale presents Archi / Tree / tecture, a project by the National Architects Association. Commissioned by Juratė Tutlyte and curated by architect Gintaras Balčytis, the exhibition invites architects, students, communities, and visitors to reflect on the deep connections between architecture and urban nature. It positions the discipline as an interpretive medium that reveals the layered relationships shaping our cities, which in turn reflect these dynamic interactions. The proposal evokes an urban memory rooted in landscapes where fields and trees once stood, introducing the dimension of time into discussions on city ecosystems, sustainability, and resilience. The exhibition, an indoor installation designed by architects Paulius Vaitiekūnas, Andrius Pukis, and Vika Pranaitytė, will be set within the Church of Santa Maria dei Derelitti. The audiovisual and light installation in the pavilion was designed by the interdisciplinary art duo Lina Pranaitytė and Urtė Pakers, while the sculptural component of the installation was created by Kęstutis Lanauskas.

Concept of Lithuanian Pavilion Exhibition, 2025. Digital rendering by Visual Phenomena Studies. Image courtesy of Architects Association of Lithuania.. Image © Visual Phenomena Studies The Lithuanian Pavilion at the 2025 Venice Architecture Biennale presents Archi / Tree / tecture, a project by the National Architects Association. Commissioned by Juratė Tutlyte and curated by architect Gintaras Balčytis, the exhibition invites architects, students, communities, and visitors to reflect on the deep connections between architecture and urban nature. It positions the discipline as an interpretive medium that reveals the layered relationships shaping our cities, which in turn reflect these dynamic interactions. The proposal evokes an urban memory rooted in landscapes where fields and trees once stood, introducing the dimension of time into discussions on city ecosystems, sustainability, and resilience. The exhibition, an indoor installation designed by architects Paulius Vaitiekūnas, Andrius Pukis, and Vika Pranaitytė, will be set within the Church of Santa Maria dei Derelitti. The audiovisual and light installation in the pavilion was designed by the interdisciplinary art duo Lina Pranaitytė and Urtė Pakers, while the sculptural component of the installation was created by Kęstutis Lanauskas. Read more »

Integration - Located in a village in Paredes, with river Tâmega as a backdrop, Casa da Levada blends into the rural landscape where it is situated, featuring a design that integrates architecture with the surrounding nature. An architecture that evokes the idea of a built natural environment, an architecture that arises from the very material of which the site is made. The shape of the house is molded by the terrain, creating a visual and physical continuity between the building and the natural environment.

© Ivo Tavares Studio architects: Tsou Arquitectos Location: Gondeiro Street, Penafiel, Portugal Project Year: 2024 Photographs: Ivo Tavares Studio Area: 3229 ft2 Read more »

Dutch architecture firm MVRDV has won the competition to design a new multifunctional market and food hall in Zhubei, Taiwan. Developed in collaboration with local firm EKUO, the project, referred to as the "Market Cube" or "River Bank 1," aims to redefine the traditional market building through a vertically layered, highly adaptable structure. Positioned along the Touqian River at a prominent gateway between Zhubei and neighboring Hsinchu, the building is set to become a major civic destination.

© MVRDV Dutch architecture firm MVRDV has won the competition to design a new multifunctional market and food hall in Zhubei, Taiwan. Developed in collaboration with local firm EKUO, the project, referred to as the "Market Cube" or "River Bank 1," aims to redefine the traditional market building through a vertically layered, highly adaptable structure. Positioned along the Touqian River at a prominent gateway between Zhubei and neighboring Hsinchu, the building is set to become a major civic destination. Read more »

It shouldn't be too surprising that architectural concepts were traveling around the globe long before the online spread of information. While many regions share certain historical events and hence references (such as colonization and the mid-20th-century independence movement/ turn of political systems), others might have simply developed parallel solutions to similar climates and material availability. Additionally, it was only natural that with the dissemination of a more uniform architectural pedagogy acquired while studying abroad, followed by the internet boom, we would find almost twin projects from every corner of the world. While these might look nearly identical from some angles, they might bear different layers and stories. Then again, they might also display the same reasoning and prompts shared by counterparts from across the seas.

Redux House / studio mk27 © Fernando Guerra | FG+SG; Parikrama House / SPASM Design Architects © Umang Shah It shouldn't be too surprising that architectural concepts were traveling around the globe long before the online spread of information. While many regions share certain historical events and hence references (such as colonization and the mid-20th-century independence movement/ turn of political systems), others might have simply developed parallel solutions to similar climates and material availability. Additionally, it was only natural that with the dissemination of a more uniform architectural pedagogy acquired while studying abroad, followed by the internet boom, we would find almost twin projects from every corner of the world. While these might look nearly identical from some angles, they might bear different layers and stories. Then again, they might also display the same reasoning and prompts shared by counterparts from across the seas. Read more »

Integrating natural elements into architectural design has long been a fundamental pursuit in creating comfortable, sustainable environments that enhance both individual well-being and the relationship between buildings and their surrounding context. In areas with vast landscapes, incorporating natural elements is essential for seamlessly connecting architecture with its site. Conversely, in dense urban environments dominated by built structures, introducing greenery becomes also increasingly vital, reintroducing nature into the so-called "concrete jungle."

Zaishui Art Museum / junya ishigami + associates. Image © Stanley Fung Integrating natural elements into architectural design has long been a fundamental pursuit in creating comfortable, sustainable environments that enhance both individual well-being and the relationship between buildings and their surrounding context. In areas with vast landscapes, incorporating natural elements is essential for seamlessly connecting architecture with its site. Conversely, in dense urban environments dominated by built structures, introducing greenery becomes also increasingly vital, reintroducing nature into the so-called "concrete jungle." However, beyond conventional landscape features—such as water fountains, green walls, gardens, or courtyards—architects are redefining what it means to build with nature. The focus has shifted toward deeply integrating architecture with its natural surroundings, creating immersive spatial experiences that blur the boundaries between the built and the organic - in a way, "taming" nature. When successfully executed, these designs go beyond fostering well-being or promoting a healthy lifestyle; they evoke a profound sense of tranquility, power, and harmony, transforming the way we perceive and inhabit space. Read more »

Located on the outskirts of a very small village in the Bolognese Apennines, at an altitude of 750 meters, the house is set within a landscape of a distinctly agricultural character. The project was conceived with the aim of finding a balance between the region's traditional building techniques and a contemporary architectural language.

© Marcello Mariana architects: LADO architetti Location: Loiano, Bologna, Italy Project Year: 2023 Photographs: Marcello Mariana Area: 150.0 m2 Read more »

The riverfront project was conceived as a cluster of intimate permeable fragmented forms, gathered around the original brick fireplace. It serves as a physical and metaphorical hearth and creates a soulful connection to both place and previous occupation. This has provided a crafted counterpoint to the more singular river view.

© Christopher Frederick Jones architects: Arcke Location: Chelmer, Queensland, Australia Project Year: 2022 Photographs: Christopher Frederick Jones Area: 187.0 m2 Read more »

The project is located at the foot of the Zhaoshan Village reservoir dam, focusing on the sustainable revitalization of an abandoned clay refining factory. The design emphasizes local materials and craftsmanship, utilizing natural conditions and regional resources to develop sustainable design strategies and appropriate vernacular technologies. By adaptively reusing on-site recycled materials, it seamlessly integrates into the rural context while fostering a high-quality, multifunctional public space for villagers and visitors.

© Weizhi Gao architects: THAD SUP Atelier Location: Zhaoshan Village，Bao’an township, Daye County, Huangshi City, Hubei Province, China Project Year: 2024 Photographs: Weizhi Gao Photographs: Yingnan Chu Area: 2993.0 m2 Read more »

Namana is an east-facing home situated on a compact 60'x50' plot beside a serene vineyard. Designed for a family of three, the single-story residence emphasizes spatial fluidity, natural illumination, and a tactile material palette that evokes warmth and simplicity.

© Studio f/8 - Mr. Dinesh architects: Wright Inspires Location: Yelahanka, Bengaluru, India Project Year: 2023 Photographs: Studio f/8 - Mr. Dinesh Area: 2745.55 ft2 Read more »

Site Characteristics and Design Concept – A train station runs along a main street on the west side of the site, which is located on a reclaimed landfill in Songjeong. Additionally, to the east, there is a trail created by reclaiming an existing stream. Within this context, the architecture harmonizes with its surroundings while balancing the urban and natural environments. To address height restrictions and the dense residential setting, the lower floor incorporates a fence to block views, while the upper floor is designed with interior windows to establish a gentle boundary with the downtown area. The design prioritizes privacy for the surrounding residential environment while maintaining a connection to the cityscape.

© MinGu Kang architects: Atelier MODS Location: Songjeong, Busan, South Korea Project Year: 2024 Photographs: MinGu Kang Area: 593.0 m2 Read more »

The village house is located at the top of the slope, above the village of Paredes de Coura Due to its location, shape and size, the house is a prominent element that imposes itself on the village experience. It was built for commercial use – Pharmacy. Elegant, large spans, decorated with stonework elements, such as jambs, lintels, among others. This house is different from the local architecture. The location, the ornamental elements and the exterior proportions lead us to an image of a spatially refined house. It leads us to imagine spaces decorated with shapes and materials very much in the “Art Nouveau” style.

© Ivo Tavares Studio architects: Tiago Castro Sousa Lda Location: Paredes de Coura, Portugal Ano do Projeto: 2024 Photograph: Ivo Tavares Studio 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.

Marvel Architects and Garcés de Seta Bonet Arquitectes (GdSB) have won a competition in Spain to deliver a new media district at a former power plant called 'Tres Xemeneies' ("Three Chimneys") near the heart of Poble-sec in Barcelona. The new development is to be named Catalunya Media City. Marvel and GdSB chose to title their presentation 'E la nave va' (or "As the ship goes on") in reference to Federico Fellini’s 1983 drama. It will begin work later this year with an expected 2027/29 completion on the construction timeline. Esteban de Backer, a partner in the Barcelona office, says it has the potential to "become an interurban and metropolitan benchmark."

Modular housing has already proven itself to be a viable solution to Ukrainians in their wartime effort to rebuild and could now serve a critical role following the Los Angeles Fires, the LA Times is reporting. Many in the Pacific Palisades and Altadena are expected to be without homes for at least the remainder of this decade thanks to a mess of permitting regulations and the lagging debris removal process, according to an eye-opening Urban Land Institute estimate. This could therefore become a watershed opportunity for designers in L.A. to leverage the impressive production and delivery leaps that have propelled the fast, low-carbon option despite its lack of a wider building industry embrace for much of the past decade.

Inside Climate News has more on the "significant blow" dealt to sustainable building advocates by the Trump Administration’s forced cancelation of more than $116 million in Environmental Protection Agency (EPA) grants aimed at ramping up domestic production of clean construction materials. The funding, which is derived from the Inflation Reduction Act and helps manufacturers secure new Environmental Product Declarations (EPDs), was announced last year as a $160 million Federal Buy Clean Initiative package to 38 different universities and other research institutions. It falls in line with the White House’s reported pursuit of criminal charges against "environmental" groups that have received such funding through a "conspiracy to defraud the United States."

Ennead is behind a newly completed dinosaur fossil museum project for Rowan University, a private school with an enrollment of 23,000 located in Gloucester County, New Jersey. Their design for the Edelman Fossil Park & Museum with KSS Architects situates the 44,000-square-foot building inside the 65-acre park that tells the tale of the world’s fifth large mass extinction. Photo: © Aislinn Weidele / Ennead Altogether, the project aims to be an educational font calling visitors to imagine a "better [...] shared future," standing as a "wonderful example of aligning purpose with place to fully realize a visionary design" in the words of KSS partner Matthew McChesney. Photo: © Jeff Goldberg / Esto Visitors will have the chance to work side-by-side with one of many archaeological researchers to uncover fossil remains and explore the site’s 66-million-year-old Cretaceous Period history. Photo: © Jeff Goldberg / Esto The design maximizes the experience via an integration with the site’s fo...

As spring sets in with full force, now's the perfect time to look ahead towards the variety of architecture and design-centric events on show. From the roster of ongoing and upcoming events listed on Bustler, here is our curated selection of recommendations worth checking out. UPCOMING EVENTS

The Therme Group spa company is eyeing Dallas as the next place to build their first American destination after years of deliberation that saw a $350 million waterfront theme park proposed for New York City. If approved by the City of Dallas, it will include the typical mix of resort-like wellness and dining offerings and be located next to the expanded Hutchison Convention Center, connecting to a new high-speed rail station for a line that connects to Houston while anchoring the Cedars neighborhood’s reimagined connection to the downtown core, Trinity River, and Dallas Water Commons. Image rendering courtesy Therme Group A press announcement from the company claims they expect to generate over $1.8 billion in tax revenue from the development within the first 30 years. It will join another $500 million Therme spa in the Washington, D.C. area in its expansion into the U.S. market that’s being fueled by a recent partnership with New York-based developer The Georgetown Company. Image...

In a recent episode of the business news podcast Marketplace, host Kai Ryssdal discusses the tight squeeze tariffs are having on the building industry. He points to their impact on housing starts, reporting that new building permits in February declined 6.8% compared to the same time last year and that builder confidence for new single-family homes is the lowest it has been in seven months. The CEO of Associated Builders and Contractors, Michael Bellaman, notes that though tariffs alone haven’t had too large of an impact yet, it’s the resulting price uncertainty that is affecting the industry. The fear of increasing prices has led to developers and project owners being more hesitant to follow through on projects. This insecurity is being felt by the likes of architect Dan Brunn, who is working on rebuilding homes following the Los Angeles wildfires. In the episode, Brunn highlights an instance where a contractor called for a client to purchase appliances six months before being brou...

The number of construction starts increased by a modest 0.5% in February to a new seasonally adjusted annual rate of $1.1 trillion, according to the latest Dodge Construction Network (DCN) survey. Nonresidential building starts grew by 2%, while residential starts decreased by 1%, and nonbuilding starts were unchanged since January. On a year-over-year basis, the total number of construction starts was down 2% from February 2024. Nonresidential starts were down 14%, residential starts were down 3%, and nonbuilding starts were up by 16% over the same period. Related on Archinect: February's architecture billings continue declining trend, fueled by tariff and immigration uncertainty. Graph by Archinect using data provided by the American Institute of Architects For the 12 months ending February 2025, total construction starts were up 3% from the 12 months ending January 2024. Residential starts were up 3%, nonresidential starts were flat, and nonbuilding starts rose 7% over the same p...

Following our previous visit to Colega Architects, we are moving our Meet Your Next Employer series to San Francisco this week to explore the work of Dumican Mosey Architects. Founded in 2006 by Eric Dumican and Matthew Mosey, the architecture and interiors firm has built a portfolio ranging from small infill projects to large-scale communities. “We pride ourselves on an elastic approach to each project, marrying a service-centered drive to fulfill our clients’ hopes and aspirations with a dedicated commitment to pushing the boundaries of architectural form and practice,” the firm says about its approach. Over on Archinect Jobs, the firm is currently hiring for an Intermediate to Senior-Level Designer to join their San Francisco team. For candidates interested in applying for a position or anybody interested in learning more about the firm’s output, we have rounded up five homes by Dumican Mosey Architects that exemplify the firm’s ethos. SOMA Residence, Artist Gallery & Studio. Ima...

“Cheaper buildings are not good for the planet and they’re not good for our health, and actually we need to spend a little bit more – but only a little bit – and I think the next few years are about really proving that we can make buildings radically more human for only a little bit more money.” "There is a misunderstanding in construction. People say, 'Oh, it’s more expensive than ever to build buildings' – and that’s not actually true," Heatherwick added. "Relative to the money in society, buildings are cheaper than they’ve ever been – a bit like ultra-processed food […] We didn’t have roads, cranes, lorries in the past; labour is more expensive now, but there are all these other factors." The designer goes on to mention his new Xi’an Centre Culture Business District favorably in light of his now two-year-old Humanize campaign, which announced its first-ever academic partnership with Loughborough University in January.

Proposed legislation seeking to ban all Chinese nationals from studying in the United States has caused alarm in architecture schools and around higher education, adding to a climate of fear on campuses that has cropped up rapidly with the start of the new Trump Administration. Currently, the Association of Collegiate Schools of Architecture estimates that 15% of all students enrolled in National Architectural Accrediting Board-accredited architecture degree programs and 7% of all faculty at ACSA member schools identify as either Asian or East Indian. Representative Riley Moore of West Virginia introduced the bill in February under the auspices of national security. Some have likened it to the Chinese Exclusion Act of 1882.

A unique rural residential design created by Virginia Tech University professor Ben Pennell as a speculative project and aspirational nod to internet-driven 'DIY' culture has taken off after being completed last fall with help from several students. Photo by Ben Pennell Known simply by its address—300 John Lemley Lane—the design was realized in the rural town of Christiansburg and occupies three levels, containing simultaneous metaphors of an 18th-century London church, an American World War II bomber, and the watertight, planular-shifting multi-roof effect typical of a Japanese temple. Photo by Ben Pennell Layers of 'mega shingles' made from Hardie board add to an extended plywood frame to distort and enlarge its perceived mass in a palimpsest-like effect that obfuscates the building envelope deliberately, mixing 'pseudo-Oriental' motifs with its aberrant style and architectonics. Photo by Ben Pennell Pennell says these elements combine to issue a challenge to normative design concept...

Australian architecture studio Edition Office designed a home that displays a striking contrast to its natural surroundings, while also maintaining a deep immersion in them. Image: Ben Hosking Located in Federal, New South Wales, Australia, Federal House stands out through its black pigmented concrete and black timber battens amidst the green, hinterland location. The home is positioned on the slope of its hillside site. Image: Ben Hosking It draws on Australia’s colonial homestead and verandah typology, which is reflected in the project’s living and bedroom spaces that extend into a covered outdoor space. This expansion allows for a variety of different interactions with the surrounding landscape. Image: Ben Hosking Federal House’s design was driven by the client’s desire to have a “home-as-sanctuary”, that functions as a space of respite. The home’s shared living spaces are located in both the north and south sides of a central garden, allowing for layered social opportunities, whi...

Democratic Nevada representative Dina Titus recently discussed her push to diversify the architecture of federal government buildings in a podcast interview with the Federal News Network. In it, she says, "[T]hat’s something that dictators do, make everything look alike and in their image" referring to the new Trump Administration’s executive order that ostensibly swaps modern and contemporary styles for a pastiche of new classically-inspired designs. Her bill—H.R. 964, or the 'Democracy in Design Act'—apparently has bipartisan support and was first introduced back in 2023. The language of the bill is in line with Daniel Patrick Moynihan's 1962 Guiding Principles for Federal Architecture memo that calls for the elimination of all "official" styles as part of the GSA's Design Excellence Program.

The Bernard and Anne Spitzer School of Architecture at The City College of New York has named former Governor Eliot Spitzer as its Honorary Chair. Spitzer is the son of the school’s namesakes and—at one point in the mid-2000s—had been considered a leading Presidential candidate for the Democratic party before scandals ended his political career. He is currently working in the CRE industry and joins Jonathan Marvel, Claire Weisz, John Cetra, Nancy Ruddy, and others on Dean Marta Gutman’s Advisory Council. The school's Place, Memory and Culture Incubator (PMCI) recently debuted its Generative Histories Harlem exhibition after receiving a foundational grant of $1.5 million from the Mellon Foundation in 2023.

In a surprise reversal, the General Services Adminstation (GSA) now only has eight properties listed as being for sale following the shock announcement early in March that originally put 443 federal buildings on a list for potential sale. The GSA, which is currently being led by Acting Administrator and 'tech entrepreneur' Stephen Ehikian, has cited "decades of funding deficiencies" as the reasoning behind the proposed sell-off. Gone from the list are the Robert C. Weaver Federal Building and other Brutalist landmarks around Washington, D.C. Some outlets have pointed out that the new group is the same as the Biden Administration's proposal from late last year. The GSA also said this was in part due to the "overwhelming response" to the initial list and that the longstanding issues it had identified would be addressed "in an orderly fashion."

A ruling in the Southern District of New York, which covers New York City, has upheld the city’s 2021 ban on natural gas heating and appliances in new buildings. The decision will have consequences for other similar attempts to curtail fossil fuels in Seattle, Boston, and several dozen other states and municipalities that have enacted such bans from 2020 on. Grist has more on the new reversal of a 2023 U.S. Circuit Court of Appeals decision that challenged the Berkeley, California’s precedent-setting 2019 ban. New York City's ban was used as a model for the eventual New York State ban that was the subject of the legal challenge made by groups representing the plumbing industry.

Skidmore, Owings & Merrill have offered an insight into their new office in Melbourne, Australia. Located on the third floor of the Union Bank Chambers building in the city’s Central Business District, the office is designed to accommodate up to 24 architects, urban designers, and engineers. Image credit: Nicole England The material palette for the studio includes Tasmanian oak, marble, and polished concrete to compliment the Art Deco style of the 100-year-old building. SOM Partner Adam Semel said that the new studio is “a significant milestone in our commitment to Australia, after more than 50 years of working here.”

The Chicago Architecture Biennial has announced Nora Daley and Sarah Herda as the new co-chairs of its board of directors. Both co-chairs will be responsible for setting a strategic vision for the future of CAB, and “galvanizing support for the next edition” of the biennial. CAB describes Daley as a “respected arts innovator and civic leader” bringing over two decades of experience at the intersection of strategy, learning, and systems rebuilding in the public and private sectors. Meanwhile, Herda is a founding board member of CAB who served as artistic director of the inaugural exhibition. Herda has “spent the entirety of her career leading cultural organizations dedicated to supporting architectural ideas and discourse,” CAB adds. News of the appointments comes one month after CAB announced Jennifer Armetta as its new Executive Director. The biennial is currently preparing for its sixth edition, beginning on September 12th, 2025, under the title Shift: Architecture in Times of Ra...

David Magie Childs, the SOM architect responsible for One World Trade Center, Time Warner Center, and other office buildings, has died at the age of 83, the New York Times reported. Childs—who recently designed the replacement for 400 Lake Shore Drive in Chicago—grew up in the northeast and gained notoriety by the early 1980s through his work in the Washington, D.C. area before a move to SOM’s New York office accelerated his career in 1984 when he was named Partner. "Mr. Childs was the antithesis of a 'starchitect,' whose celebrity derives from unmistakable flourishes. And he candidly acknowledged his place in the architectural pantheon," his obituary reads. The Times also printed a brief recollection from Paul Goldberger, which reads: "There was always an earnestness to his architecture, a seriousness of intention and a deep belief in urbanistic values. He was concerned about the larger civic good, and he worked hard to convince developers to take this into account. This was his l...

Our latest weekly curated jobs roundup from the Archinect Job board includes eight architecture firms and one gallery with Marketing and Office Administration job opportunities in New York City. For helpful guidance on how to get that next job, make sure to check out Archinect's Guide to Job Titles series and our Archinect Tips collection. Rafael Viñoly Architects seeks a Social Media Producer "We are seeking a highly creative and motivated Social Media Producer to join our dynamic architecture firm. The ideal candidate will be passionate about architecture, design, and storytelling, with a strong grasp of social media platforms and video editing techniques. This position involves producing engaging video content that showcases the firm's projects, behind-the-scenes processes, team culture, and industry insights. You will be responsible for creating visually compelling content and writing social media captions that aligns with our brand's voice and enhances our online presence." Tok...

Rigidity is the target of a new interdisciplinary project at the Cornell AAP led by ecoLogicStudio founder Jenny Sabin that developed a new system of photovoltaics that can contour more flexibly to different surfaces of structures thanks to its mimicry of complex biomechanics. It’s called HelioSkin, and it was produced through a collaboration with physicist Itai Cohen and plant biologist Adrienne Roeder as part of Cornell’s new Department of Design Tech, to which Sabin is serving as the inaugural Chair. Image is courtesy of Cornell University AAP The product works by harnessing a kind of 'nonstandard angularity' derived from heliotropism, an innate biological mechanism found in sunflower plants that allows them to track light by manipulating the curvature of their stems at the cellular level. This process is then repeated in software that was developed by Sabin, allowing for mechanically tracking 'skin' to be developed for use in retractable roofs, stadiums, and skyscrapers. Image i...

The 2025 class of Royal Architectural Institute of Canada (RAIC) Honorary Fellows has been announced by Canada’s oldest and most visible professional architectural association. The five architects to receive the honor, which denotes their elevation to the RAIC College, all are Honorary Members of the RAIC and will remain on as Fellows for life in recognition of their outstanding contributions to the professional community both domestically and abroad. This year’s list of Honorary Fellows includes former American Institute of Architects (AIA) presidents Kimberly Dowdell and Emily Grandstaff-Rice; the Chicago-based academic Michelangelo Sabatino; University of Victoria professor Martin Segger; and His Late Highness, Prince Aga Khan IV, who passed away this February at the age of 88. Each joins the 43 other newly named Fellows in the RAIC College and last year's elevation of Adele Weder, Yvonne Hancock, Claire Weisz, Lesley Lokko, and the late Claude Cormier. Fellows and Honorary Fellow...

As the important task of debris removals continues in the devastated areas of Altadena, the LA Times has picked up on the mission to recover historic tiles from the surviving mantelpieces of burned homes. There, a patchwork battalion of masons, homeowners, and other volunteers are working diligently under the monicker Save the Tiles to save the sometimes hundred-year-old vestiges of the early 20th century Arts and Crafts movement and Los Angeles’ architectural past from potential looters. The community at the foot of the San Gabriel Mountains lost up to 9,400 homes during January’s Los Angeles Fires. Save the Tiles' effort is taking place side-by-side with a separate SoCalNOMA effortseparate SoCalNOMA effort whose intention is to preserve Altadena’s historic Black community’s stake in the face of developer encroachment.

As the new Trump Administration passes 60 days in office, tariffs continue to form a cornerstone of the Administration’s trade policy. On March 12th, the US imposed steel and aluminum tariffs on Canada with more potentially coming on April 2nd. Meanwhile, a trade probe on US lumber imports being carried out by the US Commerce Secretary may yet see tariffs imposed on lumber products from countries including Canada. Archinect has reported extensively on the impact of such tariffs, whether implemented or threatened, on the US architecture and construction sector. Construction input prices have risen, with the ABC noting in February that tariff threats caused a “rapid escalation” in material prices. The ABC has also previously warned that a trade war with Canada and Mexico could impact construction spending, while the AIA said last week that a continuing decline in their Architecture Billings Index is being partly fuelled by tariff uncertainty. The developments present two urgent situa...

A report from Gensler featuring findings from a careful study of office-to-residential conversions in six different markets. The study was produced with the help of HR&A Advisors, the U.S. Department of Housing and Urban Development (HUD), and two other entities. Four key "levers" that can be used for achieving conversions beyond their current pace. Principal Steven Paynter says: "This study is different. We conducted in-depth research on both the physical realities of downtown buildings and the financial feasibility of conversions. Our approach is grounded in facts — real data, real buildings, and real economic conditions — so that cities can craft policies that actually work in the real world." There are currently an estimated 70,000 units in the conversion nationwide.

The American Institute of Architects has launched a search for its next EVP/Chief Executive Officer. The search will be conducted by a committee chaired by AIA’s 2024 President Kimberly Dowdell, which will also include representatives from the AIA’s Strategic Council, National Associates Committee (NAC), Council of Architectural Component Executives (CACE), AIA International, and the American Institute of Architecture Students (AIAS). The search comes after the AIA’s previous EVP/CEO Lakisha Ann Woods stepped down in February. Late last year, Woods was cleared of wrongdoing by an independent investigation following a misconduct scandal. After Woods was cleared, the AIA Board of Directors filed an ethics complaint against her accusers in September. Since Woods’ departure, the position has been held on an interim basis by Stephen Ayers. Earlier this week, Ayers penned an open letter to the General Services Administration on behalf of the AIA, expressing a ‘strong caution’ against man...

The Frank Gehry-designed Binoculars Building in Venice Beach has been listed for sale. As reported by The Real Deal, CBRE has listed the 78,000-square-foot office building for real estate investment trust W.P. Carey, though without an asking price. W.P. Carey purchased the building 30 years ago for approximately $18 million. Google has occupied the premises since 2011, and its current lease on the building does not expire until October 2030. Image credit: Wikimedia user Bobak Ha'Eri licensed under CC BY 3.0 Designed by Frank Gehry in collaboration with artists Claes Oldenburg and Coosje van Bruggen, The Binoculars Building was completed in 1991. The building is immediately recognizable for the 44-foot-tall binoculars, spanning three stories, positioned at the entrance. The binoculars are not just decorative, and also function as a vehicular entrance. While known for its binocular-style entrance, the building is a fusion of three distinct shapes. The sculptural binoculars sit at the...

The Real Deal recently threw some cold water on the push to create more units of affordable housing in New York City after the start of 485x tax abatement that mandates a higher ($40/hour) wage floor that kicks in with new development above 99 units. "Normally, the density for such a site would be 140 apartments or so," one developer of a corner lot near Union Square told the outlet. "It doesn’t pencil out, given that if you add an extra 20 to 30 units your cost of construction goes up dramatically." This could affect a number of firms working in the multifamily market in the city and its 'City of Yes' plan to construct a minimum of 80,000 new homes within a 15-year timeframe.

Texas-based Corgan has announced they are expanding into the Pacific Northwest market with a new office metro Seattle. This is now the fifth new market that the 87-year-old firm has entered in recent years to include 19 offices and will support clients for data center, aviation, and transportation projects as well as others in the multifamily, healthcare, and government sectors. The firm reports a growing demand for business in the region, Alaska, and Pacific Canada. Corgan is also looking to add a pair of architects with expertise in two of these sectors to its Dallas headquarters via Archinect Jobs.

Inspiration and Tools for Architects

As architectural palettes shrink, it’s time to ask: what does building in black, white, and grey say about us?

The post Color Optional: How Grayscale Became the Default Design Setting appeared first on Journal.

The Extended Entry Deadline for Architizer's 2025 A+Product Awards is Friday, February 21st. Get your brand in front of the AEC industry’s most renowned designers by submitting today. “Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways.” Oscar Wilde clearly had some thoughts on shades. Most of us do. But what does today’s distinctly monochrome palette say about where we’ve got to as a species? Last September, Finnish Architectural Review published its fourth issue of the year. On high-grade paper, it should not have been as daring as it was. Yet even the editorial acknowledged dedicating a magazine to color at a point in history when hues have “all but vanished from an architect’s toolbox” was pretty bold. The publication is not alone in perceiving a prevailing sense of greyness about the world. In the UK, the Creative Industries Policy and Evidence Centre (Creative PEC) “tracked the color of objects over time and found a substantial rise in the use of grey.” The results, published in 2021, also revealed a significant decline in the prevalence of browns and yellows. Sugamo Shinkin Bank / Nakaaoki Branch by emmanuelle moureaux architecture + design, Kawaguchi, Japan The work, led by Britain’s Science Museum Group, examined over 7,000 photographs, identifying the shade of every pixel to create a catalogue of colour. Or lack thereof. Dark charcoal grey was the most common, which — staggeringly — appeared in over 80% of all pictures. The contrast of a wooden telegraph machine from the mid-1800s, ornate communications cabinet rich in reds, yellows and browns, and a late-noughties silver, black and grey iPhone, casts the decline in sharp relief. Materials drive design. Or at least feasible design. And this counts for aesthetics as much as things like durability and ergonomics. In the 21st century, we make things from other things which are much less adaptable in terms of color, and, against the infinite rusty hues of trees, way less colorful to begin with. Nevertheless, the slide into greyscale is evident across the board, including products which could easily be toned to exacting specifications. Cars being one. Buildings another. 1140 Formosa Ave. by Lorcan O’Herlihy Architects [LOHA], Los Angeles, California In his piece, ‘Coil Coatings: Architects’ Secret to Brighter Metal Building Façades‘, architecture and communications specialist Eric Baldwin offers some hope that contemporary resources and materials are not binding us to a grey future by presenting a number of examples of bright coatings applied to modern exterior walls. Apparently, it’s possible to recreate almost any color or effect. And in her collection, ’10 Buildings Making Bold Statements with Color and Form’, Architizer’s Nidhi Upadhyaya offered more eye-candy counterpoints celebrating the countless shades architects have at their disposal. “Colorful backdrops and quirky aesthetics are accumulating millions of likes and saves on social media platforms like Instagram and Pinterest,” she wrote at the time. Given the power of digital networks to make or break governments, let alone inspire design, the apparently-subconscious move to a more monochrome side of life is even more jarring. We’re making things people are not naturally conditioned to notice. Wolf Creek Library by Leo A Daly, Atlanta, Georgia, an example of bright coil coatings on metal building façades Writing for PULP, the University of Sydney’s student magazine, Simon Harris threw his hat into the greyness conversation with an op-ed, Greyness. “A pervasive phenomenon in contemporary Sydney buildings,” which is “both vernacular and pedigreed.” The view that architectural conversations consistently fail to talk about the majority of architecture humans interact with daily is omnipresent — our tendency to focus on “capital A” projects by practitioners who “defined the image of Architecture through each age” rather than most buildings. February’s cover story in The Atlantic, ‘The Anti-Social Century‘, shed some light on modern architectural priorities for the majority of what we build (or what gets built in the publication’s US homeland). For every landmark, there are thousands of off-the-shelf houses finished to meet our needs. Discussing an age of solitude and isolation, where points of connection are rarer and narrower than ever, the feature explained how we’re spending more time at home than any other point in recent history. So homes have become bigger, and we’ve filled them with more to fill the hours we would have spent out in the world. ARCA Wynwood Design Center by Esrawe Studio, Miami, Florida According to a US real estate broker quoted in the piece, contemporary house design now reflects this with a demand for television-mountable walls in every room. This ‘necessity’ often comes before fundamentals like the amount of light allowed into a space. It’s thoroughly depressing — rooms are getting darker, save for the flicker of flatscreens showing films and series, which in 2022 led Vox to ask “why do so many TV shows and movies look like they were filmed in a grey wasteland?” The point being, by taking our eyes off the look of the everyday, by focusing so much on monochrome modern materials, architecture has become the basic design of assets. An idea legitimized by a global housing crisis of our own making and an economic obsession with breakneck growth rather than solution-focused development. The sad fact is, the market demands building are built fast. And that means, for the most part, putting limited effort into designing a scheme because we need to move on to the next. In this environment, uniformity will always be the easiest option. Which isn’t a declaration of architecture’s death, but an admission that urbanscapes are increasingly lacking differentiation. And we’re now so bored of what we see, we want Netflix and Prime at every possible point in our washed out worlds. The Extended Entry Deadline for Architizer's 2025 A+Product Awards is Friday, February 21st. Get your brand in front of the AEC industry’s most renowned designers by submitting today. The post Color Optional: How Grayscale Became the Default Design Setting appeared first on Journal.

With nights out replaced by evenings in, architects are rethinking the bar as a site of connection, craft and personal routine.

The post Raising the Bar: 6 Home Bars Perfecting the Domestic Drink Station 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. In January, Kendall Jenner — of the Kardashian-Jenner clan — shared a tour of her at-home tequila bar. As the founder of the award-winning tequila brand 818, it makes sense for the model slash TV star slash influencer to have one. The space itself is textbook contemporary luxury: exquisite marble surfaces, rich dark timber, stools sourced from Galerie Half, and a vintage Ralph Lauren cocktail shaker, all perfectly set up for both sipping añejo and taking selfies. Predictably, after posting the video, half the internet promptly searched for the “custom home bar.” Jenner’s carefully styled space highlights something that is becoming increasingly prominent in residential design. The home bar. Joining wellness rooms or outdoor kitchens as markers of sophisticated contemporary living, the personal bar is popping up everywhere, with the trend going deeper than celebrities promoting their various liquor companies. Economic uncertainty is nudging even the most affluent of households towards hosting intimate gatherings at home, architects and designers are responding with creativity and flair as home entertaining spaces now incorporate craftsmanship and functionality, whether it’s concealed cocktail stations or discreet wine rooms behind pivoting doors. The six designs that follow demonstrate how architects are cleverly — and, yes, sometimes quite literally — raising the bar for staying in. Upper House By KOICHI TAKADA ARCHITECTS, South Brisbane, Australia Popular Choice Winner, Multi Unit Housing – High Rise (16+ Floors), 13th Annual A+Awards Photos by Tom Ferguson and Mark Nilon In recent years, the word “amenity” has become property marketing shorthand for a windowless gym or a tokenistic co-working space. However, at Upper House in South Brisbane, communal living gets a lavish rethink. Koichi Takada Architects have included not just a rooftop lounge bar but a wine cellar and tasting room too. With fluted marble, warm timber, and thoughtful lighting design, the atmosphere feels simultaneously relaxed and refined. Designed to foster interaction and build a sense of community, they are spaces residents genuinely want to spend time in. Residence W By fws_work, Taoyuan City, Taiwan Popular Choice Winner, Apartment, 12th Annual A+Awards Photos by fws_work Residence W belongs to an airline pilot whose daily commute involves more airport lounges than living rooms. It’s only fitting then that the home feels like a first-class cabin. Designed by fws_work, this apartment renovation in Qinpu centers around both tranquility and craftsmanship by layering oak, woven cane, ribbed glass and earthy encaustic tiles into a sophisticated pallet. The centerpiece of the space is a moody yet inviting kitchen and bar area, darkened with black-stained millwork and ceramic tiling from 41 zero 42. Suspended shelves show off bottles as though they were artifacts in a museum by gently illuminating them. This approach highlights the subtle textures and hues of the premium whisky the owner enjoys. A considered home bar that invites slow evenings and the perfect pour. Galeria Apartment By ARCHITECTS OFFICE, São Paulo, Brazil Photos by André Klotz Galeria Apartment isn’t the sort of home you’d describe as cozy, exactly. More like curated. The space, designed by French architect Gregory Bousqueta, who is known for carefully balancing Brazilian warmth with European restraint, has a relaxed elegance that encourages slowing down and staying awhile. The dedicated bar and lounge space neatly illustrates this thoughtful approach. A Wyllis sideboard by Arthur Casas gives the otherwise plain room a sense of structure, and paired with Cassina’s mid-century Tre Pezzi armchairs, upholstered in burnt-orange velvet, there is a warmth that is needed for the otherwise neutral palette. Meanwhile, Adalfan Filho’s playful Tapioca tea cart introduces a charm that keeps the mood from becoming overly serious. Look up, and the Skygarden lamp from Dimlux casts a soft, even glow. It’s the kind of room where a cocktail could easily last an entire evening because the conversation — and the furniture — is just that good. Urban Metamorphosis By Brengues Le Pavec architects, France Photos by Zoé Chaudeurge Turning a warehouse into a home is always a tricky business. If you keep too much industrial grit, you risk living in perpetual gloom; smooth it out too much, and you’re stuck in a sterile box. Brengues Le Pavec’s solution in southern France strikes an ideal balance, embracing the building’s original metal structure while slicing open generous courtyards that flood every room with Mediterranean sunlight. Inside, two walnut-clad volumes cleverly hide away life’s more mundane necessities like laundry, storage, and services but free up space for a glass-fronted wine cellar integrated neatly into the kitchen. This tasting area, flanked by sleek black cabinetry and framed with warm wood, becomes the informal center of the home. Tyra House By FIALA ARCHITECTS, Trinec, Czechia Photos by Lukáš Legierski At first glance, you could mistake Tyra House for a particularly bold Bond villain’s lair. But hidden beneath the Moravian-Silesian Beskids landscape is a thoughtfully designed, ecologically sensitive retreat. Architects FIALA has cleverly placed most of the structure underground, softening the building’s visual footprint with a lush, green roof that blends into the hillside. Beneath this serene surface, however, lies a subterranean hideaway. The dedicated wine cellar has illuminated shelving and geometric timber cabinetry that create an atmosphere similar to that of an upscale lounge. Materials such as Welsh quartzite and raw stone give the space a natural and textural backdrop, echoing the surrounding landscape. Lighting is integrated and dynamic to transform the cellar and adjoining club area into spaces built to host lively gatherings and intimate evenings. Lark House By SHED Architecture & Design, Seattle, Washington Photos by Rafael Soldi As more people rethink their relationship with alcohol, the home bar doesn’t necessarily need to be cocktails and wine fridges. At SHED Architecture & Design’s Lark House, instead of shelves stocked with spirits, the Seattle-based project features a meticulously detailed coffee bar framed in warm white oak and accented with delicate tilework and Nero Marquina marble. Respectful of Al Bumgardner’s original 1958 vision yet confidently contemporary, this space in Seattle, where coffee is something of a sacred ritual, the bar becomes an intentional gathering space for slow mornings, good conversation, and perhaps the occasional philosophical debate. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. The post Raising the Bar: 6 Home Bars Perfecting the Domestic Drink Station appeared first on Journal.

The best Filipino architects are constantly progressing the country’s built environment without sacrificing its cultural heritage.

The post 8 Best Architecture and Design Firms in the Philippines appeared first on Journal.

Philippine architecture is caught between the East and the West, with American, Spanish and Japanese colonial occupation rapidly transforming its built environment. Many architects were influenced by the country’s intercultural identity. Most notably, the national Artist for Architecture, Leandro Locsin, was known for his distinct style, crafting masterpieces like the Cultural Center of The Philippines. During the 1920s, architect Juan Nakpil paved the way for environmentally conscious construction techniques. He utilized bamboo as a locally sourced component for his designs instead of relying on imported materials such as stone and brick. Conversely, cities like Makati or Manila have now been transformed into bustling urban centers, filled with high-rise structures incorporating solar framing and rainwater collection systems, thus responding to the challenging tropical climate. Filipino architects have reveled in the country’s intercultural, diverse nature. By creating new “assemblies” between architectural typologies and practices, they are constantly progressing the country’s built environment without sacrificing its cultural heritage. With so many architecture firms, 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 the Philippines 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 demonstrating each firm’s architectural excellence level. 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) The foot of this article explains each of these metrics in more detail. This ranking list will be updated annually, taking into account the new achievements of Philippine architecture firms throughout the year. Without further ado, here are the 8 best architecture firms in the Philippines: 8. hearthgroup © hearthgroup We provide residential and commercial architectural design services to families and business people. Some of hearthgroup’s most prominent projects include: HB Mausoleum, Bulacan, Philippines Eco Life Seaweed Plant, Central Visayas, Philippines Q Square, Quezon City, Philippines Chapel of the Nativity, Santa Maria, Philippines The following statistics helped hearthgroup achieve 8th place in the 8 Best Architecture Firms in the Philippines: Featured Projects 1 Total Projects 4 7. Jorge Yulo Architects and Associates © Jorge Yulo Architects and Associates Since its inception, JYAA has accumulated a few hundred projects of various types, from high-rises to luxury residences. The company survived the Asian Financial crisis by fortifying its interior design services, which currently make up a sizeable portion of its portfolio. JYAA is an efficiently sized architectural firm that offers Comprehensive Design Services from Concept/Schematic Design to Construction/Coordination/Supervision. The company is affiliated with select technical consulting firms to support the comprehensive technical services offered. Some of Jorge Yulo Architects and Associates’ most prominent projects include: The Hacienda Community House, Santa Rosa City, Philippines The following statistics helped Jorge Yulo Architects and Associates achieve 7th place in the 8 Best Architecture Firms in the Philippines: Featured Projects 1 Total Projects 1 6. DST Design + Build © DST Design + Build We are a new breed of individuals from different fields who are very passionate about the fields of architecture, interior design, furniture and landscaping. We strive to modernize Filipino architecture and interior design and harmonize all other design elements. Moreover, the firm remains steadfast in its advocacy to adapt principles and dynamics of building green. At DST Design Lab, we generally work on the key concept of creating quality avant-garde architectural + design and workmanship. We aim to design and build high-quality and world-renowned projects that will put Filipino architecture in the forefront. Some of DST Design + Build’s most prominent projects include: “𝗧𝗛𝗘 𝗧𝗥𝗘𝗘 𝗛𝗢𝗨𝗦𝗘” (Multi Level Residential house), San Mateo, Philippines ”𝗨𝗡𝗙𝗜𝗡𝗜𝗦𝗛𝗘𝗗 𝗕𝗔𝗦𝗞𝗘𝗧” (BOUTIQUE RESORT COMPLEX), San Mateo, Philippines 𝗠𝗼𝗱𝗲𝗿𝗻 𝗡𝗶𝗽𝗮 𝗛𝘂𝘁 (𝗕𝗮𝗵𝗮𝘆 𝗞𝘂𝗯𝗼) 2 Storey ”Family Villa”, San Mateo, Philippines 𝗠𝗼𝗱𝗲𝗿𝗻 𝗡𝗶𝗽𝗮 𝗛𝘂𝘁 (𝗕𝗮𝗵𝗮𝘆 𝗞𝘂𝗯𝗼) 2 Storey Villa ”Honeymooners”, San Mateo, Philippines ”𝗕𝗔𝗛𝗔𝗬 𝗡𝗔 𝗕𝗔𝗧𝗢” 𝗦𝘁𝗼𝗻𝗲 𝗮𝗻𝗱 𝗪𝗼𝗼𝗱 𝟮 𝗦𝘁𝗼𝗿𝗲𝘆 𝗩𝗶𝗹𝗹𝗮, San Mateo, Philippines The following statistics helped DST Design + Build achieve 6th place in the 8 Best Architecture Firms in the Philippines: A+Awards Finalist 1 Featured Projects 1 Total Projects 15 5. DEQA Design Collaborative © DEQA Design Collaborative (formerly DDC Architectural Studio) We create impactful sensory experience ecosystems that use the power of design to inspire and innovate our everyday. We are a design partner for ambitious clients and bold businesses. DEQA designs through our ideas, objects, places, buildings, and communities. We focus on research-driven, human-centric, and sustainably concentrated design. In our practice, we integrate planning, architecture, interior design, product design, and branding to maximize interdisciplinary cross-pollination. We design at all scales, from the micro to the macro, in powers of 10 to create value and innovation. Our process is highly collaborative. We work closely with our clients to understand their visions, values, and needs. DEQA Design Collaborative was formerly known as DDC Architectural Studio. Some of DEQA Design Collaborative’s most prominent projects include: Rizal Eco Center, Rizal, Calabarzon, Philippines Hyve, Taguig, Philippines Hyphy’s, Pasig City, Philippines Contemporary Museum of Art and Design Competition Entry, Taguig, Philippines Vyne, Taguig, Philippines The following statistics helped DEQA Design Collaborative (formerly DDC Architectural Studio) achieve 5th place in the 8 Best Architecture Firms in the Philippines: A+Awards Winner 1 Featured Projects 1 Total Projects 21 4. LLG Architects Design Studio © LLG Architects Design Studio LLG Architects is a Cebu-based interdisciplinary design firm that practices architecture and interior architecture. The firm strongly believes that form coexists with function, that one should not do without the other to be able to achieve that perfect harmony of aesthetics and functionality. The firm, established over 12 years ago, is led by the dynamic husband and wife team, Architects Lendel and Leizle Go, who are also the principal architects of the fir.a Their vast experience in their respective practices propelled them to establish LLG Architects Design Studio with a clear vision to holistically approach every design challenge through story-telling, attention to detail, and client-centric service. Some of LLG Architects Design Studio’s most prominent projects include: The Rise at Monterrazas, Cebu City, Philippines The following statistics helped LLG Architects Design Studio achieve 4th place in the 8 Best Architecture Firms in the Philippines: A+Awards Winner 1 Featured Projects 1 Total Projects 1 3. Jim Caumeron Design © Jim Caumeron Design Manila-based architectural design firm with projects focusing mainly on residential architecture. Some of Jim Caumeron Design’s most prominent projects include: Panorama House, Tagaytay, Philippines Viewpoint House, Quezon City, Philippines Top image: Through House, San Fernando, Philippines The following statistics helped Jim Caumeron Design achieve 3rd place in the 8 Best Architecture Firms in the Philippines: Featured Projects 2 Total Projects 3 2. TJSO ARCHITECTS © TJSO ARCHITECTS Arch. T. Jordan Ong graduated B.S. in Architecture from the College of Architecture and Fine Arts (Now College of Architecture) at the University of Santo Tomas. He has worked in various reputable architectural firms and has always risen among the top key employees. He has handled hundreds of residential and high-rise projects in one of his previous firms, where he worked as department head for construction. But having the drive and passion to pursue his goal, he humbly started his own practice in the summer of 2007. He has since expanded his portfolio, designing various projects ranging from high-end residential projects, townhouses, mid-rise buildings, high rise buildings, restaurants and commercial buildings. He embraced the modern minimalist style, which shows in all his works, but has added his own style in the process. Some of TJSO ARCHITECTS’ most prominent projects include: SCRAP HOUSE: BICYCLE FRAME HOUSE MODERN TROPICAL HOUSE, Pinamalayan, Philippines Yu house, Quezon City, Philippines Uno resort hotel, Puerto Princesa, Philippines Cogeo Commercial Building The following statistics helped TJSO ARCHITECTS achieve 2nd place in the 8 Best Architecture Firms in the Philippines: Featured Projects 2 Total Projects 7 1. WTA Design Studio © WTA Design Studio We believe in and socially relevant practice architecture. Architecture that relates to the community promotes urbanity and develops society. We are curators and proponents of the urban realm, and we are in the business of creating places. Places that live and breathe. Places that are a critical part of people’s lives and play a vital role in defining their sense of self and community. Our studio is a place of ideas and possibilities. A place where design and architecture create new and exciting opportunities for our clients and the communities we serve. Some of WTA Design Studio’s most prominent projects include: The Book Stop, Manila, Philippines El Museo del Prado En Filipinas, Manila, Philippines The Oriental Legazpi, Legazpi City, Philippines The Oriental Leyte, Tacloban City, Philippines New Taipei Museum of Art, Taipei, Taiwan The following statistics helped WTA Design Studio achieve 1st place in the 8 Best Architecture Firms in the Philippines: A+Awards Winner 3 Featured Projects 1 Total Projects 161 Why Should I Trust Architizer’s Ranking? With over 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 8 Best Architecture and Design Firms in the Philippines appeared first on Journal.

Looming large, these projects play with materiality and structure, bringing fabric-inspired aesthetics into architectural design.

The post Threading the Line Between Fabric and Form: Architecture Inspired by Textiles 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. At its peak, the global textile industry accounted for over half of all factory workers worldwide, fueling the rise of industrial architecture from Manchester to Mumbai. The sheer scale of production demanded innovations in building design like we had never seen before. Multi-story brick mills expanded the use of cast-iron frames; sawtooth roofs optimized daylight; and vast floor plate prefigured the open-plan logic of modernism. The architecture of the textile mill was very much the blueprint for the contemporary factory and even the modern office model as we understand it today. However, it isn’t just what was on the outside of a textile mill that has influenced architects for decades, what’s on the inside has equally inspired some incredible designs. From Gottfried Semper’s theory that weaving gave us the first walls to mosaics that mimic materials. Architects have pleated panels, embroidered entryways, and stitched steel all in the tradition of textiles. For something inherently soft, textiles have had an unexpectedly firm grip on the architecture industry, and the following nine projects show the stunning results that can be achieved when architects draw their creativity from cloth. Herning Museum of Contemporary Art By Steven Holl Architects, Herning, Denmark Photos by Iwan Baan A museum designed with textiles in mind makes perfect sense for Herning. The roof, shaped like folded shirt sleeves, nods to the town’s history as a hub for garment production. Even the concrete walls pick up the theme, their fabric-like texture created by pressing truck tarps into the formwork. Inside, solid gallery walls give the art its due, while curved ceilings soften the light. Outside, sculpted mounds extend the building’s geometry into the landscape, tying everything together with a careful attention to material and form. The Veil House By Paperfarm Inc, Kaohsiung City, Taiwan Photos by Daniel Yao Built in a dense neighborhood where privacy is scarce, The Veil House takes its name quite literally. Its brick façade is arranged like a woven textile, changing in density to control light, air, and visibility where required. Inspired by the district’s historic brick kilns, the design uses floating clay bricks to create its tapestry-like façade, becoming a screen that is both structural and stunning. Behind it, a central atrium pulls as much light as possible deep into the house, carefully finding the balance between openness and enclosure. Brick Weave House By 4site architects, KA, India Photos by Shamanth Patil J. Cubbon Peth historically housed Bangalore’s oldest handloom silk weavers’ colony. But post industrial revolution, handcrafted silk weaving art was lost. With the intent of preserving the idea of a traditional weaving, the facade of Brick Weave House is a woven screen of bricks, threaded onto steel rods and rotated at precise angles to balance light, ventilation, and privacy. By day, the screen scatters shifting patterns of light through the interiors. By night, the house glows, casting its intricate weave pattern back onto the street. Ferrum 1 By TCHOBAN VOSS Architekten, Saint Petersburg, Russia Photos by Ilya Ivanov The Corten steel façade of Ferrum 1 is designed as a woven grid, with horizontal and vertical bands appearing to thread through one another, creating the illusion of warp and weft. The material choice is no accident. The deep rust-red patina is a reference to the site’s industrial past, once home to the Rossiya factory, while the name itself (Latin for iron) reinforces its connection to the city’s manufacturing heritage. At the corners, structural glazing cuts through the steel, juxtaposing the weight with moments of lightness and transparency. Inside, the theme shifts. Gold-toned finishes replace the raw exterior, creating a deliberate tension between industrial and refined: “Rust on the outside, gold on the inside.” Paul Smith, Mayfair By 6a architects, London, United Kingdom Paul Smith built his reputation on sharp tailoring and attention to detail. His Mayfair store does the same, only in cast iron. Borrowing inspiration from woven hats and finely drawn gold ingots alongside the soft fall of cloth, the intricate facade uses interlocking circles to create a surface that appears woven. The pattern, abstracted from Regency architecture, catches the light at different angles, shifting between depth and opacity. Up close, the texture of the casting process is visible, giving in the imperfections it needs. Paul Smith’s own drawings are embedded in the metal too, adding a playful touch. VICUTU Concept Flagship Store By AntiStatics Architecture, Beijing, China Photos by UKStudio VICUTU is one of China’s leading menswear brands, specializing in precision tailoring and technical fabrics. Its flagship store brings that same idea to its architecture. The façade is made from bent aluminum sheets, interlocked to form a patterned outer skin. Inside, a woven diagrid motif runs through floors, pedestals and partitions to create a unified design language. Display counters are moulded to the ground, while curving walls direct movement through the space. Spanning two floors and housing multiple brand lines, the store translates the technical craftsmanship of tailoring into the built environment. Jinke Hanwang Tingquan Xiaozhen lifestyle and arts lounge By Le Brand Strategy, Xuzhou, China Photos by Sun Xiangyu At Jinke Hanwang Tingquan lounge, the designers drew directly from the region’s Han dynasty heritage, particularly its celebrated woven textiles — fabrics famously described as thin as cicada wings. Interior partitions are designed to replicate this tradition, formed from transparent mesh and layered screens, they divide spaces, tea rooms and quiet areas without fully separating them. The suspended wooden ceiling also references the iconic curved rooftops of Han palaces, giving the space a sense of historical depth. Throughout, saw-marked timber and raw steel accents keep the space restrained and contemporary, offering a balance between ancient craftsmanship and modern design. Ceramic House By Studio RAP, Amsterdam, Netherlands Photos by Riccardo De Vecchi Studio RAP used its own custom-built 3D-printing technology to create the façade of Amsterdam’s Ceramic House. Inspired by knitted textiles, the ceramic tiles are algorithmically designed and individually printed. Each is entirely unique. At street level, large tiles glazed by Royal Tichelaar in pearl-white with hints of yellow provide illuminating texture up close, while higher up, bricks in varying shades of red blend comfortably with the original masonry. The façade maintains the familiar structure and proportions of P.C. Hooftstraat, yet brings a truly unique aesthetic to one of Amsterdam’s historic streets. CASA MYM By Numero 26 Studio, Murcia, Spain Photos by David Frutos CASA MYM borrows directly from Murcia’s textile tradition. The ceramic tiles that cover the façade replicate patterns found on local farmers’ embroidered workwear. This connection grounds the building naturally to its setting. Divided into three separate volumes, the house angles towards views of the surrounding orchards and mountains. While, inside, simple materials like unfinished clay walls, galvanized metal doors and pine joinery keep the design practical and straightforward. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. The post Threading the Line Between Fabric and Form: Architecture Inspired by Textiles appeared first on Journal.

Modern materials and smooth façades are forcing birds, bats and pollinators out of our cities — can design fix it?

The post Concrete Jungles, Empty Skies: How Smarter Design Can Bring Wildlife Back to Cities appeared first on Journal.

For more ways to supercharge your workflow, check out more articles in our Tech for Architects series, which includes our recommendations of Top Laptops for Architects and Designers. There are many reasons to love Rome: the food, the art, the history. For architects, it is home to some of the most inspirational buildings in the world: the Colosseum, Vittoriano, and St. Peter’s Basilica, to name but a few. However, there is another lesser-known visual spectacle in Rome that has architects around the world talking: massive flocks of starlings. For centuries, these tiny birds have been drawn to Rome’s deeply textured façades and intricate stonework, creating nesting spots in the many cracks and crevices of its ancient buildings. Rome’s dense mix of historic structures, sheltered courtyards, and warm microclimate have allowed these birds to thrive for generations, delighting locals and tourists alike with their stunning murmurations for many winters. However, the urban landscape is changing dramatically. Restoration projects and modern construction throughout the city are increasingly favoring smooth materials like polished concrete, steel and glass, none of which offer sheltered spots for nesting. Renovations to historic sites, such as the cleaning and sealing of travertine stone, have further reduced nesting spaces. The city continues to host significant murmurs of starlings in its skies, but their ability to roost and breed within the built environment is diminishing, and it’s not just Rome that’s the problem. The Tip of the Iceberg: Bird-Safe Glass The Hub at Prairie Shores by Gensler, Chicago, Illinois | Photo by Kendall McCaugherty © Hall + Merrick Photographers Starlings aren’t the only species losing ground. Urban expansion frequently disrupts airborne wildlife. Take New York City. Each year, roughly 230,000 birds collide with reflective skyscraper windows, mistaking mirrored glass for open sky. These fatalities present one of the largest killers of birds in the world. In Sydney, the pressures of urbanization on bats, particularly the grey-headed flying fox, are coming to light. As natural forests have been cleared for housing developments and commercial centers, these bats, key pollinators for native eucalyptus trees, have been forced into smaller roosting sites within city parks and green spaces. Unlike many birds, which can nest in artificial structures, flying foxes require large, interconnected tree canopies to live happy lives. In both instances, architects and designers are being brought in to consult on finding solutions. Bird-safe glass, for example, that features ultraviolet coatings and subtle etchings, which break up reflections in ways that birds can detect but remain nearly invisible to the human eye, is becoming more and more popular with many champions of the technology campaigning to make it essential in buildings of heights above 75 feet (23 meters), or the primary flight zone for many bird species. In New York, regulations now require bird-safe glass for all new construction up to 85 feet (26 meters) to reduce the number of collisions. Vertical Forests and Green Corridors 100 Vandam by COOKFOX Architects, New York City, New York Sydney’s architects and urban planners are introducing vertical forests and green corridors, effectively extending the city’s canopy through high-rise structures covered in vegetation. It is an initiative that not only supports displaced wildlife like the grey-headed flying fox but also as a way of mitigating urban heat, controlling air pollution, and enhancing stormwater management. Undoubtedly, green roofs and living walls contribute to biodiversity, though much of their effectiveness depends on plant selection and placement. Monarch butterflies in North America, for example, rely on milkweed and other native plants as larval host species, but often “green” developments will choose aesthetics over function, planting non-native species. For pollinators, these non-native plants actually offer little value and do nothing to help increase biodiversity numbers. Studies by Cornell University have shown that butterfly populations thrive in cities that integrate native vegetation into rooftop gardens and green infrastructure projects. Their research indicates that urban spaces with native plantings can increase pollinator activity by up to 50% compared to ornamental plantings. The importance of ecology-driven design choices by architects and designers cannot be overstated. From Lighting to “Swift Bricks” 100 Vandam by COOKFOX Architects, New York City, New York Lighting is another crucial, often-overlooked factor that affects urban wildlife. Artificial light pollution disrupts the circadian rhythms of nocturnal species and confuses migratory birds that navigate using celestial cues. Studies in Toronto, where thousands of birds die each year due to disorientation caused by excessive lighting, have led to the implementation of bird-friendly lighting guidelines. These measures include motion-activated lighting, downward-facing fixtures, and warmer-colored LED bulbs, all of which help reduce avian casualties without reducing functionality. One of the simplest and most effective interventions for avian conservation in cities is using “swift bricks.” These are specially designed nesting boxes that are built into the masonry of modern buildings, mimicking the deep crevices found in older stonework. Unlike traditional birdhouses, swift bricks are designed to be unobtrusive, blending into contemporary structures as part of the overall design. They have been successfully incorporated into new residential developments across the UK, where local planning regulations encourage their inclusion in new build properties after the species was added to the “red list” of endangered birds in 2021, when its population fell by 58% from 1995-2018. Typically placed at least five meters above ground level, swift bricks provide safe nesting sites without too much crossover between the nesting birds and the homeowners. Learning From the Past HAUT Amsterdam by Team V Architecture, Amsterdam, Netherlands. History often offers essential lessons for today’s architects. Rome’s textured façades, built for their beauty and grandeur, once unintentionally housed a diverse array of bird populations. From those earliest architectural wonders, it has been clear that material choices shape urban ecology for better or worse. Sadly, many of today’s modern architects have forgotten, and our preference for glossy, seamless buildings has led to substantial ecological losses in cities worldwide. Yet, there is always time to turn things around, and by choosing to incorporate varied surface textures, modular nesting elements, and considered lighting solutions, architects can design a world where humans can live harmoniously with our avian neighbors. Rome’s starlings are a reminder that urban wildlife is deeply linked to the built environment. Their decline makes it clear that how we design buildings must evolve to prioritize animal-safe materials, habitat-conscious design, and an awareness of ecological impact. In doing so, we can actively reverse the increase in biodiversity loss across the world, and the Starlings can continue to delight Rome’s visitors for generations to come. For more ways to supercharge your workflow, check out more articles in our Tech for Architects series, which includes our recommendations of Top Laptops for Architects and Designers. Top image: The Muse & CasaNova by Barcode Architects, Rotterdam, Netherlands. The post Concrete Jungles, Empty Skies: How Smarter Design Can Bring Wildlife Back to Cities appeared first on Journal.

Good design speaks volumes — great design adds color.

The post Pigment of Imagination: 7 Bold Designs That Color Outside the Lines appeared first on Journal.

The countdown to 13th Annual A+Awards winners' announcement has begun! Stay updated by subscribing to Architizer's Awards Newsletter. When we appreciate architecture, it often comes from a place of feeling. Just like with art, the tilt of the head or a momentary squint reveals our attempt to understand the emotions woven into a space by the designer. Color and emotion in architecture are deeply connected, shaping how we experience and interact with our surroundings — from vibrant public areas to more intimate spaces. Through careful consideration of color, architects shape the aesthetics of a space, influencing not just its mood and functionality but also the deeper connections people form within it. These seven projects use bright hues to cultivate connection, spark creativity, and enhance the experience of their occupants across different scales. Each demonstrates how color can serve as more than just decoration — it can shape identity, inspire activity and transform spaces into emotionally engaging environments. Die Macherei München By HWKN Architecture, Munich, Germany The façade’s dynamic color gradient transitions from an energetic red through a creative orange to a cheerful yellow. More than just an aesthetic feature, this gradient plays a critical role in reshaping the site’s industrial identity. This bold choice of colors now serves as an emotional light bulb to an area that was once barren and utilitarian. It now radiates warmth and has transformed into a vibrant, welcoming neighborhood filled with energy and emotion. Neighbours By ZAV Architects with Next Office, Fardis, Iran Working alongside shapes and massing, the designers used color to break the monotony of post-disaster construction in Fardis. A vibrant palette of coral reds, warm ochres and deep teals creates a dynamic landscape, giving each cellular-shaped unit its own identity. This intentional use of color fosters individuality and strengthens the sense of ownership within the community. It also introduces warmth and optimism, counteracting the impersonal feel that mass-produced housing developments often create. In a space where rebuilding is more than just physical restoration, color becomes a tool for emotional recovery and renewal. Publicis Groupe, Le Truc By Architecture Plus Information (A+I), New York A+I infused the spaces with vibrant hues and shades to ignite creativity across the organization, making them the heart of Publicis’ creative culture. Colors like pink, green, yellow, orange and blue mark key stages in the organization’s creative process; each color choice serves a functional and psychological purpose. For example, the pink meeting room fosters collaboration by creating a sense of openness and encouraging dialogue. The green break room promotes relaxation, allowing employees to recharge between tasks. Meanwhile, the orange hallway injects energy and dynamism into circulation spaces, ensuring that movement through the office feels inspiring rather than routine. Arts District Project By Perkins & Will, Los Angeles The building’s façade features aluminum louvers wrapping around its concrete frame. Painted in bright colors, they enhance energy efficiency as solar filters while doubling as large-scale murals. The color palette echoes the site’s industrial past, drawing from the textures of brick, concrete, and steel, as well as the bold murals and wheat-paste posters that characterize the district’s streetscape. This fusion of color and function makes the facade more than just an aesthetic statement — it becomes a storytelling element, connecting the building to its urban fabric. By reflecting the neighborhood’s artistic character, the project honors the Arts District’s legacy while promoting sustainability and energy efficiency. ‘Charles Aznavour’ conservatoire of music, theatre and dance By Dominique Coulon & Associés, Montigny-le-Bretonneux, France The designers infused the academy’s façade with dynamic dichroic films that create colors whose hues depend on where a person stands and the sun’s movement. This kaleidoscopic effect ties the interiors together, reinforcing the academy’s artistic identity. Inside, bold colors heighten the drama—vivid blacks and striking reds bathe some rooms, sparking creativity, energizing performers and immersing them in an atmosphere of expression. Beyond aesthetics, this use of color and light influences how performers and students experience the space. The changing hues create a sense of movement, reflecting the rhythm and emotion of the performing arts. Just as music and theater rely on shifts in tone and intensity, the conservatoire’s colors evolve throughout the day, reinforcing the dynamism of artistic expression. Haus 2+ By Office ParkScheerbarth, Berlin, Germany The bold red façade of Haus 2+ serves as a striking entrance to Holzmarkt 25, injecting life — just like blood — into the cultural quarter. As an entry point, its evolving tone throughout the day reinforces the building’s progressive nature, making a bold statement amidst its eclectic surroundings. The combination of red and larch wood adds contrast and mirrors the creative energy of the diverse tenants who also bring the space to life. Wonderland Elementary School Kindergarten Classroom, Play Areas, and Learning Garden By John Friedman Alice Kimm Architects (JFAK), Los Angeles, California Designed for children, the kindergarten integrates color and form to spark wonder and discovery. The colorful louvers that trace the playful swoops of the facade create a sense of movement and energy, while polycarbonate fins above a large roof opening cast multi-colored hues of light into the space. Inside, the thoughtful application of color extends into the classrooms, where the designers infused different pops of color to enhance the environment and foster curiosity. Each shade contributes to a unique atmosphere — softer hues create a calming effect for focused activities, while bolder tones inspire creativity and play. The countdown to 13th Annual A+Awards winners' announcement has begun! Stay updated by subscribing to Architizer's Awards Newsletter. The post Pigment of Imagination: 7 Bold Designs That Color Outside the Lines appeared first on Journal.

Barcelona’s famous building is expected to be completed in 2026, marking 100 years since Antoni Gaudí’s death and over 140 years of construction.

The post 10 Facts About Barcelona’s Soon-To-Be-Completed Sagrada Família 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. The Sagrada Família remains a major tourist attraction even though it’s still under construction. Its “work in progress” nature is precisely one of its most distinctive and appealing aspects, drawing visitors worldwide who are eager to witness its ongoing evolution. In 2024, the Sagrada Família achieved a record 4,833,658 visitors, the highest number to date. Although the basilica is unfinished, it has been recognized for its architectural and cultural significance. In 2005, UNESCO designated the Nativity façade and the Crypt, parts completed by Gaudí before he died in 1926, as World Heritage sites. Over time, construction has faced numerous challenges, including the devastation of Gaudí’s workshop during the Spanish Civil War, political and economic instability, and, more recently, delays caused by the COVID-19 pandemic. Despite these challenges, advancements in modern technology have accelerated construction in recent decades, making the 2026 completion goal attainable. Aerial view of the Sagrada Família. Barcelona, Spain. | Photo by Archie McNicol via Pexels. 1. After over 140 years of construction, the Sagrada Família remains unfinished. Its complex design and reliance on private donations contribute to the extended timeline. It is expected to be completed in 2026, marking 100 years since Gaudí’s death. 2. During the Spanish Civil War (1936–1939), anarchist militias set fire to Gaudí’s workshop, destroying original drawings, models and design plans, making it difficult for future architects to interpret and continue his vision. After the war, architects had to painstakingly reconstruct Gaudí’s designs using surviving photographs, sketches and model fragments, striving to remain faithful to Gaudí’s vision while interpreting missing details. 3. Antoni Gaudí initially used siliceous sandstone from Barcelona’s Montjuïc hill for the Sagrada Família. However, as the quarries quickly became depleted, alternative sources became necessary. Nowadays, stone is sourced from other Spanish regions, such as Galicia and Cantabria, and from other countries, including England, Scotland and France. Left: Angels – Nativity Facade – Sagrada Família – Barcelona 2014, Photo by José Luiz Bernardes Ribeiro via Wikipedia Commons CC BY-SA 3.0 | Right: Passion Façade (Sagrada Familia West Facade 4) by Wiki ktulu via Wikipedia Commons, CC BY 3.0 4. The Sagrada Família’s Nativity and Passion façades, depicting different aspects of Christ’s life, present a striking contrast in style. The Nativity Façade was designed mainly by Gaudí. It is heavily decorated and highly organic, celebrating Christ’s birth. Its elaborate carvings feature natural motifs, including plants, animals, and flowing forms, symbolizing life and creation. In contrast, the Passion Façade, designed by sculptor Josep Maria Subirachs, features a stark, skeletal design symbolizing Christ’s suffering and crucifixion. 5. Gaudí’s design for the Sagrada Família embodies his belief that nature is the ultimate inspiration, integrating organic structure and ornamentation. For instance, the basilica’s interior columns branch out like trees to support the vaulted ceiling, evoking a forest canopy. Also, visitors can discover intricately carved plants and animals, including turtles at the base of columns, eagles, lions and other natural motifs throughout the building. Sagrada Família’s arboriform columns. Barcelona, Spain. | Photo via PxHere. 6. Gaudí engineered a self-supporting structure using hyperboloid and paraboloid columns. This technique eliminated the need for traditional buttresses. Today, the basilica’s construction continues to honor his vision by blending traditional craftsmanship with modern technologies like prefabrication, prestressed stone panels and parametric design tools. 7. Traditional techniques remain central to the Sagrada Família’s construction. Skilled stonemasons hand-carve sculptures, timbrel Catalan vaulting enhances structural integrity and trencadís mosaic decorates surfaces. These techniques complement modern technologies (beginning with aeronautic softwares in the early 1990s and later embracing parametric design) balancing tradition with innovation to preserve authenticity while accelerating construction. 8. When completed, the basilica will have 18 towers, representing the 12 apostles, 4 evangelists, the Virgin Mary and Jesus Christ. Twelve Apostles towers: These towers range from 98.5 to 120 meters (approximately 323.16 to 393.70 feet) in height. They are positioned in groups of four on each of the three façades: Nativity, Passion, and Glory (main façade). Four Evangelist Towers: They stand at 135 meters (approximately 443 feet) tall, making them the third tallest structures within the basilica. These towers encircle the central Jesus Christ tower. Dedicated to Matthew, Mark, Luke, and John, each tower is crowned with a tetramorph: a man (Matthew), a lion (Mark), an ox (Luke), and an eagle (John). Virgin Mary Tower: This tower, standing at 138 meters (approximately 452.76 feet), is topped with a twelve-pointed star, symbolizing the morning star. Jesus Christ Central Tower: Upon completion, this will be the tallest of all, reaching 172.5 meters ( approximately 565.94 feet), surpassing the current tallest church, Ulm Minster in Germany, which stands at 161.5 meters (530 feet). It will be surmounted by a four-armed cross, designed to serve as a viewing platform, offering panoramic views of Barcelona. Renovation of two cloisters in the Sagrada Família Basilica by COMA Arquitectura. Barcelona, Spain. Interior view (top); floor plan and section (bottom) | Photo by Fundació Junta Constructora del Temple Expiatori de la Sagrada Familia. 9. Some temporary spaces have been designed to accommodate the large influx of tourists, even though they were not part of the original plans. Once the construction is completed, these areas will revert to their original uses. For instance, Gaudí originally designed two cloisters as ambulatory spaces connecting the Nativity Façade and the Passion Façade to the sacristies at the corners of the basilica. These cloisters were intended to serve as meditative pathways, providing circulation and acoustic separation from the city. However, they have been repurposed as multi-purpose spaces for visitor services and other temporary functions during construction. 10. A controversial aspect of the Sagrada Família’s original design is its grand plaza, intended to provide a monumental approach to the basilica. However, when Gaudí developed this scheme in the late 19th and early 20th centuries, Barcelona was not as densely built as it is today. Numerous residential and commercial buildings occupy the site originally intended for the grand plaza leading to the Sagrada Família’s main entrance. Implementing Gaudí’s vision would require demolishing several properties, which has sparked significant opposition from residents. Moreover, the plaza would need to be constructed above Mallorca Street, a major traffic thoroughfare, further complicating the project. Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. Top image via PEXELS. The post 10 Facts About Barcelona’s Soon-To-Be-Completed Sagrada Família appeared first on Journal.

In an AI-driven era, how can architects balance imagination with honest representation?

The post Fake it Till You Build it? The Pitfalls and Possibilities of Architectural Representation 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. At first, there were drawings, then photomontages and hand sketches, followed by renders, and now AI-generated visuals. The power of image in architectural representation has played an immense role in its dissemination, especially when it comes to addressing a non-architectural audience. From intricately detailed sections of cathedrals to comic-like imagery serving as critical statements and now with digital tools have become a game-changer in architectural visualization, and the perception of “unbuilt” buildings has evolved throughout time. Idealized renderings have long served as a powerful marketing tool, generating excitement for future projects but often leading to disappointment when the final built reality fails to live up to its visual promise. Especially with the emergence of AI, the distinction between truth versus fiction is now more pressing than ever, posing the ethical question of where is the line between inspiration and deception? Unknown author, Photograph of architectural rendering of Palace of Education for the Louisiana Purchase Exposition, ca. 1902, marked as public domain, more details on Wikimedia Commons Projects such as London’s Walkie-Talkie building or the Hamburg’s Elbphilharmonie for instance, both fell short of their visuals, facing immense criticism in terms of their environmental impact, cost overruns and contextual disassociation. Additionally, there have been various unfinished or abandoned mega-projects such as the Kingdom Tower in Saudi Arabia or the Ryugyong Hotel (or the Hotel of Doom) in North Korea that have caught the public eye through their stunning visualization but were never realized due to an array of economic, political and social factors. This inability for proper implementation, reveals how architectural representation can create unrealistic expectations, influencing public perception as well as investor confidence, thus raising ethical concerns about transparency in visualization. Paul Rudolph creator QS:P170,Q1277977, LOMEX,Rendering of streetscape, marked as public domain, more details on Wikimedia Commons Still, what is acceptable in terms of embellishment? By tweaking light settings and adding greenery and people, renders immediately become more appealing. In parallel, by manipulating context, for example omitting surrounding building and removing real-world urban clutter or even providing misleading scale and proportions to spaces, can greatly influence the real-world expectation. Who should take responsibility for such misleading practices: The architect? The developer? The visual artist? What happens when renders do not align with cultural or environmental realities? And finally, if we take it a step further, could AI be used to fabricate entirely fictional projects, which are then presented as scams or speculative ventures? Even through digital visualization has been around for at least three decades, its ethical implications are somewhat covertly addressed. Due to its immense popularity and usefulness, digital imagery has become the bread and butter for architectural communication as well as its most powerful marketing tool. Nevertheless, there are possible strategies that can help untangle the confusion and perplexity of the CGI versus reality dilemma. Prod. Library by By Ferras Coulibaly / Rensselaer Polytechnic Institute, Vision Awards, 2023, Photorealistic Visualization, Student Winner For instance, an “honesty rating” system could be introduced, using phrases such as “conceptual,” “approved design” or “finalized construction phase”, thus providing a “metric” against the likely building outcome. Furthermore, mandatory disclaimers like “the added lighting effects, greenery and public activity are purely illustrative” as well as respecting and accurately representing the surrounding context, can help clarify what is real and what is fictional. Finally, by providing multiple levels of visualization and including not only idealized marketing images but also technical diagrams, material references as well as disclosing when AI tools are used to generate visuals, can offer a clearer understanding regarding the amount of automation involved in the production process. As technology continues to evolve, so does the need for greater ethical responsibility. Specifically, through clearer communications, architects can manage expectations and alleviate any disappointment that arises between what people expect and what is ultimately built. In fact, by utilizing other emerging technologies such as augmented reality (AR) or virtual reality (VR), people can experience a project in real-time rather than relying on static, stylized images. Cloud Peak Hotel above the Rainforest Mist by FTG Studio / Zhiwei Liu, Xianfang Liu, Vision Awards, 2023, AI Assisted Visualization, Special Mention Personally, I believe that the AI boom provides a unique opportunity to revisit the ethical implications of technology, creative expression and marketing. It challenges architects and designers to establish strong foundations of practices and a mindset that prioritizes transparency, accountability, and honesty in architectural representation. But perhaps this also leads to a broader question: should AI-enhanced renderings prompt us to rethink not only how we present architecture but also how we perceive and engage with the built environment? More broadly, has architecture become way too reliant on images, which in turn obstruct reality rather than enhancing our understanding of it? Are we prioritizing aesthetics over functionality, or spectacle over substance, leading to a built environment that often fails to live up to its visual promises? Architects: Want to have your project featured? Showcase your work by uploading projects to Architizer and sign up for our inspirational newsletters. Featured Image: Fusion of Eras by Drew Gilbert, Vision Awards, 2023, AI Assisted Visualization, Special Mention The post Fake it Till You Build it? The Pitfalls and Possibilities of Architectural Representation appeared first on Journal.

The architects aimed to realize a house that harmonizes with nature, all while pushing the boundaries of expansive glass.

The post Framing Nature: How the Notch House Redefines Cabin Design with Extraordinary Glass Details appeared first on Journal.

How does one transform a home into a lens for nature? The Notch House in New Hampshire, designed by Paul Designs Project, reexamines the concept of traditional cabin design by proposing a house that mimics the surrounding landscape whilst framing breathtaking views from all angles. While the residence is highly modern, it features the materiality, strategic site orientation and warm, welcoming feel of a traditional cabin in the woods. Yet, the most prominent feature of the space is glass. Dramatic Marvin Modern floor-to-ceiling windows were key to realizing a house with contextual harmony that fulfills the demands of the client, all while pushing the boundaries of expansive glass. The Notch House by Paul Designs Projects; image courtesy of Marvin. Looking from afar, the profile of the roofline perfectly reflects the ridgeline of Mt. Lafayette, the way it dips down for the Franconia Notch and eventually rises back up for the outline of Cannon Mountain — hence the name “Notch House”. Spatially, “the notch” is a threshold, a glass-bridge hallway that connects the primary suite with the main living space. Constructed solely from glazing, this passageway slows down the movement within the house, forcing an intentional pause to enjoy the outside views. On the other side, an impressive glass enclosed staircase leads to the upper floor. “I still get a kick out of this tower that the stairway is in,” the homeowner recalls. “It’s basically all glass. That just tickles me to no end, every time I use it.” In parallel, backlit Corten steel panels become the primary feature of the façade. White pine boughs are used as a pattern that evokes the New Hampshire Mountains, creating a welcoming symbol for the owners upon their arrival. The Notch House featuring glass-bridge hallway; image courtesy of Marvin. Axonometric and elevation drawings of the Notch House; image courtesy of Paul Designs Projects. This interplay between solid and transparent volumes constructs a modern line that compliments the organic line of the surrounding terrain. Fittingly, the Marvin Modern collection enables the construction of large windows with very thin profiles — an ideal product for the principal architect Paul Lewandowski to achieve his uninterrupted views-at-every-turn vision. Façade details; image courtesy of Paul Designs Projects. Following a discussion with Marvin architectural project manager Matt LeGeyt, Lewandowski set a personal bet: to use the largest window size possible for the project. Consequently, upon entering the living room, three huge windows — measuring 8 by 12 feet each — capture the stunning views, while the meticulous frame construction uses internal covers to disguise the fasteners and concealing rubber gaskets, thus minimizing visual distractions. Additionally, the Modern collection of windows are complemented with Marvin Ultimate Sliding doors, offering even more natural light and airflow to the space. Upon the project’s completion, the homeowners stated: “Modern windows made all the difference in the world. It allowed us to get the floor-to-ceiling views that we wanted.” And for Lewandowski? Challenge completed: “I guess we used the largest size that could be made.” Notch House interior; image courtesy of Marvin. Apart from the visual and spatial properties of glass, it was also important to consider the products’ functional performance. Located in a region known for its inhospitable and unpredictable weather, the Modern collection had to perform efficiently in both the cold winter as well as the hot summer months. Made out of High-Density Fiberglass construction, the window frame is strong, durable and non-conductive, and does not require any additional material to aid its thermal performance. Furthermore, fiberglass is a relatively lightweight material, allowing for the manufacturing of large-scale windows while consciously keeping material usage to a minimum. Notch House glass-bridge hallway details; images courtesy of Marvin. When it came to the project’s implementation, the trusting relationship between the architects and Marvin’s project manager played a crucial role for the design’s precise execution. Acting primarily as a consultant, LeGeyt provided advice on the correct window installation for their effective performance and became an invaluable resource for technical information. He also coordinated the assimilation of the two collections — Marvin Modern and Marvin Ultimate — providing solutions to achieve the same finishes and heights throughout the space. Plan drawings courtesy of Paul Designs Projects. The project successfully redefines the principles of the traditional cabin typology through the use of cutting-edge technology, thoughtful collaboration and a highly intensive consideration of context. Additionally, the use of glass as both a structural and experiential element balances solidity and transparency as well as protection and openness. Marvin Modern windows provide a high-functioning solution that enhances both the aesthetic and environmental performance of the home. As a result, the Notch House is ultimately not just a place to live, but a place to truly see. For architects seeking to elevate their projects and bring the outdoors in, visit Marvin.com to explore the new series. The post Framing Nature: How the Notch House Redefines Cabin Design with Extraordinary Glass Details appeared first on Journal.

These architecture firms are leading the way in Shanghai and beyond.

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

These annual rankings were last updated on March 21, 2025. Want to see your firm on next year’s list? Continue reading for more on how you can improve your studio’s ranking. From its origins as a humble fishing village to its transformation into a global economic powerhouse, the architectural landscape of Shanghai mirrors the city’s rapid evolution and cutting-edge innovation. Historical neighborhoods such as the iconic Yu Garden, the legendary ‘Bund’ waterfront and the Former French Concession are some of the most architecturally rich areas in the city, as well as testaments of the diverse cultures that have shaped its urban fabric. In the last decade, Shanghai has attracted the works of famous western architects such as Zaha Hadid’s Sky SOHO airport as well as the Shanghai Cultural Arts Centre with its intricate façade design, completed by Foster and Partners and Heatherwick Studio in 2017. As a city with one foot constantly set on the future, Shanghai showcases a forward-thinking approach to urban living. By employing ‘smart city’ technology and integrating sustainable design methods into their practices, Shanghai architects stretch the profession into new realms of invention. 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 Shanghai 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 Shanghai architecture firms throughout the year. Without further ado, here are the 30 best architecture firms in Shanghai: 30. XISUI Design © XISUI Design XISUI Design Brand was founded in Shanghai, China in 2018. We focus on using cutting-edge digital design and construction technologies to provide services such as space design, children’s playgrounds, technology landscapes, landscape construction, installation art, public sculpture, etc. We offer solution design, strategic planning and construction guidance. We aspire to create designs with rich expressive means that are at the forefront of the times, coupled with a continuous exploration of the inner essence. We aim to allow users of different ages, families and cultural backgrounds to feel the sincere emotions, local culture and genuine concern for life behind the design. Some of XISUI Design’s most prominent projects include: Digital Design of a Thin-shell Metal Woven Pavilion, Hefei, China Natural and Organic: Red Dunes Playtopia, Guangzhou, China Jungle Tribe: A Children Space Returning to the Nature, Chengdu, China Handan Cishan Tribe: Where 8000-Year Cultural Relics Encounter Public Children’s Space, Handan, China Old Beijing Bus: The Public Children’s Space with a Bus Theme on the Streets of Changping, Beijing, China The following statistics helped XISUI Design achieve 30th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 2 Featured Projects 3 Total Projects 6 29. Domain Architects © Domain Architects Established in Shanghai, Domain Architects is a studio led by Mr. XU Xiaomeng, operating within the boundaries of architecture, urbanism, landscape, interior and product design. Our practice strives to reform architectural experience with innovative site strategy. In our opinion, designing architecture is not about drawing physical things, but to create unique and attractive experiences. Then the architecture would naturally grow up to enable the experience. China has been undergoing vast scale construction in the past decades, while replicability is usually prior to experience. The situation is improving but many new projects are still no more than a few pretty images. Some of Domain Architects’ most prominent projects include: Lakeside Teahouse, Jiaxing, China Beijing MM Farm, Beijing, China The following statistics helped Domain Architects achieve 29th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 2 Total Projects 2 28. HDD © HDD Shanghai HuaDu Architecture & Urban Design (HDD) is a comprehensive design company with first-rate architecture and engineering qualification issued by State Construction Ministry. It has established 8 sub-companies in Singapore, Banglandesh(Dhaka), Zhengzhou (Henan), Yangzhou (Jiangsu) and Urumqi (Xinjiang), Wuhan (Hubei), Hainan, Guangzhou (Guangdong). Its projects are located in Americas, Europe and Asia. In China, HDD blooms in large-sized and middle-sized cities like Shanghai, Beijing, Shenzhen, Qingdao. Some of HDD’s most prominent projects include: Mulan Weichang Vistor Centre, Hebei, China “Su Shanghai” community art museum, Shanghai, China APEC summit hotel Beijing Sunrise Kempinski Hotel, Beijing, China Vertical garden _ Chinese Garden meets ultra compact apartment, Shanghai, China TRANSFORMABLE SMART HOME/Zhang Hai’ao , Beijing, China The following statistics helped HDD achieve 28th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 2 Featured Projects 4 Total Projects 6 27. TheY Architects © TheY Architects ZZYY Studio is an international young design team full of vigor and creativity, currently chaired by Yao Yuan and Liu Yuze. The outside world is unknown. We believe that the most attractive state of design is to create unknown possibilities in the known environment, and stimulate the imagination and business of each space. By responding to the unknown possibility of the site, jumping out of the already known design of the site, creating an unexpected space-time experience in the situation. Some of TheY Architects’ most prominent projects include: Station in the Field Nature Workshop The following statistics helped TheY Architects achieve 27th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 3 Featured Projects 2 Total Projects 2 26. Shanghai United Design Group Co., Ltd. © Shanghai United Design Group Co., Ltd. United Design Group or UDG is a comprehensive service design company with A-grade architectural design certification, A-grade urban planning certification and B-grade landscape design certification thus, providing reliable and quality services in completing projects in China. Some of Shanghai United Design Group’s most prominent projects include: Dysis Church of Poly Shallow Sea, Sanya, China WOWDSGN Shanghai MixC Store, Shanghai, China Zaozhuang Stadium, Shandong, China The following statistics helped Shanghai United Design Group Co., Ltd. achieve 26th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 3 Featured Projects 2 Total Projects 3 25. COORDINATION ASIA © COORDINATION ASIA COORDINATION ASIA is an award winning agency for design and architecture, specializing in creating high impact environments in museum, exhibition, retail and hospitality design. We are driven by the quest for fresh ideas and extra-ordinary design solutions. Like a concept laboratory, we bridge creative energy and professional realization. From cultural to commercial projects, at COORDINATION ASIA we believe that content precedes aesthetics and that great design is more than simply styling. Our clients like us for our content-driven approach, as well as for our dedicated and reliable way of working. From understanding the needs of the client to drafting ideas and final realization, we make sure every step of the process is met with the highest of standards. Some of COORDINATION ASIA’s most prominent projects include: Rainbow Chapel, Shanghai, China Nike Studio Beijing, Beijing, China Shanghai Museum of Glass, Shanghai, China Shanghai Film Museum Gaga – Coastal City, Shenzhen, China The following statistics helped COORDINATION ASIA achieve 25th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 2 Featured Projects 4 Total Projects 12 24. RoarcRenew © RoarcRenew Roarc Renew is an architectural atelier specializes in urban space renovation. The atelier focuses on urban renewal, space reengineering, remodeling of old districts, trying to create a sustainable urban space, while following the concept of revolutionary design and the history of architecture. Its members and consultants come from Shanghai, Israel and New York. The current design projects include urban renewal, architectural design, interior design, product design and other categories, distributed among Shanghai, Zhangjiajie, Jakarta and other cities. Using working space and residential space as the starting point, the atelier intends to explore the possibilities of the lifestyles in the Internet Age, which facilitates co-working project as one of the major ways to carry out architectural practice. Some of RoarcRenew’s most prominent projects include: TaoCang Art Center, Zhejiang, China Carlowitz&CO., Shanghai, China Joy City · Parkside · Herstory Art Zone, Shanghai, China Mixpace · Mandela, Shanghai, China Taioursee Laomendong SPA Shop, Nanjing, China The following statistics helped RoarcRenew achieve 24th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 4 Featured Projects 4 Total Projects 11 23. 100architects © 100architects 100architects offers design consultancy services for urban attractors, creating architectural objects that attract users and customers, promoting brands and products. 100architects was born aiming to explore the thin boundaries between public leisure and urban marketing. We specialize in street architecture and urban interventions impacting the known cityscape by creating a link between the brand and the potential customer through urban interventions, which invite the users to interact, encouraging the occurrence of social dynamics. Some of 100architects’ most prominent projects include: Urderwater Office, Shanghai, China Red Planet, Zhabei, Shanghai, China Puzzle Maze, Shanghai, China Blue Ribbon, Shanghai, China Olympia, Shanghai, China The following statistics helped 100architects achieve 23rd place in the 30 Best Architecture Firms in Shanghai: Featured Projects 6 Total Projects 13 22. Atelier Diameter © Atelier Diameter Atelier Diameter was founded in Shanghai as a part of Zhongsen Architectural & Engineering Designing Consultants (ZSA). We are a group of architects specializing in cultural projects of various scales and programs. Some of Atelier Diameter’s most prominent projects include: Art Gallery Extension of Nanjing University of the Arts, Nanjing, China Mudu Library, Shanghai, China Micro-Renovation of East China Formal University No.1 Village, Shanghai, China Readers’ House, Beijing, China Wuxi Meili Site Museum, Wuxi, China The following statistics helped Atelier Diameter achieve 22nd place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 1 Featured Projects 5 Total Projects 8 21. TEAM_BLDG © TEAM_BLDG TEAM_BLDG was founded in 2012, they work with architecture, interior, landscape and product. The two founders of the studio consider that the word “BLDG” is a verb than the meaning of architecture, which should be the processing of constructing, and the finished design is just a start of architects’ work. Relative to any concept or style, they are more focusing on the “atmosphere” of building and space, interior and exterior for people. Some of TEAM_BLDG’s most prominent projects include: THE HAKKA TRIANGLE HOUSE, Guangzhou, China Hotel WIND, Xiamen, China CT OFFICE, Jiaxing, China THE FIELD, Xiamen, China THE EARTH, China The following statistics helped TEAM_BLDG achieve 21st place in the 30 Best Architecture Firms in Shanghai: Featured Projects 6 Total Projects 14 20. y.ad studio © y.ad studio Established in 2017, the Shanghai-based y.ad studio is a comprehensive design studio that focuses on space / site planning, urban renewal, architectural design and space design. It has accumulated rich design experiences through constant practices in different fields, especially in urban renewal, commercial buildings’ transformation, cultural exhibition, tourism and real estate, integrated parks, restaurants, hotels, stores and rural construction. With a restrained, simple, integrated, authentic and connotative design orientation, y.ad studio has been practicing designs in a moderate way. The studio weakens the spatial form and appearance in order to pursue a natural aesthetic feeling. Taking the actual situation, site and environment as the starting point, y.ad studio tries to create spaces that are integrated with exquisite textures, rich levels, functions, time, culture, regional characteristics and appeal. Some of y.ad studio’s most prominent projects include: Yuanshe · Hezhou, Zhejiang, China Jijiadun Village Conference Center, Kunshan, Kunshan, Suzhou, China Multifunctional Gym & Ceramic Expert Workshop in Rural Future Community, Xikou Town, Quzhou, China Capital Heyuan · Pinggu Rental Housing Community Library, Beijing, China Future Community Center, Xikou, Quzhou, China The following statistics helped y.ad studio achieve 20th place in the 30 Best Architecture Firms in Shanghai: Featured Projects 6 Total Projects 13 19. Atelier Deshaus photo: Shue He - © Atelier Deshaus Atelier Deshaus was established in Shanghai in 2001 and obtained the Class A Qualification of Architectural Design authorized by Ministry of Construction P.R.China. We emphasize on practice, keep the sensitivity of architecture-related and other more extensive aspects of culture, as well as pay attention to the cognition of ourselves. Our works show the expression of the atmosphere and the control of the construction quality. These works are linked with the local tradition, the modern cogitation and the relationship of contemporary society. Atelier Deshaus was invited to participate in many international architecture and art exhibitions and awarded. Some of Atelier Deshaus’ most prominent projects include: Anji Creative & Design Center, Huzhou, China Plot 6 & Tea House in Jiangsu Software Park, Nanjing, China Youth Center in Qingpu, Shanghai, China Spiral Gallery, Shanghai, China Blossom Pavilion, Shanghai, China The following statistics helped Atelier Deshaus achieve 19th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 1 Featured Projects 5 Total Projects 5 18. RooMoo Design Studio © Wen Studio Founded in Shanghai in 2017 by Tao Zhang, Ray Zhang, and Marine Bois, RooMoo Design Studio does not simply create spaces; it aspires to awaken emotions and orchestrate a symphony of unique sensations through each project. Although RooMoo Design Studio is notably recognized for its achievements in the interior architecture of the hospitality and restaurant sectors, its expertise also extends to commercial and residential projects. In 2024, RooMoo Design Studio is delighted to announce the opening of a new studio in France near Montpellier. At the intersection of industrialization and craftsmanship, RooMoo is committed to an approach that uniquely addresses each client’s specific needs. Some of RooMoo Design Studio’s most prominent projects include: B3, Shenzhen, China Le coq wine & bistro in URBN Hotel, Shanghai, China Forté, Shanghai, China Le petit chateau, Shanghai, China Lai Zhou Bar, Shanghai, Shanghai, China The following statistics helped RooMoo Design Studio achieve 18th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 3 Featured Projects 5 Total Projects 18 17. ATAH © ATAH Founded in 2013 in Los Angeles/Shanghai, Studio ATAH is an architectural design firm featured by exploring design with contemporary thoughts. The partners of Studio ATAH received complete architecture professional education domestic and abroad, and have been in practice for years in known international architectural firms. Team includes architects, interior designers and technology specialist. ATAH’s project type includes commercial, office, culture, as well as renovation, interior and residential. Through continuous design practice, our work is being built and put into use. In Navajo Indian language, A-Tah means involving. Some of ATAH’s most prominent projects include: Yunmen Montain all-seasons Resort, Weifang, China The Brocade Loom, Qinhuai New River Bridge, Nanjing, China Pirouette Bridge Floating Matrix: Shanghai Yangtze 3MAP Elevator Factory Renovation, Shanghai, China Xiangshui Culture&Art Center The following statistics helped ATAH achieve 17th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 1 A+Awards Finalist 2 Featured Projects 3 Total Projects 7 16. XING DESIGN © Shengliang Su Founded by Xing Xiong in 2016, XING DESIGN is a vanguard design studio committed to architecture and interior design, urban planning and development, landscape, infographic, installation, innovative technologies and development of digital/physical products. By investigating the creative design issues in multiple disciplines, a design-based approach is the key not only for smart solutions, but also to uncover latent needs and desires, thereby sustaining innovation to launch new ventures. Xing Xiong graduated from Tsinghua University in Beijing with both bachelor’s and master’s degrees in architecture. He also holds a Master in Architecture from Harvard Graduate School of Design. Prior to XING DESIGN, Xing was a senior designer at Kohn Pedersen Fox Associates (KPF), where he led the efforts for several of KPF’s most innovative design proposals, including Shenzhen OCT Tower, which was completed in 2018. Some of XING DESIGN’s most prominent projects include: Shanghai Subway Line 14 Yuyuan Station, Shanghai, China Bluepha BioFAB, Jiangsu, China The Wall Maze of Vi Park , Shanghai, China NEOBRIDGE Hotel Renovation, Shanghai, China Terminus AI PARK: “Macrochips” Built into the Earth, Chongqing, China The following statistics helped XING DESIGN achieve 16th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 1 A+Awards Finalist 3 Featured Projects 4 Total Projects 7 15. LINEHOUSE © LINEHOUSE Linehouse is an architecture and interior design practice established in 2013 by Alex Mok (Chinese-Swedish) and Briar Hickling (from New Zealand). Both have completed extensive work in Asia, Pacific and abroad. Linehouse operates as a platform to investigate the rituals of inhabitation and how these daily moments can be celebrated through design, transforming the mundane into performative acts. Linehouse is a collaboration of like-minded individuals from various backgrounds and cultures. The practice has international experience in design and construction, from the small scale and the intricate, to the grand and public. The studio works on projects of varying scales and typologies that allow explorations of both the poetic idea and pragmatic solution. Some of LINEHOUSE’s most prominent projects include: WeWork Weihai Lu, Shanghai, China John Anthony, Hong Kong LONE RANGER Hot Dog Shop, Shanghai, China Tribeca, Shanghai, China Baoism, Shanghai, China The following statistics helped LINEHOUSE achieve 15th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 2 Featured Projects 7 Total Projects 30 14. Atelier Ping Jiang | EID Arch © Atelier Ping Jiang | EID Arch Atelier Ping Jiang | EID Arch is a leading international practice for architecture and urbanism. Led by Founding Principal Ping Jiang, FAIA, who established the Shanghai based practice in 2015, the firm strives to provide environmentally sensitive and innovative design solutions for architecture and urban environment. The practice is founded on the belief that architecture should concern itself with the environment, and is deeply committed to design excellence, innovation and sustainability. The firm has extensive experience in a wide range of building types, including large scale mixed-use developments, office/corporate, retail, hospitality, cultural/civic, institutional and residential uses. Atelier Ping Jiang’s work has been awarded numerous international awards, including multiple AIA Design Awards, The Plan, Architecture Review Future Awards, WAF Awards, etc. Some of Atelier Ping Jiang | EID Arch’s most prominent projects include: The Panda Pavilions, Chengdu, China LAND Community Center, Xi’an, China Minsheng Wharf Block E15-3, Shanghai, China MicroNature, Shanghai, China Shimao Riverside Block D2b, Wuhan, China The following statistics helped Atelier Ping Jiang | EID Arch achieve 14th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 1 A+Awards Finalist 6 Featured Projects 4 Total Projects 10 13. LLLab. © LLLab. LLLab. is a design studio based in Shanghai, Stuttgart and Porto operating within the fields of architecture, design, art, urbanism, research and development. The studio is led by four partners Hanxiao Liu, Luís Ricardo, David Correa and Taichi Kuma. Their work focuses on using design as a tool to improve social and cultural life through various scales, from urban projects to micro-architecture or installations. The principals are driven by an experimental and playful approach that leads to conceptually rigorous and well-executed design projects. Creating distinctive solutions adapted to a context and its users, LLLab produces site-specific design installations and building projects that both provoke and inspire. LLLab. founders Hanxiao Liu, Luís Ricardo and David Correa started their own practice after meeting at the German office haascookzemmrich STUDIO 2050 and the Institute of Computational Design, where they collaborated on various international projects in both practical and academic fields. Some of LLLab.’s most prominent projects include: Bamboo Bamboo, Canopy and Pavilions,Impression SanjieLiu, Guilin, China San Sa Village, Beijing, China Brickyard Retreat Renovation, Beijing, China Bamboo Bamboo, Canopy and Pavilions, Impression Sanjie Liu, Guilin, China LEO Office Shanghai, Shanghai, China The following statistics helped LLLab. achieve 13th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 2 A+Awards Finalist 1 Featured Projects 7 Total Projects 9 12. dongqi Design © dongqi Design Founded in 2014, dongqi Design has an international outlook, and its core team is assembled from outstanding designers who have studied and practiced around the world including Europe, Singapore and the United States. dongqi has accumulated practical experiences with integration of leading-edge intelligent capabilities, for example KUKA robot and 3D sand printing. In 2017, dongqi established its creative arm to close the gap between spatial and brand experiences and allow explorations in a holistic manner combining different disciplines. The practice also maintains collaborative partnerships with practitioners in the areas of art, fashion, science and technology — exploring opportunities for cross-discipline creation. Some of dongqi Design’s most prominent projects include: GAGA TOAST, Shenzhen, China YEARLY PLAN Shanghai Building 1, Shanghai, China XC273 by XCOMMONS, Shanghai, China Le Poulet Restaurant & Bar, Shenzhen, China Freshigh, Shanghai, China The following statistics helped dongqi Design achieve 12th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 6 Featured Projects 6 Total Projects 12 11. Shanghai Dushe Architectural Design DSD © Shanghai Dushe Architectural Design DSD SH-DSD was founded in 2004. DSD focuses on boutique design and controls the amount of annual projects trying to make every piece of work unique and at high level. Oriented by its culture ‘Customized Design’, DSD is capable of integrating the experience of large firm and the creativity of small offices. DSD aims to become the best life design expert in China and to produce acclaimed pieces of work in the field of hotel, culture architecture, complex building and top rank residences. All the projects designed by DSD are original. Some of Shanghai Dushe Architectural Design DSD’s most prominent projects include: The Metamorphosis of Nanjing Baiyunting Food Market, China ECHOLAC Factory (CONWOOD INTERNATIONAL) in Qidong Bayuquan Theater, Bayuquan, Yingkou, China Jiahe Boutique Hotel in Yushan Bay, Jiangyin, Wuxi, China Yangzhou Hongqiao Commercial Street, Yangzhou, China The following statistics helped Shanghai Dushe Architectural Design DSD achieve 11th place in the 30 Best Architecture Firms in Shanghai: Featured Projects 9 Total Projects 24 10. OfficeOffCourse © OfficeOffCourse Founded in 2012, OfficeOffCourse is currently based in Shanghai, Hangzhou and Boston. The core design team covers urban planning, architecture, landscape architecture, interior design and other professions, who previously had professional experience in many world-renowned architecture offices and institutes in the US, Netherland, Japan, Mexico and España and participated in various types of project, with extensive background and practical experience. The office is engaged in variety of projects in China, Japan, US and Australia, including museum, private residence, office building, urban planning, historical building renovation, school and etc. Collaborating with Massachusetts Institute of Technology and the China Academy of Art as academic platforms, OfficeOffCourse explores and extends the core value of architecture in both globalization and localization. Some of OfficeOffCourse’s most prominent projects include: Exhibition Center of Longquan National Archaeological Park of China, Lishui, China 123+ Kindergarten, Shanghai, China “The Shadow Garden” of World Horticulture Expo in Yangzhou, Yangzhou, China The following statistics helped OfficeOffCourse achieve 10th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 6 A+Awards Finalist 1 Featured Projects 3 Total Projects 3 9. KOKAISTUDIOS © KOKAISTUDIOS Kokaistudios is an award winning multi-disciplinary design firm founded in 2000 in Venice by Italian architects Filippo Gabbiani and Andrea Destefanis. Founded with the dream to create a collaborative office of young and talented architects devoted to researching and formulating the design solutions to the demands of tomorrow and capable of working on a worldwide basis; the firm has grown after 10 years into a team of 25 people headquartered in Shanghai. Kokaistudios has completed over 120 projects in the last 7 years in all fields of design, and we have received numerous awards including the “Top 40 under 40 award” from Perspective magazine and 2 UNESCO Asia Pacific Heritage awards for our the Bund 18 and Huai Hai Lu 796 projects. Some of KOKAISTUDIOS’ most prominent projects include: Baoshan WTE Exhibition Center, Shanghai, China Shanghai Suhe MixC World, Shanghai, China Bund Financial Center South Mall Interior Design, Shanghai, China Beijing CR Land Galleria Shopping Center – Instreet Renovation, Beijing, China House of the Tree, Shenzhen, China The following statistics helped KOKAISTUDIOS achieve 9th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 1 A+Awards Finalist 2 Featured Projects 9 Total Projects 50 8. Kris Lin International Design © Kris Lin International Design KLID, an international architectural design firm from Taipei, has been in Shanghai for twenty years, and has been serving top 100 real estate developers for a long time. Its business covers sales offices, clubs, art galleries, hotels, luxury villas and flat apartments, offices, public and commercial spaces. As one of the few design institutes in China which can provide four-in-one integrated design services including architectural design, interior design, renovation design and construction, landscape design, KLID has been adhering to the design concept of “Innovation from Observation”, and has strong pursuit for the design works display effect. Some of Kris Lin International Design’s most prominent projects include: Flow, China Stream Office, Zhuhai, China White Mountain Club House, Nanjing, China BIRCH FOREST, China Snail Bay Center, China The following statistics helped Kris Lin International Design achieve 8th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 2 A+Awards Finalist 6 Featured Projects 7 Total Projects 14 7. Challenge Design © Challenge Design The aim of Challenge Design (Class A architectural design office) has been to provide “refined design and professional service” since its foundation. The company has undertaken projects ranging from commercial complex to resort, luxury condo to boutique hotel, and museums to public architectures, winning dozens of awards and unanimous high appraisal. With growing experience in various fields including architecture design, urban planning, interior design, wooden structure design and commercial operation, the company has developed the capability to control whole life cycle of the projects. Since foundation, Challenge Design has been working to find a way for realization of harmonious co-existence between architecture, human being and the nature, hoping to find a possible way for bring renewed sense experience and creating new thoughts and spatial forms through creative thinking. Some of Challenge Design’s most prominent projects include: Yuanlu Community Center, Chongqing, China YULIN Artistic Center, Chongqing, China Park Legend Kindergarten, Chengdu, China Cloud Art Museum , Guizhou, China Langtin Yuanzhu Experience Hall, Wuhan, China The following statistics helped Challenge Design achieve 7th place in the 30 Best Architecture Firms in Shanghai: Featured Projects 10 Total Projects 15 6. Atelier tao+c © Atelier tao+c Founded in 2016, the design works of Atelier tao+c ranging from a piece of pendant lamp to a compound development, from the interior of small urban apartments to the renovation of old rural houses, from shops on the street to a youth community. Some of Atelier tao+c’s most prominent projects include: Capsule hotel in a rural library, China A U-SHAPE ROOM, Shanghai, China Ziin Beijing Store, Beijing, China JHW STORE, China Library home, Shanghai, China The following statistics helped Atelier tao+c achieve 6th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 3 A+Awards Finalist 3 Featured Projects 9 Total Projects 12 5. Lukstudio © Lukstudio LUKSTUDIO is a boutique design practice based in Shanghaia. Founded by Christina Luk in 2011, the studio is comprised of an international team with diverse backgrounds and cultural perspectives. With a common desire to challenge the status quo of the environment, the team finds joy in creating meaningful design solutions for others. Lukstudio’s strength lies in an ‘everything is possible’ attitude that is influenced by the surrounding context of Shanghai; a fast-paced city where East meets West and tradition is integrated with innovation. Each project tells its own story, and Lukstudio is proud to identify a narrative, preserving it from concept through to completion to deliver memorable spatial experiences that delight and surprise. We collaborate closely with clients and contractors to deliver artistic solutions within a commercial scope. Some of Lukstudio’s most prominent projects include: The Skatepark, Shanghai, China The living room of a water town – Nanchang NIO House, China Playing in Colours – BeInfinity Social Club, Wuhan, China A Room for the Narcissist, Wuhan, China Dining between Lines, Shanghai, China The following statistics helped Lukstudio achieve 5th place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 4 Featured Projects 14 Total Projects 33 4. X+LIVING © X+LIVING X+Living Architecture and Interior Design, founded in Shanghai in 2011 by Chinese designer Li Xiang, is an architectural design firm committed to driving commercial value through artistic creativity. In 2022, it was recognized by the A+Awards as “Best Commercial Design Firm.” X+Living is dedicated to leveraging innovation to catalyze cognitive renewal, setting benchmarks in various fields such as family-oriented business, culture, and commercial renovation, reshaping the boundaries of spatial imagination. Offering services across architecture, landscape, interior design, soft decoration and construction, X+Living specializes in applying architectural construction concepts to different scales, skillfully employing geometric forms, color palettes and symbolic elements to evoke the emotional resonance and essence of a space. Some of X+LIVING’s most prominent projects include: Dujiangyan Zhongshuge, China Ideas Lab, Shanghai, China Zhuyeqing Greentea flagship store, China Chengdu Zhongshuge, Chengdu, China Sonmei Hotel, Shenzhen, China The following statistics helped X+LIVING achieve 4th place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 2 A+Awards Finalist 3 Featured Projects 12 Total Projects 28 3. AIM Architecture © AIM Architecture AIM is a collective of passionate, international individuals. Founded by Belgian and Dutch architects Wendy Saunders and Vincent de Graaf in 2005, AIM brings together architecture with interior and product design to create wholly integrated products and ideas. Headquartered in Shanghai and with an office in Europe, AIM is a global studio with local feeling. Our approach is deliberate and focused. Each project is approached individually. We pair context to concept and explore the fine line between vision and practicality. The result are unique spaces with a powerful narrative. Bold, playful, and gritty. Well-built projects with refined details. A built-in love of materials, and passion for place and purpose. Some of AIM Architecture’s most prominent projects include: Fushengyu Hotspring resort, Sichuan, China SOHO Fuxing Plaza- Shopping Mall, Shanghai, China Jiaxing Island, Jiaxing, China Aluminum Lobby in SOHO Fuxing Plaza, Shanghai, China Glass Office in SOHO Fuxing Plaza, Shanghai, China The following statistics helped AIM Architecture achieve 3rd place in the 30 Best Architecture Firms in Shanghai: A+Awards Finalist 3 Featured Projects 15 Total Projects 32 2. Lacime Architect © Shangjian Image Established in Shanghai in 2001, Lacime Architects has always adhered to the architectural philosophy of “simplifying complexity and tracing back to the source.” The founder, Song Zhaoqing, named the firm after “la cime,” which means “peak” in French, with the aim of creating top-tier architecture while staying rooted in the local culture. Lacime Architects holds a Class A qualification for architectural design firms and specializes in integrated architectural and landscape design for residential communities, commercial offices, urban renewal, industrial parks, and cultural education. After more than two decades of development, Lacime Architects has a team of over 300 architects and a wealth of experience in large-scale domestic and international projects, as well as integrated architectural and landscape design. Some of Lacime Architect’s most prominent projects include: Vanke Emerald Park, Chongqing, China One City Development, Hubei, China Liva Riverside Book Bar Reconstruction of East China Normal University, Shanghai, China Waterfront Art Gallery, Nanchang, China Financial City Community Center, Suzhou, China The following statistics helped Lacime Architect achieve 2nd place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 3 A+Awards Finalist 8 Featured Projects 16 Total Projects 34 1. Neri&Hu Design and Research Office © Neri&Hu Design and Research Office Founded in 2006 by partners Lyndon Neri and Rossana Hu, Neri&Hu Design and Research Office is an inter-disciplinary architectural design practice based in Shanghai. The practice’s burgeoning global portfolio includes commissions ranging from master planning and architecture, to interior design, installation, furniture, product, branding and graphic works. Currently working on projects in many countries, Neri&Hu is composed of multi-cultural staff who speak over 30 different languages. The diversity of the team reinforces a core vision for the practice: to respond to a global worldview incorporating overlapping design disciplines for a new paradigm in architecture. Some of Neri&Hu Design and Research Office’s most prominent projects include: The House of Remembrance | Singapore Residence, Singapore The Relic Shelter | Fuzhou Teahouse, Fuzhou, China Qujiang Museum of Fine Arts Extension, Xi’An, China Sulwhasoo Flagship Store, Seoul, South Korea The Garage, Beijing, China Featured image: New Shanghai Theatre, Shanghai, China The following statistics helped Neri&Hu Design and Research Office achieve 1st place in the 30 Best Architecture Firms in Shanghai: A+Awards Winner 11 A+Awards Finalist 10 Featured Projects 21 Total Projects 24 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 Shanghai appeared first on Journal.

Dedicated to modern design

In a California coastal community, Minarc designed Zen House for indoor/outdoor living with a tranquil, nature-inspired ambiance.

Nestled in the heart of Manhattan Beach, California, Zen House by Minarc fuses modern design with a tranquil, nature-inspired ambiance. Created for software developers and their family, this residence accommodates both daily living and visiting loved ones, all while emphasizing an active and outdoor lifestyle. The property consists of a sleek two-story main residence and a well-integrated Accessory Dwelling Unit (ADU) guest suite. Zen House draws heavily from the family’s travels, particularly their fondness for Bali, Indonesia. Guests are welcomed by an inviting outdoor courtyard featuring a koi fish pond and a calming water feature, which serves as a natural buffer to minimize street noise. The soothing sounds of flowing water and the visual serenity of the pond create a meditative environment. Complementing this serene entry, olive trees evoke cherished memories from family vacations in Greece and Italy, reinforcing the home’s connection to nature and travel. A key element of the design is the fluidity between indoor and outdoor spaces. Large sliding doors and expansive windows maximize natural light and facilitate cross-ventilation, ensuring that the home remains airy and bright throughout the day. An open roof deck, strategically placed above part of the first floor, provides a versatile outdoor area with sweeping views of the pool and surrounding landscape. Additionally, a basketball court adjacent to the pool links the ADU to the main home, establishing a dynamic recreational space for the family and their visitors. The interior of Zen House reflects a carefully curated blend of natural materials and a restrained color palette. Wood, concrete, and fire elements come together to create a warm, peaceful atmosphere that encourages relaxation. The subdued hues allow the raw beauty of these materials to take center stage. The homeowners played an active role in the design process, with the husband handcrafting all the cabinets throughout the home. Using sustainable Valchromat MDF, finished with natural wood veneers or high-pressure laminates, the custom cabinetry adds a personal and environmentally conscious touch to the living spaces. The residence balances openness and privacy by incorporating modest yet functional private spaces. Bedrooms and five accompanying bathrooms provide ample room for both family members and guests, ensuring comfort without compromising the home’s minimalist aesthetic. Thoughtful space planning allows for easy transitions between communal and private areas, enhancing the overall livability of the home. Minarc’s dedication to sustainability is evident throughout the project. The home utilizes Kebony modified lumber for cladding, decking, and fencing, chosen for its durability and minimal environmental impact. Prefabricated mnmMOD panels were employed during construction, offering superior insulation and reducing waste through precise assembly. This approach not only enhances energy efficiency but also helps maintain consistent indoor temperatures, minimizing the need for traditional heating and cooling systems. The integration of radiant floor heating powered by heat pumps and high-efficiency appliances further reduces the home’s carbon footprint, contributing to a sustainable and comfortable living environment. To learn more about Minarc, visit minarc.com. Photography by Art Gray, courtesy of Minarc.

The futuristic XR Lab in the U.K. was designed by WindsorPatania Architects for collaboration and development around mixed reality tech.

Virtual Reality (VR) and Augmented Reality (AR), collectively known together as Mixed Reality (XR), are rapidly advancing as companies focus on miniaturizing AR technology and enhancing VR capabilities. While fully immersive virtual collaboration may be the future, today’s priority is to develop, learn, and collaborate on XR technology in the physical world. This vision is at the heart of the new XR Lab, designed by WindsorPatania Architects. The new XR Lab space is located at West Suffolk College in the United Kingdom, and was recently awarded the Inspiring Learning Space Award at the 2024 Education Estates Awards. The lab is an impressive high-tech space featuring a “Collaboration Theatre,” a Green Room, and a Conference Room. But this Green Room isn’t the typical waiting area used in theaters or backstage of a concert venue – it’s a fully immersive environment with green ceilings, walls, and floors, designed to make it easier to isolate real-world objects by removing the background, similar to green screen effects used in film production. Though it might seem that interior design wouldn’t be a priority in a space dedicated to virtual experiences, the architecture is striking. The XR Lab repurposes an old workshop hangar and incorporates acoustic insulation to enhance XR immersion. Inside, high-end cameras and microphones are strategically placed to create a more natural and seamless XR experience. Beyond serving as a cutting-edge learning environment, the lab is also positioned as a business hub for the surrounding region, particularly focused on the development of XR projectors. “The XR Lab is truly an inspired learning space, where ambitious architecture embodies the function of the building,” says Giovanni Patania, co-director of WindsonPatania. “We are very proud to have been part of this exciting and game-changing educational initiative.” The design of the lab’s other spaces leans into a futuristic, modern aesthetic. This is emphasized by the 3D triangular mesh adorning the building’s exterior, symbolizing the advanced 3D technology being explored and developed within. “We had different sources of inspiration for this project, which combined helped us deliver the wow factor our client wanted,” Patania says. “We reimagined the likes of the Tesla factories in the United States and the boxy Tesla Cybertruck, and even the minimalistic, monochrome interiors from the Men in Black films.” Ultimately, the space will hopefully facilitate the development of new and exciting XR tech and software. You can learn more about it at windsorpatania.com. Photography courtesy of WindsorPatania Architects.

BOND redesigns a Tribeca loft in New York City honoring the loft’s industrial heritage while infusing it with a modern, luminous aesthetic.

Lofts have long been an integral part of New York City’s architectural identity, evolving from industrial spaces into some of the most sought-after residences in the city. Originally built as warehouses and manufacturing hubs in the late 19th and early 20th centuries, these expansive spaces featured soaring ceilings, exposed brick walls, and large windows designed to flood interiors with natural light. By the mid-20th century, as industry moved out of Manhattan, artists and creatives began reclaiming these buildings, transforming them into raw, flexible living and working spaces. Today, lofts represent a seamless blend of historic character and contemporary design, offering an ideal canvas for innovative transformations. One such transformation has recently been brought to life by BOND, the design studio led by Noam Dvir and Daniel Rauchwerger. Tasked with reinvigorating the 1,000-square-foot Tribeca Loft in a landmarked New York City building, the duo set out to honor the loft’s industrial heritage while infusing it with a modern, luminous aesthetic. Like many historic lofts, this particular space had remained largely untouched since the 1980s, requiring a complete overhaul to meet the demands of contemporary living. While many loft renovations risk stripping away the very elements that define their charm, BOND’s approach was one of careful preservation and enhancement. The team undertook an extensive renovation, replacing outdated wiring, removing dropped ceiling panels, and integrating a central air conditioning system – an essential upgrade for comfort without compromising the integrity of the space. A key aspect of the redesign was opening up sightlines to create a sense of fluidity and connection. The introduction of a glass partition between the bedroom and the living area allows natural light to permeate the entire loft while maintaining a sense of separation. This technique, often used in contemporary loft conversions, enhances the airy, expansive feel that makes these spaces so desirable. One of the defining characteristics of New York City loft living is the emphasis on communal spaces – areas where people can gather, work, and engage. Understanding this, BOND placed a strong focus on the kitchen as the heart of the home. A striking 15-foot-long island, designed with waterfall edges and a unique cut-in detail, serves as both a functional workspace and a centerpiece. Lined with walnut ‘Tractor’ stools from BassamFellows, the island encourages social interaction, echoing the loft’s history as a place for creativity and connection. The beauty of a historic loft lies in its ability to evolve over time while maintaining its original character. In keeping with this philosophy, BOND curated a space that is at once minimal and warm, using carefully chosen design elements to create balance. The bathrooms introduce subtle yet playful pops of color, adding an unexpected contrast to the otherwise neutral palette. Shades of gold and brown echo the natural light that filters in the west-facing windows in the main living space. Sculptural furniture pieces, such as a statement metal coffee table, further elevate the aesthetic while maintaining a sense of fluidity. The loft also serves as a backdrop for the owners’ personal art collection, which includes geometric works by Mika Tajima and whimsical pieces by John Armleder. This integration of art into everyday living reflects the legacy of the city’s early artist-inhabited lofts that once doubled as both homes and creative studios. For more information on BOND, visit bond-ny-com. Photography by Chris Mottalini.

Architect + artist Leo Marmol, co-founder of Marmol Radziner, shares his love of artist Robert Motherwell, Albert Camus, a fave museum, and more.

When architect and painter Leo Marmol was a student, he was an awkward and shy boy. His sixth-grade teacher, Mr. Laurie, had him give presentations to the class until he was more comfortable. His instructor not only helped young Leo gain self-confidence, he also sparked his love for learning beyond the standard curriculum. The Salk Institute, by Louis Kahn, made a lasting impression on Marmol. As he learned about the architect in college, he was drawn to more than his structures. “Kahn in particular resonated deeply with me – not just for his buildings but for his philosophical musings on architecture,” Marmol says. “Kahn’s idea of moving from ‘silence to light’ spoke to me in a profound way.” Leo Marmol \\\ Photo: Jesse Green In 1989, Marmol and Ron Radziner founded their eponymous practice, Marmol Radziner. The firm is noted for its holistic approach to every element of design-build, from construction to furniture. But even with a full roster of projects on tap, Marmol still finds time to indulge in other pursuits. He enjoys saltwater fly fishing, which allows him to connect with nature. He visits museums when he travels, where he’ll often find a spark of unexpected inspiration. Marmol not only admires fine artists, he is one himself. He started painting as a way to help manage the pressures he faced while in architecture school. Painting allowed Marmol to unwind and express himself, free of restrictions. Yet he never imagined that a creative outlet would someday become a key facet of his life. Marmol often experiments with oil paint and cold wax, and he has exhibited his work in galleries throughout California and other locales. “Painting began as something playful and personal,” he notes. “It was only after I had my first solo show that I began to see painting as more than a hobby. That experience was transformative, and the opportunity to showcase my work to a broader audience made me realize that this was no longer just a private endeavor.” Today, Leo Marmol joins us for Friday Five! 1. The Myth of Sisyphus by Albert Camus One of my favorite works is Albert Camus’ “The Myth of Sisyphus.” In this essay, Camus reimagines the Greek myth of Sisyphus, who is condemned to eternally push a boulder up a hill, only for it to roll back down each time. Camus suggests that despite the endless repetition and futility of Sisyphus’ task, we must “imagine Sisyphus happy” – finding meaning and joy in the struggle itself. I first encountered this text in an existential philosophy course at Cal Poly. The idea of embracing the process, knowing the outcome will never fully satisfy, resonates with the creative journey as an artist and architect. Each time I approach a new painting, I feel like Sisyphus – pushing that boulder up the hill, knowing it will fall, yet finding fulfillment in the act of creation itself. For me, the boulder acts as a metaphor for the love of a new creative endeavor, the belief we have while creating that this will somehow be worthwhile, only for the work to never reach the top. We have no choice but to delight in the process not the outcome. Photo: Courtesy of Leo Marmol 2. Robert Motherwell painting Seeing Robert Motherwell’s work in person during a recent visit to the Modern Art Museum of Fort Worth was a deeply moving experience. Motherwell has long been a hero to me. Standing before pieces like “Elegy to the Spanish Republic,” I was struck by the power of his bold composition, where thick black ovals and vertical bands are both confrontational and gentle. There’s a visceral quality to Motherwell’s work, a rawness that transcends the canvas and speaks to the struggles and themes of his time. There was a major retrospective on view, Robert Motherwell: Pure Painting, which beautifully captured the evolution of his art. From the earlier abstracted figurative works to his later, more explosive explorations, each piece offered insights into his journey. I found myself reflecting on the balance of control and spontaneity and, moreover, the physical power of painting – brilliantly illustrated by Motherwell’s practice, which articulates the philosophical weight of a simple stroke or form. Photo: Courtesy of Leo Marmol 3. Salt Water Fly Fishing in Catalina Saltwater fly fishing is another one of my favorite escapes. I love the rhythm of casting into the clear waters, feeling the pull of the current, and the anticipation of that first strike. There’s something meditative about it—being surrounded by the beauty of the ocean, all while focusing on the cast. The challenge of fly fishing in saltwater, with its unpredictable conditions, keeps it exciting. My teenage son and I spent a couple of weeks last summer fly-fishing in Montana. It was a perfect way to end the summer season before he returned to school and me to work. It’s a chance to disconnect, get lost in nature, and experience the power of the water. Photo: Jaime Kowal, courtesy of Sparrows Lodge 4. Sparrows Lodge The Sparrows Lodge is a mid-century gem I hold especially dear to my heart. Located in Palm Springs, the Sparrows Lodge has enjoyed many incarnations, epitomizing the adaptive reuse of the most lasting Modernist structures. Originally built as Castle’s Red Barn in 1952 by MGM actor Don Castle, it was one of the original glamorous getaways for the Hollywood Elite. Restored in 2013, the lodge retains its original charm while embracing a rustic simplicity – exposed beams, pebble-inlaid floors, and reclaimed horse troughs as bathtubs – creating a serene yet tactile experience. What draws me to the desert, and to Sparrows Lodge in particular, is the tension between the harshness of the desert environment and the myth of Modern luxury that has been cultivated in Palm Springs. In the desert, the extremes of heat and light choreograph moments of intense vitality that feel both chaotic and calming. The desert is beautiful and strange, deadly yet teeming with life. Sparrows Lodge makes space to ponder this duality – a place where simplicity invites reflection, offering the rare luxury of slowing down and reconnecting with the rhythms of nature within an oasis of classic 1950s modern design. Photo: Courtesy of Kimbell Art Museum 5. Kimbell Art Museum Standing inside the Kimbell Art Museum during a recent visit was a profound experience. Designed by Louis Kahn, the architect’s use of natural light, filtered through skylights and reflectors, transformed the space into something sacred. The interplay of concrete, travertine, and oak created a Modern yet timeless atmosphere, with the Roman-inspired vaults evoking a sense of quiet grandeur. It was incredible to see how the architecture itself became part of the art, shaping my experience with its simplicity and elegance. The way light constantly shifts throughout the day felt like stepping into one of Kahn’s reflections on space and silence. Works by Leo Marmol and Marmol Radziner: The Desert House by Marmol Radziner \\\ Photo: Benny Chan, courtesy of Marmol Radziner Scottsdale House by Marmol Radziner \\\ Photo: Bill Timmerman, courtesy of Marmol Radziner Scottsdale House by Marmol Radziner \\\ Photo: Bill Timmerman, courtesy of Marmol Radziner Point Dume House by Marmol Radziner \\\ Photo: Manolo Langis, courtesy of Marmol Radziner Point Dume House by Marmol Radziner \\\ Photo: Manolo Langis, courtesy of Marmol Radziner Garcia House by Marmol Radziner \\\ Photo: Richard Powers, courtesy of Marmol Radziner Garcia House by Marmol Radziner \\\ Photo: Benny Chan, courtesy of Marmol Radziner Leonardo E. Marmol, Wind’s Caress, 2022, Oil and cold wax on board, 30″ x 40″ Leonardo E. Marmol, Eulogy for Yesterday’s Dawn, 2022, Oil and cold wax on board, 30″ x 40″ Leonardo E. Marmol, Pastoral Views in the Borrego I, 2022, Oil and cold wax on board, 40″ x 30″ Leonardo E. Marmol, Pastoral Views in the Borrego II, 2022, Oil and cold wax on board, 40″ x 30″ Leonardo E. Marmol, Poets Call It Sleep I, 2022. Oil and cold wax on board, 40″ x 30″ Leonardo E. Marmol, Poets Call It Sleep II, 2022. Oil and cold wax on board, 40″ x 30″

Designed by Natasha Kukresh, a 533-square-foot studio apartment in Minsk masterfully balances bold colors and aesthetics with practicality.

Situated in the heart of Minsk, Belarus, Apartment Ann proves how compact living spaces can be transformed into a stylish and highly functional homes. Designed by Natasha Kukresh, an interior architect based in Brittany, France, this 533-square-foot studio apartment masterfully balances aesthetics and practicality while ensuring a sense of openness and comfort. Faced with the challenge of limited square footage, Kukresh approached the project with a strategic mindset, prioritizing efficiency without compromising style. To optimize the available space, the traditional dining table was replaced with a sleek kitchen peninsula, providing both a dining and prep area. Recognizing that the apartment is not intended for work, a dedicated workspace was intentionally left out, allowing for a more fluid and uncluttered layout. The studio layout incorporates a bedroom area that is subtly defined by a sliding glass partition. This choice maintains a visual connection between spaces while offering a degree of privacy. In contrast, the bathroom and an expansive walk-in closet are fully enclosed. The closet, an essential feature for the fashion-forward client, is designed to be spacious and organized, reflecting a passion for aesthetics and personal style. Beyond its practical aspects, the apartment features a carefully curated design language that is both expressive and refined. Vibrant hues and a rich mix of textures infuse the space with personality while maintaining an overarching sense of harmony. Kukresh skillfully counterbalances the bold elements with a clean and structured layout, preventing the interior from feeling overwhelmed by decorative details. One of the key transformations involved addressing the apartment’s original non-orthogonal structure. Thoughtful adjustments were made to refine the spatial configuration while preserving as much usable area as possible. Another important consideration was lighting, given the apartment’s west-facing orientation. To counteract the variability of natural light, a warm-toned ceiling in a striking yellow hue was introduced, complemented by a well-planned artificial lighting system. This approach ensures a consistently inviting and luminous atmosphere, regardless of the time of day. Modern fluted tiles in a copper shade are juxtaposed with a more traditional marble backsplash and countertop in the kitchen area. Smoky gray cabinets tie the compact space together while complementing the remainder of the apartment’s contrasting elements. Apartment Ann showcases how small-scale living can be both luxurious and practical when guided by a thoughtful design philosophy. Kukresh’s approach embraces individuality while maintaining a seamless flow, resulting in a home that is as visually compelling as it is comfortable. For more information, follow Natasha Kukresh on Instagram here. Photography courtesy of Sergey Pilipovich.

Baranowitz + Kronenberg designed the compact Urban Refuge apartment in Tel Aviv focusing on warmth, functionality and biophilic harmony.

In the heart of Tel Aviv’s lively Levontin neighborhood, an innovative interior design project is redefining the way we perceive compact urban living. A collaboration of acclaimed architecture studio Baranowitz + Kronenberg, the 506-square-foot Urban Refuge apartment, nestled within an Art Deco landmark, blends modern functionality with a deep-rooted connection to nature. Designed to double as both a residence and a workspace, the Urban Refuge apartment’s aesthetic revolves around the use of Douglas Fir wood, creating an immersive sanctuary away from the city’s dynamic energy. The continuous application of this organic material throughout the interiors fosters a warm and serene ambiance, reinforcing a sense of refuge for its inhabitant. The delicate grain and natural luminosity of the wood provide a backdrop that soothes yet stimulates creativity, making it an ideal setting for long working hours without feeling confined. At its core, the design follows an ‘L’-shaped layout, ensuring a natural flow between spaces while maintaining a unified identity. Each section unfolds organically, revealing subtle elements of surprise without disrupting the overall cohesion. This approach emphasizes the studio’s dedication to pushing the boundaries of residential design, proving that even within a compact footprint, innovation and comfort can coexist effortlessly. One highlight of the project is its ability to amplify the potential of a small living space through strategic design choices. Clever storage solutions and multipurpose furniture enhance the functionality of each area, ensuring that every corner serves a purpose. The apartment’s lighting, both natural and artificial, is thoughtfully integrated to complement the warmth of the wood, further reinforcing the sense of harmony within the space. The biophilic elements of the design, from the choice of materials to the connection between interior and exterior, create an atmosphere that feels expansive despite its modest dimensions. Large windows invite ample daylight, establishing a visual dialogue between the apartment and the bustling city outside while maintaining a tranquil retreat within. This interplay between urban energy and natural serenity is a hallmark of Baranowitz + Kronenberg’s work, reflecting their ability to craft environments that are as practical as they are poetic. Beyond aesthetics and function, this project also speaks to a broader movement in contemporary architecture – one that prioritizes sustainability, well-being, and a reconnection with nature in urban settings. By embracing a single material approach and focusing on longevity in design, the apartment represents a model for future residential projects that seek to balance modernity with timeless warmth. For more information on the Urban Refuge apartment or Baranowitz + Kronenberg, visit baranowitzkronenberg.com. Photography by Amit Geron, courtesy of v2com.

Out of the Valley’s new Tyto sauna is small in size but big on relaxation, offering compact Nordic luxury and timeless craftsmanship.

Luxury saunas are no longer reserved for five-star hotels – you can now enjoy the experience right in your own backyard. Out of the Valley’s new Tyto sauna brings home the restorative magic of Nordic sauna culture, offering immediate access to relaxation and wellness. Measuring just 2.5 feet by 8.5 feet, this compact, beautifully crafted retreat fits effortlessly into smaller outdoor spaces, delivering big on design, comfort, and therapeutic benefits. With Tyto, escaping the demands of daily life has never been easier – or closer. While saunas are deeply rooted in Nordic culture, serving as spaces for both relaxation and social connection, their popularity has transcended borders. In the United Kingdom where Out of the Valley is based, the allure of sauna living has grown rapidly. “It is now rapidly becoming a normal part of our everyday wellness routine,” shares Chris Selman, co-founder of Out of the Valley. The brand’s bespoke saunas seamlessly complement a variety of landscapes, from charming gardens in Notting Hill to the shores of a remote Scottish loch. With Tyto, Out of the Valley is making this timeless tradition even more accessible for those limited on backyard space. “We have created a sauna small enough to be tucked into the corner of any urban garden, so fans of heat therapy can be just steps away from this immersive and therapeutic healing experience,” Selman explains. Each Tyto is made to order and handcrafted in the brand’s Devon workshop, ensuring the highest level craftsmanship. The sauna boasts a brushed and oiled black larch exterior, reminiscent of alpine cabins, and an interior of smooth aspen wood for a calming atmosphere. A striking edge-to-edge panoramic window offers expansive views while maintaining a sense of connection to the outdoors, with optional privacy glass available for added seclusion. The sauna houses a floor-mounted heater – available in wood-burning or electric options – surrounded by rocks for practicing löyly, the Finnish tradition of pouring water onto the hot rocks to create steam and increase humidity. Thoughtful features like adjustable LED lighting, an outdoor deck, and hooks for robes and towels add convenience and comfort. Optional add-ons, such as an outdoor shower, plunge pool, bench seating, extended deck, sauna heater Wi-Fi, and log storage, allow users to tailor their Tyto to their personal wellness needs. These days, the stresses of daily life are mounting, and it’s become more important than ever to prioritize wellness. “An outdoor sauna is a place where you can escape the pressures of modern living through a soothing heat ritual, either on your own or with friends,” Selman notes. With the Tyto’s harmonious blend of contemporary design, traditional craftsmanship, and thoughtful details, it’s the perfect elegant addition to any backyard oasis. To learn more about the Tyto or any of Out of the Valley’s sauna offerings, visit outofthevalley.co.uk. Photography courtesy of Out of the Valley.

Atelier Échelle marries vernacular form with contemporary function in a lakeside Quebec gallery home for a couples' extensive art collection.

Is it a machine for living or a living gallery? A feat of engineering or fine art? Montréal-based Atelier Échelle resolves this line of inquiry with their design for a Lakeside Gallery Residence situated on the west banks of Lake Memphremagog in rural Québec. The home is a contemporary interpretation of the traditional barn volume typical of vernacular in Magog, Canada, repeating the prototypical structure, which is parsed into four distinct programs, stitched together by cedar roofs, brick walls, and glass bridges. The exterior materiality acts as a neutral canvas to capture natural patination while the interior design is in service of the residents’ art collection. Repeat The crux of the concept, or parti, is its form. “It’s like the Canadian barn. And we liked the appeal of that, because it was rudimentary as a shed for art and a shed for living,” say, co-founders and principal architects of the atelier. “And then to create the same shed, but with different intentions by giving it completely different programs, was something that also the client really enjoyed.” Each of the four lengthy forms are oriented to maximize waterfront views while breaking up the sprawling 15,000-square-foot ground floor plan into manageable spaces to be used as needed: outdoor kitchen, dining, lounge, and water feature; indoor kitchen, dining, living, and music lounge; main quarters with en suite primary bedroom, adjacent office, and powder room; and guest quarters with four en suite bedrooms. And each comes with its own nuances. The summer terrace celebrates life on the lake al fresco with an all-encompassing 100-foot-long shelter. The fully enclosed winter home showcases a breathtaking open plan unobstructed by traditional mullions in the windows. The main living house is punctuated by clerestory windows to provide plenty of light and informal thresholds between each structure. Even the guest quarters are equipped with access to a private garage. Notable elements tucked neatly into the otherwise liminal spaces include a walk-in pantry and specialized wine storage modeled after a traditional wine cellar – housing an excess of 1,200 bottles, specifically crafted according to the unique shape of a Bourgogne bottle and modeled after French caverns with the gravel on the floor. The basement comprises a smattering of secondary spaces including a private gym and guest lounge lined in a deep blue velvet corduroy curtain. While seemingly simple, this robust solution makes every volume its own microcosm within a larger system where independent dwellings are relatively autonomous and occupants have the agency to come and go as they please without disturbing their adjacencies. (Re)Frame The architecture is articulate in communicating art’s value to those who visit, and the ethos of homeowners who appreciate personal expression as much as they love to entertain. Its ability to reflect those intangibles is matched by its ability to inflect aesthetic concepts and function. The first viewport is established upon entry where guests are greeted by an 11-foot-tall wood door that opens into the main gallery while also hinting at scenes to come. Reinforced concrete, steel structuring, and brick walls create multiple frameworks for viewing the landscape, and in one condition secure a custom motorized glass system spanning 55 feet of unadulterated grooves of any kind. A shift from enclosed rooms to generous glazing marks the home’s transition from focusing on the clients’ private collection to featuring the vista as the programming approaches the lake. Reveal The residence serves as the medium mitigating a shift in desire from expansive views to intimate moments with art. Strategically positioned surfaces pace movement through site, scale, and space. A series of gallery walls and in situ installations are seamlessly integrated into circulation and hallways with floor-to-ceiling windows elsewhere conspire to become viewports of the surrounding landscape and artful exterior. Interventions like niches between each of the four pseudo-dwellings break up architecture with the arts, or perhaps marry the two. “When you build a house in brick, very often you almost don’t see it from the inside,” the designers say. “You don’t really look at the house when you’re inside. So this way was also compelling to be able to see those very nice brick walls.” Created by Simon Hughes, the powder room is fully lined with a custom mural depicting the four seasons and playful collages abstracting events plucked from the owners’ lives. An oil rubbed bronze vanity and lavatory stand in the center, lightly reflecting jewel tones cast off the walls. A second, more conceptual installation by the same artist graces the outdoor water feature, which depicts floating iceberg mosaics. Life Arts On Site, space, surface, and scale. Few residential projects carefully consider these intricate complexities so deeply, or find themselves responsible for such a multiplicity of functions including cultural repository and dynamic domestic space. “We designed the home with art – most art has a place. But there were also some instances where the homeowner said, ‘I know I want a sculpture here, but I don’t know what it is yet.’ So there’s this evolution with the house now that we’ve left,” the designers add. “The idea is that the house has… It gets a life of its own even after we’ve gone, which I really like that the clients can make it their own.” To see more of the studio’s work, visit atelierechelle.com. Photography by Maxime Brouillet.

Studio IDA transforms a 172-square-foot triangular horse stable into an elegant tiny home with a loft in the heart of Paris.

Nestled just a stone’s throw away from the historic Les Invalides in Paris, France, the remarkable Garibaldi renovation project by Studio IDA has turned an old triangular stable into a modern haven. The transformation of this unique and tiny space, once an area designed to house horses, offers a glimpse into how thoughtful design can blend historic charm with contemporary living. This quaint space, now a short-term rental, turns the old into something new, combining minimalism with subtle yet sophisticated design. Photo: Denys Vinson The building has a storied past. Originally a stable, it had long been converted into residential housing, but time had left its mark. The interior, which originally covered just 172 square feet, was in need of a complete overhaul. The absence of a mezzanine left the space feeling cramped, and humidity issues had compromised the structure. During demolition, the team discovered remnants of the building’s equine origins, including old horse irons buried in the ground. The structure’s rich history provided both a challenge and an opportunity to create a design that would honor the past while embracing the future. Photo: Denys Vinson Photo: Denys Vinson The design team’s primary objective was to make the space functional and comfortable for modern living while maintaining its original charm. The attic, once used for storing hay, was converted into a mezzanine – taking full advantage of the high ceilings that reached nearly 20 feet at the rear of the structure. This clever use of space provides a dedicated “night” area, making the compact home feel much larger than it is. Photo: Denys Vinson Photo: Denys Vinson Photo: Denys Vinson The design choices focus on fluidity and warmth. The use of curves is a key feature, softening the edges of the space and creating a welcoming, organic flow between rooms. Each element was carefully considered to reflect a minimalist aesthetic while incorporating both classic and contemporary design influences. Photo: Denys Vinson Photo: Denys Vinson The ground floor is the heart of the apartment, a multifunctional space that serves various needs throughout the day. At its center is a striking curved kitchen island, which serves as a visual anchor in the room. Its design is not just for aesthetics; it is highly practical, housing a sink, washing machine, and dishwasher. The island is surrounded by a custom-designed bench that follows the curves of the walls, offering ample seating for dining, lounging, or even working. Photo: Denys Vinson Photo: Denys Vinson The kitchen itself is compact yet fully equipped, located beneath the staircase leading to the mezzanine. A large storage cabinet, designed to blend seamlessly into the room, hides away electrical panels and provides additional space for kitchen essentials. This clever use of space ensures that everything is within arm’s reach without overwhelming the minimalist design. Photo: Denys Vinson Photo: Denys Vinson The bathroom is built with perfect symmetry and a keen sense of artful minimalism. A sliding door, hidden within an archway, opens to reveal a beautiful vanity with a high basin that sits as a statement piece in the room. Surrounding the vanity are two equally symmetrical arches: one leads to the shower, while the other frames the toilet. A large mirror stretches across the wall, creating the illusion of space while hiding functional storage behind it. The water heater is discreetly tucked away above the toilet, ensuring that the bathroom remains uncluttered and serene. Photo: Denys Vinson Photo: Denys Vinson Photo: Denys Vinson Upstairs, the mezzanine serves as the home’s intimate sleep area, where the design focuses on comfort and functionality. The bed, elevated to accommodate the roof’s structural elements, sits in the center of the room. Below, ample storage space has been ingeniously incorporated, making the most of every inch of available space. The shallow dressing area is enhanced with mirrored moldings, creating the illusion of depth and space, while a small niche with a green marble shelf adds a touch of luxury. Photo: Denys Vinson The floor is covered in a woven carpet that runs up the stairs, leading to a cozy sleeping area. To further enhance the sense of light and openness, small windows were introduced along the mezzanine walls. These not only invite natural light into the space but also frame views of the ground floor below. Photo: Denys Vinson Photo: Denys Vinson Photo: Denys Vinson For more information on STUDIO IDA, visit studioidaarchitecture.com. Photography by Denys Vinson.

Embracing its natural surroundings, the Westview Residence by Alterstudio Architecture transforms a challenging Texas landscape into a home of tranquility.

Nestled amidst the lush landscape of rolling hills and live oak trees in West Austin, Texas, the Westview Residence by Alterstudio Architecture delivers thoughtful design and environmental sensitivity. Situated on a steeply sloped lot at the end of a cul-de-sac, this home redefines the relationship between architecture and nature by embracing the challenges of its site rather than imposing upon it. A defining feature of the property is a meandering seasonal creek that carves its way through a grove of protected trees. Rather than viewing this natural formation as an obstacle, the architects used it as a central design element, shaping the layout of the home to seamlessly integrate with the existing landscape. The result is a striking composition of masonry structures positioned on either side of the ravine, with a grand living space bridging the two halves as it cantilevers over the occasional stream. This architectural arrangement does more than simply respond to the land – it creates a sense of seclusion amidst a densely developed neighborhood. The residence establishes its own private retreat, visually extending its natural surroundings to evoke an atmosphere of tranquility. The spatial arrangement encourages a fluid transition between the indoors and outdoors, with rooms that serve as intermediary spaces, blurring the distinction between built form and nature. A minimalist rectangular swimming pool feels as if it’s floating amongst a sea of trees on two sides. The three volumes wrap around the pool creating a courtyard with privacy from nearby homes, while the floor-to-ceiling windows allow the occupants views from each structure. Inside, the residence exudes warmth and refinement, featuring oak-clad ceilings and floors that contrast with robust brick walls. The masonry, chosen for its rugged texture and historical character, adds depth and dimension to the home, interacting dynamically with natural light throughout the day. Large openings invite sunlight to permeate the space, fostering a connection to the ever-changing outdoor environment. The black kitchen cabinets and details throughout the interior juxtapose the cream-colored bricks and warm wood surfaces for a balanced aesthetic that feels inviting and cozy. For more information on the Westview Residence or Alterstudio Architecture, visit alterstudio.net. Photography by Casey Dunn.

The bespoke updates + tailor-made interior architecture of this Los Angeles home showcase AAHA Studio's family-centric ethos, in collaboration with the homeowner.

The path of residential mobility – where individuals move to re-optimize as their needs change, budgets increase, and families grow – has seen a variety of challenges to the traditional trajectory. Homeowners used to migrate from starter to forever home, sometimes downsizing or simplifying towards the end of their housing career. But this Oceano Drive Residence, located along the meandering streets of Los Angeles’s Brentwood neighborhood, tells a story of thoughtful tailoring over time where walls were unhemmed and spaces given slack before being stitched back together. Family owned and operated AAHA Studio worked closely with the homeowners, one of whom is an interior designer by trade, on the structure’s latest update for a bespoke fit. As a long-term, custom-built family home, the residence has seen its fair share of growing pains and alterations since its construction prior to the new millennium. The clients now require spaces more conducive to hosting several generations for an assortment of gatherings indoors and outside. With some 4,500 square feet, the two-story structure boasts plenty of rooms that offer varying degrees of privacy or openness. Family members may find alone time in any one of the six unique bedrooms, five full bathrooms, powder room, or hide away in the laundry. But the house’s grand gesture, facilitated by two oversized pocketing doors, is the great room formed from a generous kitchen, dining area, and living room – all of which extend out onto the patio where guests can enjoy entertainment al fresco adjacent to the inground pool. Buttoning up the interior architecture required significant space planning by AAHA Studio. The design team reconsidered existing programming such as the kitchen, living room, fireplaces, laundry, former maid’s bathroom, and staircases. And they spared no surface from consideration as they took down drop ceilings throughout to maximize ceiling heights. Other updates include everything from new appliances to additional fenestration to secondary bathroom finishes and fixtures. “We love the reoriented layout of spaces. Upon our first visit to the house, we felt that the kitchen should be on the opposite end of the house. With the way people live and entertain now, the kitchen is the heart of the overall space,” the studio shares. “We had to lose a fireplace to achieve this, but it was worth it and drives home the concept that the kitchen is the new hearth of the home!” AAHA Studio capitalized on the industry’s trend towards light oak and black steel at the time thoughtfully shifting away from the preexisting dark wood, which made the smaller spaces feel so heavy. It would be remiss to frame the aesthetic upgrades as merely superficial given the complexity of the project. The completed customization is far more robust: the kitchen is re-centered in plan with a new island and cabinetry; the demolition of interior walls facilitates better flow and an abundance of daylight; glass pocket doors slide in place of French doors for malleable layouts; streamlined plumbing allows for better bathing spaces; and a modernized front stair design folds millwork from both levels into one cohesive circulation narrative. The extensive makeover is expressed with an exterior facelift as well. Changes to the facade’s condition complement the breathier, smarter fenestration with an updated color palette, removal of unnecessary details like shutters and non-structural columns, painted wood cladding, smooth refreshed stucco, new asphalt shingles accentuated by simple eave details, and an updated brick walkway leading from the driveway to the front door. “We came on to this project to rethink our clients’ existing residence,” the studio adds. “The addition of these elements and how they were installed make a world of difference in how you experience the space.” To view AAHA Studio’s full portfolio, visit aaha.studio. Photography by Amy Bartlam.

Architect Elizabeth Graziolo, founder of Yellow House Architects, shares her love of nature, sunsets, door knockers, and more.

A career path to architecture unfolded for Elizabeth Graziolo when she was accepted into the architecture program at Cooper Union in New York City. At the time, she wasn’t sure what she wanted to do, yet within a few months at the storied institution her course was set. “After my first semester everything clicked,” Graziolo says. “I started seeing the world differently, from new perspectives, and I completely loved it.” After graduation she joined the team at Cicognani Kalla, where Ann Kalla was an early and influential mentor. Kalla helped shape Graziolo’s understanding as she moved from theory to real-world design. As she honed her skills, Kalla’s guidance also prepared her for what women experience in the profession. Graziolo spent nearly two decades at Peter Pennoyer Architects, where she worked on a wide range of projects, from townhouse reconstructions to residential developments. Ready for her next challenge, she decided to venture out on her own and founded Yellow House Architects in 2020. Elizabeth Graziolo \\\ Photo: Joshua McHugh As a firm owner and leader, Graziolo strives to foster collaboration and create a space where staff members can freely share diverse points of view. With offices in Manhattan and Miami, the firm is noted for reviving landmark properties, uncovering the unique elements to bring them to light once again. No matter which city Graziolo is in at any given moment, she is ready to capture interesting things to enhance her own creative process. “I don’t use one specific method; I mix it up,” she notes. “I take lots of photos, doodle in my sketchbook, and collect objects or images that I find inspirational.” Today, Elizabeth Graziolo joins us for Friday Five! Photos: Elizabeth Graziolo 1. Sunsets This slide captures the profound inspiration drawn from observing a sunset – a reminder of nature’s ability to inform and elevate design. The photograph, taken with my iPhone from my apartment, encapsulates the vibrant, dynamic hues of the setting sun. These natural colors became the foundation for a mood board that guided a recent project. The warm, glowing tones inspired the selection of Beatrice Serre’s copper-skinned mirror, while the delicate raindrops on the windowpane influenced the choice of Lindsey Adelman’s Knotty Bubbles chandelier. Finally, the fluidity and depth of the water informed the inclusion of De Gournay’s fish-themed wallpaper, completing a harmonious interplay between nature and design. Photo: Elizabeth Graziolo 2. Bibliotheque Nationale de Paris I always find this picture so inspiring on so many levels, from its innovation to the materials and finishes. Photo: Elizabeth Graziolo 3. Alia Ali The artwork by Alia Ali serves as a profound source of inspiration. There’s an enigmatic quality to this piece that invites endless interpretation. To me, it explores the interplay of form and shape, masterfully presented in a fluid and dynamic context, leaving the viewer’s imagination to fill in the narrative. Photos: Courtesy of Elizabeth Graziolo 4. Nature We often draw inspiration from nature. On the slide above, we took inspiration from many pictures of Central Park which inspired the creation of a custom mural by Dean Barger for 200 East Building. Photo: Elizabeth Graziolo 5. Door Knockers I’m absolutely fascinated by door knockers – they’re a universal feature found across cultures, often carrying symbolic meanings. I love exploring their designs and imagining the stories or intentions behind them. This particular one is from South America, featuring an elephant trunk, a design I haven’t seen anywhere else. I like to think it reflects the homeowner’s wish for wealth and prosperity. Works by Elizabeth Graziolo and Yellow House Architects: One Wall Street Apartment Library & Reading Room \\\ Photo: Evan Joseph One Wall Street Apartment Terrace \\\ Photo: Evan Joseph 200 East 75th Street Private Member Amenity Space \\\ Photo: DBOX Upper East Side Penthouse Dining Room \\\ Photo: Noe DeWitt Upper East Side Penthouse Stairs \\\ Photo: Noe DeWitt Upstate, New York Country Home Dining Room & Terrace \\\ Photo: Gross & Daley

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Architect-K has shared photos of MIGIUI, a modern cafe and various social spaces that lies within the hanok village of Ulju-gun, South Korea. The building was designed to blend seamlessly into this natural setting, and was inspired by a forest path. Major tree species, rocks, and water flows were scattered across the site to reawaken […]

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MU Architecture has shared photos of a renovated historic loft in Montreal’s Old Port that seamlessly blends heritage with modern design. One example of this is the kitchen that includes original structural elements while integrating contemporary materials, creating a sophisticated yet inviting space. The kitchen, a focal point of the loft, features striking copper cabinetry […]

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PIN Architects has shared photos of a small modern cabin they completed in Turkey, that’s located on the slopes of a deep valley surrounded by rocky cliffs and olive trees. The cabin, entirely made of steel, has facades that are fully glass, with solid wall applications in a few areas where needed. The cabin is […]

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Architecture firm ALH Taller has shared photos of Hotel El Zarzo, a brick hotel in Medellin, Colombia, that serves as an urban oasis that combines aesthetic, environmental and social value in every architectural detail. The hotel’s design maximizes the connection with the exterior, despite being sandwiched between two other buildings, strategically using its eastern and […]

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Architecture and interiors firm Studio Saxe, has shared photos of a villa they completed in Tamarindo, Costa Rica, that has an umbrella-like roof that echoes the land’s undulations. The design process commenced with the creation of a robust curved silhouette, with pavilion-like spaces segregated by ventilating corridors, capable of being opened or closed dynamically, interacting […]

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Richard Cole Architecture has shared photos of the Foreshore House, a modern waterfront home in Sydney, Australia, they renovated after it suffered significant storm damage. Keeping the footprint and envelope of the existing dwelling to preserve neighbouring views, the dwelling was extensively remodelled to accommodate a large extended family. The original house featured an exposed […]

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Photography by KIE Arch Realrich Architecture Workshop has shared photos of a modern home they completed in Jakarta, Indonesia, that features operable steel fins on the western and southern facades. Photography by KIE Arch To fins were included in the design of the house to regulate light and airflow. These fins extend into a 3.5-meter […]

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Condon Scott Architects has shared photos of a small one-bedroom home they designed that measures in at just 323 square feet (30sqm). Located on a quiet suburban street in Wanaka, New Zealand, the compact home is defined by a simple gable form and a sturdy black rain screen. The external cladding is restrained but functional, […]

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Locus Design has shared photos of a renovation project they completed for a brick home in Greater London, England, that added space at the rear of the house for an updated living room, dining room, and kitchen, as well as a landscaped yard. At the rear of the home, a new brick extension with new […]

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SIKORA INTERIORS has shared photos of a new dessert cafe with a bright yellow interior they completed in the historic downtown of Hanseatic city in Poland. The goal was to create a bold, experimental space that would establish a strong new brand. The designers’ inspiration came from the world of desserts. The bright yellow interior […]

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designboom magazine | your first source for architecture, design & art news

tide's echo hall opens outward to embrace ocean views, evoking a sail caught in motion with architecture by TAO.

The post TAO builds ‘tide’s echo hall’ as a cultural beacon on the edge of the yellow sea appeared first on designboom | architecture & design magazine.

with the addition of the 14-story pietro building, the expansion doubles the size of the iconic museu de arte de são paulo.

The post são paulo’s iconic lina bo bardi-designed museum opens sprawling expansion appeared first on designboom | architecture & design magazine.

the house is constructed precisely as wright intended, ensuring every visible detail matches the original blueprints.

The post frank lloyd wright’s final residential blueprint comes to life decades after its design in ohio appeared first on designboom | architecture & design magazine.

the modular system's timber panels can be easily disassembled and repurposed in buildings across japan well beyond the duration of the expo.

The post oki sato & nikken sekkei’s expo 2025 osaka pavilion places biogas plant amid timber ring appeared first on designboom | architecture & design magazine.

LIAKO bar-restaurant takes its name from traditional enclosed sunrooms designed to capture the aegean light.

The post saint of athens revives century-old cycladic building as sunlit bar-restaurant in syros appeared first on designboom | architecture & design magazine.

the project by usp – urban soul project blends a bakery, retail space, dining area, and hotel accommodation.

The post urban soul project’s ergon bakehouse in athens references traditional bakeries appeared first on designboom | architecture & design magazine.

with its house in fujiidera, osaka-based fujiwaramuro architects reimagines domestic living on a narrow, irregular lot.

The post zigzagging corridor divides fujiwaramuro architects’ house in fujiidera, japan appeared first on designboom | architecture & design magazine.

malik architecture's j-house attempts to reconcile high-rise living with the spatial and climatic adaptability of vernacular architecture.

The post verandas wrapped in adjustable perforated screens shape residential tower in mumbai appeared first on designboom | architecture & design magazine.

the temple's core structure features a cylindrical volume housing sacred functions.

The post meng architects carves buddhist temple out of stone, set on chinese mountains appeared first on designboom | architecture & design magazine.

MVRDV reimagines the taiwanese market as a vertical civic hub combining food halls, cultural venues, and rooftop farming.

The post MVRDV reinvents the market square to become a luminous ‘market cube’ in taiwan 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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Armani store with apartments above, on Madison Ave Really nice design, looks classic and modern at the same time. submitted by /u/ArtDecoNewYork [link] [comments]

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I'm currently in my sixth semester of architecture, halfway through my degree, and I'm afraid my life will turn out the way I've lived these past two and a half years of studying. Don't get me wrong, I like architecture, and I actually think I'm pretty good at it. I get good grades and have won awards for it. However, what I didn't like is that, besides not studying in the same city where I grew up, it's a EXTREMELY demanding and life sucking career. Sleeping only 2 hours a day because it's the only way to get everything done, having no time for a social life, and teachers telling you that's the daily routine of a "True Architect". I visit my family and friends only on vacation because that's when I have time for them, because when I'm in semester I literally spend all day, every day studying and working on the project; and if that's the life of a "True Architect", I really don't want it. I'm very scared that work life will be the same or worse. Architects of Reddit, has the same thing happened to you? I need a little of your wisdom submitted by /u/Arturo060 [link] [comments]

Found this video on Heathrow Airport's recent approved expansion plans if anyone's interested! submitted by /u/Aviator542 [link] [comments]

I'm in 9th grade and have a project to create a scale model of MASP, but I'm having trouble understanding some of the dimensions listed in a document I found. (the top beams) (the 4 columns on the sides) (the main building) (MASP) It does not list the length and width of the main building, only its height from the ground. I also do not know whether the height of the columns includes the 3.5 meters from the top beams, and if the 78 meter span of the top beams includes the parts where they connect with the columns. submitted by /u/shs1207 [link] [comments]

For professional and personal reasons, I'm currently closely following a major public building project in my city. It's a huge project, projected to cost over 100 million dollars to build, and was preceded by an architectural competition won by a vast global architectural firm, that beat out among others OMA, BIG and Snøhetta in the process. It's now about five years until the projected opening date, and the main building contractor was selected last month. The room function programme is finished and the property developer is now focusing on technical details, ventilation, electricity and so on. Building is to start next year. And apparently, the developer and contractor is now intending to switch to a different architectural firm for the rest of the process. I'm wondering, is this common? Is it "normal"? On a scale from "meh, the job is basically done anyway" to "the original firm fucked up bad", how dramatic is such a change? submitted by /u/Birdseeding [link] [comments]

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I'm a young architect who is experiencing burnout at its deepest pit. How did you overcome the overwhelming sense of failure, guilt and depression that comes with burnout in your career? submitted by /u/bonjourblingbling [link] [comments]

Hi everyone, I’d love some advice on my situation. I’m an Architectural Engineer with an Integrated Master’s degree (5-year program), and I’ve been working for 1.5 years as a Junior BIM Architect in a landscape architecture and architecture firm. During this time, I’ve gained experience in Revit and BIM workflows. I initially applied for master’s programs because I found some of them interesting and also saw it as an opportunity to live abroad. It was difficult to find a master that lasts one year so I applied to these ones (two years programs) and got accepted. TU Delft – MSc Landscape Architecture Polimi – MSc Sustainable Architecture and Landscape Design TU Eindhoven – MSc Construction Management and Engineering (which includes BIM, Smart Cities, and GIS) But i am unsure whether I should proceed with one. I'm wondering if it actually makes sense for my career goals. While I find design interesting, I think I want to focus on BIM and considering moving toward a BIM Manager role in the future. However, I’ve found it quite difficult to find master’s programs specifically focused on BIM and smart construction that would be useful for this career path.(Only ones in Ireland and a specializing master at Politecnico di Milano) Now I’m debating whether doing a master’s related to BIM and digital construction would actually help me or if I should just continue working, gain experience, and transition into a more senior BIM role naturally. Based on my experience, should I focus more on gaining experience and advancing in BIM roles rather than pursuing a Master’s? Is it easy to find job opportunities in the BIM field abroad if your studies weren't in English? ( I'm from Greece). Thanks in advance for your help! submitted by /u/elpapac [link] [comments]

For context, I’m currently working in an architecture firm as a designer. In my head, it would make so much sense for a firm that does majority non-bid work to have a secondary branch of their company that focuses on custom fabrication of lighting/furniture to have more control over final design. Does anyone know why this seems to be such an uncommon occurrence? submitted by /u/brewakowski [link] [comments]

Does anyone have thoughts on why this tower would be designed with its doors off center? For context, it's the Bellfort in Bruges. submitted by /u/SleepConscious7063 [link] [comments]

I dont care if you think i can do it or not, just like what material would you use for the walls and what for the vegetation etc and how would i put it together? just glue? etc. thanks submitted by /u/Eastern-Purchase3436 [link] [comments]

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65 East 76th St, designed by H.I. Feldman. Late Arr Moderne, bordering on Mid Century Modern design with strong vertical emphasis. It has a stairstepping limestone base, casement windows (which wrap the chamfered corners), and interesting terraces at the upper floors. The terraces have Art Deco railings. The windows are not original (see: pic 4 for the original look), but are fairly sympathetic replacements. Mid Century Modern apartment buildings would have been much more interesting if they went in this direction, but instead they went a boring, extremely minialist direction (unlike cars of that era). submitted by /u/ArtDecoNewYork [link] [comments]

Hi everyone, I’m a 27 year old student in the UK perusing a career as an Architect. I have graduated with a BArch and i’m currently in the middle of my Part 2 MArch (Master of Architecture). As I explore potential career paths, I’m curious to see how far I can stretch my architectural background into industries beyond traditional practice. I’ve always had a strong interest in the aviation and space industry and would love to know if there are roles where an architect’s skills could be valuable. If so, what kind of experience or additional qualifications would I need to break into this field? Are there specific programs or certifications (especially US-accredited ones) that would help? Also, how do visa requirements typically work for international architects looking to work in these industries? Any advice or insights would be greatly appreciated. Thank you! submitted by /u/SYKY_ [link] [comments]

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Im an interior design graduate currently wanting to pursue a master's in Architecture as an international student, but I would love to hear and get some opinions on my final decision. Keeping costs aside interms of the program the value of the degree and employment post masters what school and why would u recommend. help a girlie pls submitted by /u/maeysafatima [link] [comments]

AD100 designer Nate Berkus answers your top interior design questions from Instagram. Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

Designing a unified home with a partner can be difficult when you both have completely different tastes but there are always ways to bring them together. Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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, AD100 designer Nate Berkus joins Architectural Digest to answer your top interior design questions. How do you decorate if your partner has different taste? How can you save money on a renovation? Berkus shares his expertise to help solve your interior design problems. 00:00 Intro 00:25 What makes a house look put together? 02:08 How can I make my bedroom more cozy? 03:32 Chic storage solutions for small spaces? 04:50 Are gallery walls over? 05:54 How to make the design process less overwhelming? 06:56 What is the most timeless design style? 07:43 How do I know a vintage piece is worth the price? 08:52 How to decorate with a partner who has different taste? 09:47 How to furnish a new house so it’s not just trendy? 10:27 How do I make sure my decor matches the style of my house? 11:26 How to save money during a renovation? 12:12 How do you find your style? 13:56 How to add your own style to an already furnished house? Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 welcomed by actor Walton Goggins to tour his home in Hudson Valley, New York. Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 brings you inside the inviting bedrooms of 10 celebrity homes featured on Open Door. From John Legend and Chrissy Teigen's family home to NBA star Jimmy Butler and designer Harris Reed, see the exquisite variety on display in Open Door bedrooms. 0:00 Open Door Bedrooms 0:38: Jimmy Butler 1:27: Heidi Gardner 2:26: Michael Imperioli 3:27: Adwoa Aboah 4:28: Debby Ryan & Josh Dun 5:30: Harris Reed 6:32: John Legend & Chrissy Teigen 7:52: Ray & Anna Romano 8:53: Paloma Elsesser 10:20: Sonam Kapoor Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 welcomed by Heidi Gardner, Chloe Fineman, and Ego Nwodim to tour the 'Saturday Night Live' set. 'SNL' has been broadcasting live from studio 8H at 30 Rockefeller since the show premiered in 1975. Over these impressive 50 years, the set has taken on many iterations, from a basement comedy club to the Brooklyn Bridge–always an ode to New York City. Join the ‘SNL’ cast to tour the studio’s current Grand Central set and see how the magic is made each Saturday night. #SNL #SaturdayNightLive #NYC #ArchDigest Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 Joshua Jackson and production designer, Jamie Walker McCall, to tour the set of Ryan Murphy’s ‘Doctor Odyssey’. Bringing The Odyssey cruise ship to life was no mean feat–from a fully functioning pool on the leisure deck to the most stylish infirmary a doctor could ask for, this set creates a luxurious backdrop for all the show’s medical drama. Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

AD joins Robert Garneau of Architecture Workshop PC in Manhattan, NYC, to tour a 1920s apartment brimming with sleek designs and space-saving innovations. “We wanted to maintain its rich character, but also offer the client a cozy, more contemporary space.” That client is television executive Tracy Underwood, a former president at ABC Signature who recently transitioned into an exclusive producing gig at 20th Television, a production company owned by Disney Television Studios. Based in Los Angeles, she purchased the apartment in 2021 as pied-à-terre for her frequent trips to New York City. At the time, she was living inside a Spanish bungalow-style home in LA’s Silver Lake community and said she wanted the interior aesthetics of the Manhattan apartment to be a departure from her life on the West Coast. #TinyHome #Manhattan #NYC #HouseTour #ArchDigest #ArchitecturalDigest Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

AD is welcomed by Anitta to tour her home in the heart of Brazil. Brought to life by Studio Ro+Ca, the Brazilian singer-songwriter worked tirelessly to manifest her dream home in record time—only six months! “Just to deal with this controlling client, I think that they are geniuses,” says Anitta. The house tells the story of Anitta’s life. Upon entering, you find yourself in a spacious room where the first thing that catches your eye is a mosaic mural in blue and orange. It portrays children from the favelas with angels behind them, a nod to her own childhood in the favelas of Rio. Follow along as Architectural Digest tours Anitta’s Brazilian home. #Anitta #Brazil #RioDeJaneiro #HouseTour #HomeTour #InteriorDesign #ArchDigest Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

“I wanted to change the perception of luxury that you just can’t get anywhere else,” says Matthew Kammerer, Executive Chef at Harbor House Inn. AD joins Matthew in Elk, California—approximately 3 hours north of San Francisco—to tour the state’s most remote two-star Michelin restaurant. Alongside its two Michelin stars, Harbor House Inn holds a green Michelin star for its efforts towards sustainability. From locally sourced objects running through the interior to a responsibly sourced sea-to-table cuisine from the cove of the Mendocino Coast, Matthew and his team foster their own unique philosophy on sustainability, without skimping out on luxury. #Michelin #Restaurant #Sustainability Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

Brutalism strips away all fact from architecture—it is pure muscle. #TheBrutalist #Utilitarian #ArchDigest Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

AD is welcomed by Anitta to tour her home in the heart of Brazil. Brought to life by Studio Ro+Ca, the Brazilian singer-songwriter worked tirelessly to manifest her dream home in record time—only six months! “Just to deal with this controlling client, I think that they are geniuses,” says Anitta. The house tells the story of Anitta’s life. Upon entering, you find yourself in a spacious room where the first thing that catches your eye is a mosaic mural in blue and orange. It portrays children from the favelas with angels behind them, a nod to her own childhood in the favelas of Rio. Follow along as Architectural Digest tours Anitta’s Brazilian home. #Anitta #Brazil #RioDeJaneiro #HouseTour #HomeTour #InteriorDesign #ArchDigest 00:00 - Anitta’s Open Door 00:17 - Entry 01:44 - Dining Area 02:46 - Primary Bedroom 04:11 - Bathroom 05:21 - Guest Bedrooms 07:02 - Secondary Bedroom 07:31 - Family Room 08:40 - Living Room 10:40 - Outdoor Area Shop the musician’s ‘art gallery vibe’ with this editor-curated selection of decor and furniture: https://www.architecturaldigest.com/shopping/anitta-open-door Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 welcomed by Lana Condor to tour her Los Angeles home. The ‘To All the Boys I Loved Before’ star’s journey towards her dream home started over FaceTime while in Vietnam. It was love at first sight for Condor and upon returning to LA, she and her husband Anthony De La Torre began transforming the house into the home she had always dreamed of. The actress enlisted the help of interior designer Joseph Monsour, and together they created a soft, elegant space inspired by Condor’s travels to Italy. The couple knew this home was the start of a new chapter together, so it was only right they chose to host their wedding’s welcome party and farewell brunch in the space they so lovingly designed. #LanaCondor #California #HouseTour Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 interior designer Ross Cassidy at Round Top Antiques Fair, one of the largest antique markets in America, as he hunts for hidden gems. Whether it’s a $20 ceramic vase or a $180,000 Chippendale cabinet, there’s always a treasure to be found at antique markets no matter your budget. Filmed on location at Blue Hills Market and Market Hill, both a part of the Round Top Antique Fair. Special thanks to: Aldo Londi Vase images courtesy of Christopher Parker of Parker’s Mid-Century Aldo Londi Vase images courtesy of Eugenio & Soraya of Lalithamma Barcelona Shop: https://www.1stdibs.com/furniture/decorative-objects/vases-vessels/vases/midcentury-bitossi-aldo-londi-rimini-blue-glazed-ceramic-vase/id-f_38407512/ Knives in Jar image courtesy of Steven Grambel of “Steven Grambel’s Book Perspective” 19th Century Chinese Chippendale Pagoda Cabinet images courtesy of Linda Chan for Moxie Interiors Shop: https://www.1stdibs.com/furniture/storage-case-pieces/vitrines/19th-century-chinese-chippendale-pagoda-cabinet/id-f_26957042/ Guiller and Chambray Pendant in Oak and Opaline glass, edition Votre Maison courtesy of Pascal Couturier of La Maison Bananas Shop: https://www.1stdibs.com/furniture/lighting/chandeliers-pendant-lights/guillerme-chambron-pendant-oak-opaline-glass-edition-votre-maison/id-f_33375102/ Pierre Jeannette Pair of X-Leg chairs images courtesy of PEDJA for P! Galerie Pierre Jeannette X-Easy Armchair image courtesy of PEDJA for P! Galerie Shop: https://www.jeanneret-chandigarh.com/ Chalet Lodge Ranch Lounge Chair images courtesy of Alana Verel. Shop: https://www.1stdibs.com/furniture/seating/lounge-chairs/chalet-lodge-ranch-large-oak-french-pair-lounge-chairs-white-cushions-1970s/id-f_29491982/ Featuring shops: M.Neave https://mnaeve.com/ Moxie Interiors Urban Vintage Architectural Artifacts Joseph Collins Antiques and Modern Design East End Salvage Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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 gave interior designers Darren Jett, Noz Nozawa, and Xavier Donnelly a photo of the same empty bedroom for a young professional—and then asked each of them to renovate it in their particular style. Three artists, one canvas, each bringing something different to the space. Which designer's renovation could you see yourself moving into? 00:00 Intro 00:47 The Plan 01:25 Flooring 02:37 Walls & Windows 04:00 Furniture 08:58 Lighting 11:11 Decor 14:09 Final Thoughts Renders by Duke Renders We help interior designers streamline approvals with photorealistic renderings—allowing clients to instantly see the vision, reduce revisions, and ensure designs get the quick ‘yes’ they deserve. Visit www.dukerenders.com/ADoffer Want even more AD? Subscribe to the magazine and get a free tote ►► https://bit.ly/3Oh8McU 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.

In this weeks episode we meet a wonderful young family who have built an incredible not-so-tiny, 3 bedroom tiny home! This is a super spacious, well designed home that’s perfectly designed for family life. With three bedrooms, a great sized lounge, kitchen and a huge outdoor covered deck extension, this tiny house really does have a huge amount of living space. With Truely’s parents living next door, this home is not just a house—it’s a space for connection, culture, and whānau (extended family). I’m a huge proponent for multigenerational living and it’s so beautiful to see this so wonderfully embraced in this home. We hope you enjoy the tour of this fantastic family not-so-tiny home! Truely and Mahue have a huge online platform where they share their hilarious family tiny house antics. On their socials, they aim to encourage other young Māori families to explore tiny house living as an option. Check them out on Instagram: https://www.instagram.com/our_not_so_tiny/ and TikTok: https://www.tiktok.com/@our_not_so_tiny 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 #tinyhousetour #tinyhousefamily #hometour

In the subtropical far north of New Zealand, James and Leonie have created a truly breathtaking off-grid tiny home surrounded by simply spectacular food forest gardens combining both syntropic and permaculture principles. Crafted with beautiful timbers, brilliant spatial design, and creative flair, this DIY-built home is a testament to craftsmanship and sustainable living. Beyond the home itself, James and Leonie have cultivated an extraordinary small-scale syntropic food forest. Syntropic agroforestry is a regenerative agroforestry system that mimics natural ecosystems to produce abundant food while restoring soil health and biodiversity. Unlike conventional farming, syntropic agriculture works with nature rather than against it, creating a thriving, self-sustaining environment. Alongside this, the couple also integrates annual permaculture plantings, making their property a model for sustainable food production. James has even launched a business helping others plan and implement their own syntropic food forest gardens. Their tiny house journey didn’t begin here—before building this home, they lived in a van while traveling, followed by a house truck. Now, after three years in their beautifully crafted tiny home and growing their thriving food forest, they are preparing for an exciting new chapter: welcoming a baby! It will be fascinating to see how their home and lifestyle evolve to accommodate a growing family. Join us as we tour this stunning tiny house, explore the incredible food forest, and learn more about James and Leonie’s inspiring tiny house journey. James has started a business, Simply Syntropics, where he helps others to both design and implement their own syntropic forest gardens. You can find a link to that here: https://www.simplysyntropics.co.nz Leonie also has a fantastic business that she runs from her tiny home where she helps people with website creation and graphic design: https://www.collectivedesignery.com 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 #tinyhousetour #syntropic #foodforest #permaculture #architecture

This is a tiny house that immediately captured my heart. There's something about the curved roof, the stained glass windows and the rounded doors that remind me of a modern hobbit-like home that just radiates warmth, character and comfort. Philippa is a remarkable woman. I enjoyed my time with her immensely. I can always tell when I meet a kindred spirit and I felt this way with her. You know that when you meet a person who can talk with penguins, you've met someone very special indeed. She has lived a big life and done some remarkable things, One of those things is building her tiny house. A very bespoke home that sings to her soul. And this home! Beautiful and character filled. It's enough, and yet it's so much more. From the beautiful shapes and all the wonderful adornments this is a house that radiates a very real sensation of home. Nature has very few right angles, and that trait is shared with this tiny home. A true labour of love for Philippa and her builders, this is a tiny house not to be forgotten. Crafted with sacred geometric principles in mind, this could very easily be your new favourite tiny home. We very much hope you enjoy the tour. You can find out more about Philippa, her writing and links to listen to her podcast via her website: https://philippaross.com 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 #tinyhousetour #sacredgeometry #simpleliving #homedesign #architecture

When Guillaume was diagnosed with a rare and life-threatening disease, everything changed. Faced with the reality that his time could be cut short, he was encouraged to reevaluate what truly mattered. Determined to live more intentionally, Guillaume designed and built a stunning tiny home in Deux-Sèvres, France—a space that reflects his new perspective. Compact, moveable, and crafted to meet his exact needs, his home is free from excess and full of purpose. With a unique semi-industrial yet homely design, his home, affectionately named 'Marrow' after the transplant that saved his life, is a perfect balance of style and simplicity, allowing him to focus on what truly brings him joy. Join us as we step inside this incredible tiny home, and hear Guillaume’s deeply inspiring story of resilience, gratitude, and the pursuit of a meaningful life. We hope you enjoy the tour of this very special tiny home. Guillaume's life was saved thanks to a bone marrow transplant. You can find out more information about signing up to be a bone marrow donor using the links below. FR : https://www.dondemoelleosseuse.fr/ USA : https://bloodstemcell.hrsa.gov/donor-information/donate-bone-marrow NZ : https://www.bonemarrow.org.nz/join-us/how-to-join/ 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 by: Bryce Langston Filmed bv: Gabrielle Vnd (https://www.instagram.com/gabrielle.vnd/) Editing by: Gabrielle Vnd & 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 #simpleliving #intentionalliving

Download Midas Merge for free using my link to discover the cutest creatures and explore the most adorable gardens! https://midasmerge.sng.link/Djplk/b0kvh/od1t Thanks to Midas Merge for sponsoring. Christina’s tiny home is more than just a house—it’s a sanctuary. Thoughtfully designed to meet her every need, this stunning off-grid home allows her to embrace simplicity while being completely supported by her surroundings. With a strong connection to nature and a design that nurtures both body and soul, this space truly takes care of her. Every inch of this home has been customized for Christina’s lifestyle, creating an effortless flow between comfort, function, and beauty. From its natural materials to its serene atmosphere, this is a home built for peaceful living. Join us for an inspiring tour of this breathtaking tiny home and see how Christina has crafted a space that feels like a warm embrace. We hope you enjoy the tour of this very special 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 #tinyhousetour #hometour #simpleliving #tinyhome #naturalhome

In the heart of Paris, an extraordinary experiment in urban living is taking place. Welcome to the Urban Biosphere, a one-of-a-kind apartment designed to push the boundaries of low-tech, ultra-efficient city living. This innovative space grows its own food—including crickets!—and integrates sustainable, low-tech solutions to reduce waste, conserve energy, and create a self-sustaining ecosystem in the middle of the city. From ingenious water-saving methods to growing food and natural climate control, the Urban Biosphere is redefining what’s possible in small-space urban design. Join us as we step inside this groundbreaking apartment and meet the people behind the experiment. Could this be the future of urban living? You can find out more about this incredible apartment here: https://www.youtube.com/@BiosphereExperience 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 by: Bryce Langston Filmed bv: Gabrielle Vnd (https://www.instagram.com/gabrielle.vnd/) Editing by: Gabrielle Vnd & 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 #Apartment #UrbanBiosphere #SustainableLiving #GreenLiving

"#sponsored You can get $40 when you join Revolut today: https://get.revolut.com/z4lF/livingbig1 Spend a minimum of $1 to receive the reward. T&Cs and end date apply. Revolut Payments New Zealand Pty Ltd (NZBN 9429048733212) is a registered Financial Service Provider (FSP766191). This is not financial advice, speak to a licensed financial advice provider when making money decisions." Every now and then, we film a tiny house tour that reminds me why I fell in love with tiny homes. This week's story takes me right back to the absolute core of the tiny house movement. Designing homes that meet true human needs and enable us to flourish in a chaotic world. Marianne's story is inspiring. She toughed it out and found success in the material world, but it left her a shell of herself. Stressed out and sick. Building her tiny home was an integral part of her personal healing journey and ultimately allowed her to find and become her true self. From the outside, her tiny home may not look like much, but I was amazed at the functionality and cleverness of this homes design. It's simply brilliant. I really hope that you enjoy the tour of this very special tiny home and meeting this remarkable woman. 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 #tinyhousetour #hometour #simpleliving #tinyhome #healinghome

In this week's episode we meet an inspiring couple who have DIY built a spectacular off-the-grid tiny home for themselves on a remote property, amongst the wild Australian bush. Their home is completely off the grid with an impressive solar system and rain water collection system. A labour of love, the design of this home has been exceptionally well thought out. There are some very clever ideas in this home! Nina and Victor poured themselves into this project and that's evident in the finish of the home. With no prior building experience, it really is impressive to see what people can make happen for themselves if they give it a go! And their parking spot is absolutely stunning! Surrounded by bush on a remote farm, the views stretch for miles. When people dream of leaving the city life behind, this is where they dream of going! We hope you enjoy the full tour of this stunning tiny home. You can follow Nina and Victor's tiny house life on Instagram: https://www.instagram.com/potoroo_tinyhouse/ 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 #tinyhousetour #offgrid #simpleliving #tinyhome

🐣 Download Hay Day for free and get 16 exclusive decorations to personalise your farm—worth $15.99! It's available until the 15th of February! #HayDay https://link.haydaygame.com/?action=voucher&code=9917a39b-e6bd-4b23-951f-bb5d8fba53ad In this weeks episode we deep dive into tiny bathroom design! There’s so much to consider when designing the ideal small bathroom. Working with limited space is always a challenge and in this video we explore our top design ideas that will help you fall in love with your compact bathroom. 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 #bathroomdesign #bathroom #homedesign #smallbathroom