Fang Eyewear Showroom | © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan In Rui’an’s Mayu Town, an area long defined by its prominence in China’s eyewear manufacturing sector, the Fang Eyewear Showroom emerges as a calculated departure from conventional retail spaces. Designed by M-D DESIGN STUDIO, the project is situated at the intersection of urban regeneration and commercial reinvention. Rather than simply updating a showroom typology, the architects pursue a broader spatial proposition: that retail architecture can function as civic art, mediating between commerce, culture, and context. Fang Eyewear Showroom Technical Information Architects1-6: M-D DESIGN STUDIO Location: Mayu Town, Rui’an, Wenzhou, Zhejiang, China Area: 1,300 m2 | 13,990 Sq. Ft. Completion Year: 2025 Photographs: © Yu Sunping, © Xie Shuxiang, © Qu Wenhao, © Wu Qiyan We envisioned the showroom not as a commercial interior, but as a spatial narrative where light, geometry, and movement transform retail into an urban cultural landmark. – Jizhong Wu, Lead Designer, M-D DESIGN STUDIO Fang Eyewear Showroom Photographs © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan © Yu Sunping, Xie Shuxiang, Qu Wenhao, Wu Qiyan Rethinking the Showroom Typology in an Industrial Context The decline of industrial manufacturing in many Chinese cities has prompted a wave of adaptive transformations. Mayu Town, while historically linked to the eyewear industry, is currently navigating shifting economic and spatial paradigms. Against this backdrop, M-D DESIGN STUDIO conceives the Fang Eyewear Showroom not as a product-focused interior, but as an urban artifact. One that reclaims relevance for post-industrial architecture by embedding narrative, spatial generosity, and layered symbolism. The design approach intentionally distances itself from formulaic commercial strategies. Instead, the showroom is reconceived as a multi-sensory spatial sequence—integrating exhibition, hospitality, and literary functions. The programmatic hybridization reflects a changing attitude toward retail spaces: from transactional enclosures to public-oriented, experience-driven environments. Here, architecture is tasked with articulating a new form of urban memory. Light as Structure: Geometric Narratives and Spatial Flow Central to the design is a rigorous investigation of form and light. The architects draw from astronomical theories and traditional Indian symbolism, where the triangle represents spiritual creation and the unfolding of the future. This conceptual geometry is rendered spatially through the deployment of 45° light angles, which inform both the lighting scheme and the overall compositional logic. The resultant interior is defined by staggered geometric forms that play with both directionality and depth. The concept of “gaze” becomes architectural: each line of sight is carefully framed, interrupted, or extended by the configuration of walls, ceilings, and voids. Sunlight is treated not as a passive entry but as an agent of transformation, refracted through folded surfaces to produce ephemeral effects. As the day progresses, the space comes alive. A choreography of shifting shadows and reflections that alters perception and provokes a heightened sense of spatial awareness. This interplay of geometry and light is not decorative. It structures the visitor’s movement through the space, drawing them from the reception into an expansive atrium and beyond. Each shift in light, each shadow cast, reveals new alignments and associations; underscoring the project’s underlying ambition: to explore how spatial perception can be recalibrated through elemental design strategies. Fang Eyewear Showroom Material Palette Material choices in the Fang Eyewear Showroom are marked by restraint and intention. Rather than relying on surface ornament, the architects use a cohesive palette, primarily eco-friendly artistic paint, terrazzo, and stainless steel, to achieve continuity and modulation. Walls, ceilings, and floors are unified in a warm-white tone that diffuses light and softens spatial transitions. Within this muted canvas, subtle red accents and embedded membrane lighting introduce moments of contrast and rhythm. The tactile language of the showroom is one of tension and balance. Terrazzo’s granular texture contrasts with the smooth reflectivity of stainless steel, while the concealed lighting system animates these surfaces with precision. The showroom, café, and art bookstore are not spatially isolated but are interconnected through open planning and fluid thresholds. This continuity allows the architecture to dissolve boundaries between spaces, between users, and between commercial and cultural functions. By embedding materiality within a spatial narrative, M-D DESIGN STUDIO avoids spectacle and instead achieves atmospheric depth. The showroom feels both deliberate and open-ended: an environment designed for both occupation and reflection, rather than display. Commercial Space as Urban Cultural Artifact Perhaps the most compelling dimension of the project lies in its reframing of the showroom as a contributor to urban culture. The exterior landscape resists decorative formalism in favor of abstract geometries that extend the interior logic outward. Undulating ground planes and planar glass façades challenge conventional demarcations between interior and city, while simultaneously echoing the structural rhythms within. This spatial porosity situates the showroom not as a closed commercial entity but as part of a larger urban continuum. The “Light Museum” concept, implicitly referenced throughout the project, acts as both a metaphor and a framework. It speaks to the role of light in organizing space and to the broader aim of transforming the showroom into a platform for civic engagement. Fang Eyewear Showroom Plans Floor Plan | © M-D DESIGN STUDIO Fang Eyewear Showroom Image Gallery About M-D DESIGN STUDIO Founded in 2013 in Wenzhou, M-D DESIGN STUDIO operates across architecture, landscape, and visual arts. The studio is known for its human-centered and media-integrated approach to spatial design, shaping work that resonates with the cultural, urban, and environmental layers of the contemporary city. Credits and Additional Notes Lead Designer: Jizhong Wu Chief Designer: Yangling Ye Client: Fang Eyewear (Fang’s Glasses, founded in 1992) Primary Materials: Artistic Paint, Terrazzo, Stainless Steel Landscape Construction: Shanghai Dio Landscape Engineering & Design Co., Ltd. Landscape Area: 1,700 m²

The Mobile Architecture Studio | © Bin White via Unsplash For centuries, architecture has been a discipline grounded in place. From the Renaissance ateliers of Florence to the bustling studios of 20th-century Paris, the architectural studio has functioned as both a literal and symbolic site of practice, where ideas were sketched, models were crafted, and debates took shape. But what happens when the architect is no longer rooted in one place? Today, the profession is undergoing a quiet yet radical transformation. The convergence of digital tools, a remote-first work culture, and increasingly global collaborations has loosened the ties of architects to the traditional studio. Design now unfolds across continents, on laptops, in airports, at construction sites, or from cabins in rural outposts. Architecture, once anchored in static environments, is becoming mobile. From Atelier to Everywhere Historically, the architectural studio was a spatial constant, a room where drawings lined the walls, materials were physically tested, and face-to-face collaboration defined the design process. It shaped not only the workflow but the entire culture of architectural production. In the last decade, accelerated rapidly by the pandemic, architects have begun to question the need for fixed locations. As firms embrace hybrid models and designers adopt location-independent routines, the challenge is no longer where to work but how to maintain continuity, security, and creativity across distributed teams. The answer lies in digital infrastructure. Today’s mobile practice depends on a suite of tools that enable seamless access and coordinated collaboration across distances. Among these, Virtual Private Networks (VPNs) have become foundational. They allow architects to connect securely to studio servers, access software licenses, and transfer sensitive project files from anywhere. For those exploring remote design work, using a vpn free for pc offers an accessible starting point for establishing secure and flexible workflows. The Architect as Digital Nomad The once-stable geography of architectural labor has dissolved into something far more fluid. Architects are no longer bound by proximity to projects or colleagues. Instead, they navigate a decentralized ecosystem where design happens across borders, time zones, and digital interfaces. The rise of the digital nomad architect is part of a broader shift in the knowledge work industry. Freed from the obligation to inhabit a single office, many architects are embracing mobility not only for its logistical convenience but for its creative and cultural richness. This is not about abandoning rigor, it is about rethinking the studio as a dynamic, distributed network. Today, architects may design from construction sites in Bali, coworking spaces in Berlin, or remote villages in Latin America. These backdrops, often rich with material, cultural, or environmental stimuli, inevitably influence the creative process. A color palette developed in Mexico City might echo the terracotta tones of a local mercado. A facade imagined in Kyoto could reflect the subtle rhythm of surrounding shoji screens and shadowplay, similar to the sensitivity to light and void seen in Tadao Ando’s Church on the Water. This lifestyle, however, depends on reliable infrastructure. Key tools include: Cloud-based platforms like BIM360 or Google Drive for real-time syncing of models and markup workflows Communication apps such as Zoom, Slack, and Miro to facilitate remote critiques and coordination VPNs to safeguard proprietary information, ensure access to licensed tools, and maintain compliance with privacy standards. A distributed practice might outsource schematic design to a consultant in Seoul, manage detailing from São Paulo, and present virtually to a developer in New York, all within a continuous 24-hour workflow. The profession’s geography is now layered and asynchronous, made viable by secure digital channels. But nomadism also requires discipline. Without the implicit rhythms of a traditional office or the informal pressure of proximity, architects must build new structures for accountability. Studios are adopting daily check-ins, model audits, and standardized workflows to preserve the rigor and depth of architectural production even when practiced asynchronously. Rethinking the Space of Design © Francesco Liotti via Unsplash © Ranjith Alingal via Unsplash This new model inevitably influences the design process itself. While site-specificity still matters, place now plays a more fluid and experiential role. A sketch drawn in a Kyoto guesthouse, a section composed in the Atlas Mountains, or a materials board assembled under Mediterranean light brings a broader, lived dimension to architecture. And yet, mobility comes with trade-offs. The loss of shared rituals, spontaneous studio conversations, or tactile material exploration can dilute the collective energy that once defined studio culture. Architects must now consciously recreate space for dialogue, whether through scheduled pin-ups, collaborative whiteboarding, or hybrid review sessions. The Studio as Network As this distributed model matures, the very concept of the studio is being redefined. No longer confined to a single room, the studio becomes a living network of people, projects, folders, schedules, and cloud-based tools. VPNs, cloud storage, and time zone-aware calendars form the invisible architecture that sustains the visible one we inhabit. This shift is not merely symbolic. Architects have always designed spatial flows of people, light, and movement. Today, they must also consider the flows of data, authorship, and collaboration in their virtual environments. The infrastructure of practice has become just as important as the architecture it produces. Where Do We Work From Here? The mobile studio represents more than a shift in tools—it signals a rethinking of the architectural profession itself. As architects explore new geographies of work, from the mountains to the metropolis, the question isn’t simply where architecture happens, but how. Technologies like VPNs make this transformation possible, but the deeper evolution lies in our redefinition of presence, authorship, and the nature of creative collaboration. In liberating the practice from its physical confines, architecture isn’t losing ground—it’s finding new ground to stand on. by ArchEyes Team Leave a comment

© Damir Fabijanić, Miro Martinić, Slaven Branislav Babić The Homeland Memorial by Nenad Fabijanić is not just a commemorative object, but an ambitious intervention in Zagreb’s urban landscape. Positioned strategically from the southern edge of the Main Railway Station to Vukovar Avenue, the project restructures a previously peripheral and industrial landscape into a newly legible civic domain. In doing so, it asserts the site as an extension of the city’s Major Axis—a planning gesture rich with symbolic and infrastructural implications. Homeland Memorial in Zagreb Technical Information Architects1-5: Nenad Fabijanić Location: Zagreb, Croatia Project Years: 2016 – 2020 Photographs: © Damir Fabijanić, © Miro Martinić, © Slaven Branislav Babić “Memento vivere” – think of life. – Nenad Fabijanić Homeland Memorial in Zagreb Photographs © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić © Damir Fabijanić, Miro Martinić, Slaven Branislav Babić Composition, Program, and Spatial Hierarchy Rather than isolating remembrance to a detached park or monument site, Fabijanić reinserts the memory of collective sacrifice into the fabric of everyday urban life. The memorial operates simultaneously as a square and a threshold, offering a continuous and overseeable public space that reorients the city toward civic reflection and connection. This integration marks a deliberate effort to socialise the memorial, making it not a site for occasional ritual but an embedded part of urban routine. The project unfolds as a linear composition, structured along a north-south axis into three principal elements: the Wall of Light, the Altar-Mensa, and the Portal-Pavilion. Each component is calibrated to perform a specific function within the site’s ceremonial and spatial sequence. The Wall of Light anchors the memorial both visually and conceptually, while the Altar-Mensa serves as a focal point for ritualized gestures. The Portal-Pavilion, with its monumental form, frames the experience and connects spatially to the broader urban continuum. This spatial choreography is not limited to solemn protocols. The memorial’s layout and open-ended platforms allow for diverse forms of public gathering, from official ceremonies to informal meetings and even spontaneous occupation. The inclusion of a hovering platform linking the altar and portal introduces both a tectonic tension and a symbolic elevation, reinforcing the sense of progression and transformation across the site. The composition invites movement, halting, and contemplation in equal measure. It is spatially legible but experientially layered, balancing monumentality with a nuanced articulation of human scale and a sense of procession. Materiality and Symbolism Central to the memorial’s meaning is its handling of material and elemental metaphors. The Wall of Light, inspired by the original “Wall of Sorrow,” transforms the red and black bricks of mourning into transparent glass bricks—a gesture of both homage and transcendence. The glass medium, paired with a reflecting water surface, introduces a delicate interplay of light, movement, and temporality. This confluence of glass and water is neither decorative nor incidental. Light, filtered through transparency and reflected in water, connects the past to the present and future, embedding an evolving sense of clarity and reflection within the material fabric. The sky, mirrored on the water’s surface, becomes a living participant in the memorial’s message—ever-changing, ungraspable, and yet intimately tied to the earthly structure. At the southern end, a 43-ton, twisted stone mass, from which an eternal flame emerges, lends the memorial its symbolic weight. The stone’s rotation and upward thrust suggest a dynamic emergence from the earth—a counterpoint to the hovering platform and a physical metaphor for resilience. The bronze spring housing the flame is not merely ornamental; it encapsulates energy, memory, and the life-affirming call to “memento vivere” (think of life). Homeland Memorial in Zagreb Broader Significance Fabijanić’s architectural language often weaves between civic gravitas and refined detail, and the Homeland Memorial is no exception. The Portal-Pavilion evokes the typology of the triumphal arch or historical city gate, yet it avoids pastiche. Its form is simplified, its symbolism reoriented toward future connection rather than past conquest. It acts as a transitional figure—between metropolitan Trnje and the historical Lower Town—making it as much an infrastructural device as a symbolic threshold. This project stands firmly within a tradition of integrating monumental architecture with urbanistic intent, yet it does so with a contemporary ethos. There is no grandiloquence here—only clarity, precision, and a quiet insistence on civic dignity. Fabijanić’s broader practice, spanning architecture, stage design, and exhibition scenography, is evident in the site’s spatial dramaturgy. Each component plays a role in a carefully composed narrative, anchored in history but oriented toward continuity. In this sense, the Homeland Memorial contributes to a critical discourse on how architecture engages memory in the public realm. Rather than dictating a singular interpretation, the memorial provides a framework for collective resonance. Through its scale, material articulation, and urban positioning, it opens space for reflection that is both personal and shared—a testament not only to loss, but to the enduring civic project of remembering together. Homeland Memorial in Zagreb Plans Transparent Brick Wall Detail | © Nenad Fabijanić Architects Homeland Memorial in Zagreb Image Gallery About Nenad Fabijanić Nenad Fabijanić is a renowned Croatian architect and professor born in Zagreb in 1951. A graduate of the Faculty of Architecture in Zagreb, he has built a diverse career spanning architecture, urban design, exhibition scenography, and stage design. Known for his precise and symbolically rich civic projects, Fabijanić has received numerous national and international awards, including the Piranesi Award and the Vladimir Nazor Prize. He served as Head of the Graduation Commission at the Zagreb Faculty of Architecture and is a member of the Croatian Academy of Sciences and Arts. Credits and Additional Notes Project Cooperation: Željko Pavlović Civil Engineering: Berislav Medić Glass Design: Jan Frydrych, Jeronim Tišljar Main Materials: Glass bricks, water surfaces, stone, bronze, yew trees, lawns Key Features: Wall of Light, Altar-Mensa, Portal-Pavilion, Eternal Flame, Hovering Platform, Civic Square

Construction Equipment | © Ivan Bandura via Unsplash No one likes surprises—especially the kind that halt production. A faulty conveyor belt. A jammed hydraulic press. A cooling system that suddenly quits on a summer day. These moments don’t just delay work—they cost money, eat into morale, and throw entire schedules off balance. But what if you could stop most of those problems before they start? That’s where equipment preventive maintenance software comes in. Instead of waiting for a breakdown, this software helps teams plan, track, and complete regular maintenance before something goes wrong. It’s like giving your machines a check-up before they show symptoms—and it pays off. Let’s dig into how the right software helps cut downtime and keeps operations humming along. Spotting Trouble Before It Starts One of the most significant benefits of equipment preventive maintenance software is its ability to catch early warning signs. When inspections and servicing are done consistently, minor wear and tear doesn’t turn into major failure. Think about it. A simple belt alignment today might save you from having to replace an entire motor next week. The software tracks every maintenance interval, making it easy to see what needs attention and when. You don’t have to rely on memory or gut instinct. The system thinks for you. Automated Scheduling Leads To Fewer Missed Tasks Let’s be honest—relying on sticky notes, spreadsheets, or team memory is a recipe for missed maintenance. Equipment preventive maintenance software removes that risk by automating task schedules. Whether it’s a weekly filter check or a quarterly oil change, the system creates a repeating schedule and sends reminders when it’s time to act. If something is overdue, it gets flagged. This way, preventive maintenance becomes a routine instead of a reactive measure. Over time, fewer surprises mean fewer shutdowns. Better Visibility into Asset Health Not all equipment ages at the same rate. Some machines work harder than others. Some operate in dusty, wet, or extreme conditions. The software stores each asset’s full history, making it easy to spot patterns. Do you have to repair the same valve every month? Is one line requiring more downtime than the others? With that kind of insight, you can make smarter decisions, such as upgrading a problematic machine or scheduling more frequent servicing for high-use equipment. Clear Communication Across the Team © Laurenz Heymann via Unsplash © Mayer Tawfik via Unsplash Say one technician logs an issue. Another one comes in on the next shift and doesn’t know the status. That kind of miscommunication wastes time—and often leads to work being repeated or forgotten. With centralized maintenance software, everyone sees the same real-time updates. Work orders are logged in one place, and notes, photos, and status changes are accessible to anyone on the team. Mobile Access from Anywhere Maintenance doesn’t happen behind a desk. Most of the action takes place on the floor, ladders, or in the far corners of the plant. Mobile access allows technicians to view checklists, log updates, scan QR codes, and complete work orders directly from their phones or tablets. No running back and forth. No waiting to update a shared spreadsheet. It’s faster, more accurate, and much less frustrating. Fewer Emergency Repairs Emergency repairs are chaotic. They usually require pulling technicians off other jobs, sourcing hard-to-find parts, and running overtime to make temporary repairs. Preventive maintenance software helps shift the focus from emergency to planned work. By handling small issues before they escalate, the team deals with fewer late-night phone calls or weekend repair marathons. It’s not just about equipment—it’s about sanity. Smarter Parts and Inventory Management You can’t fix what you don’t have the parts for. Equipment preventive maintenance software lets you track inventory, set reorder points, and link parts to specific assets. If a belt or sensor is frequently used during servicing, you’ll know to keep extras on hand. The system can even alert you when stock runs low. This way, when something needs fixing, you’re not stuck waiting days for a shipment—or scrambling for a workaround. Consistency Across Teams and Shifts Standardizing maintenance procedures means that everyone does the job the same way, every time. The software lets you build custom checklists, SOPs, and documentation directly into each task. Whether it’s a daily inspection or a semi-annual overhaul, your team has step-by-step guidance at their fingertips. This reduces errors, improves quality, and builds confidence. Even if someone’s covering a shift they’re not used to, they’re never left guessing. Measurable Results You Can Act On One of the most powerful aspects of using software is the ability to measure progress. How many tasks were completed on time last month? Which machines cause the most downtime? How quickly are work orders being closed? The software provides reports and dashboards that turn data into decisions. You can see what’s working, what’s not, and where to focus next. It’s not just about fixing problems—it’s about improving processes. Final Thoughts Downtime is expensive—and stressful. In projects like the Idilia Cocoa Cream Factory by ARQUID, the intersection of architectural design and operational efficiency highlights how essential it is to keep systems running without interruption—making preventive maintenance not just a technical need, but a design priority. Equipment preventive maintenance software provides teams with the structure, visibility, and automation they need to stay ahead of problems, rather than reacting to them. If your team is still firefighting more than planning, it might be time to switch gears. Fewer breakdowns and smoother shifts could be just one software upgrade away. Construction by ArchEyes Team Leave a comment

© Rafael Gamo Located in the forested hills of Valle de Bravo, just 90 minutes from Mexico City, Hotel Avándaro has long been a landmark of Mexican modernist architecture. Initially designed in 1958 by Francisco Artigas and later modified in the 1990s by Arnold “Noldi” Schreck, the hotel has recently undergone a thoughtful renovation by the architectural firms Chain + Siman and modomanera. Completed in 2024, the project redefines the hotel’s spatial and material qualities through a contemporary lens, while honoring its historical foundations. With a total area of 3,000 m² (approx. 32,292 sq. ft.), the intervention explores sustainable strategies, adaptive reuse, and landscape integration—positioning Hotel Avándaro as a case study in context-sensitive, environmentally conscious design within the evolving landscape of Mexican architecture. Hotel Avándaro Technical Information Architects1-5: Chain + Siman and Modomanera Original Architect: Francisco Artigas Previous Renovation: Arnold “Noldi” Schreck (1990s) Location: Valle de Bravo, State of Mexico, Mexico Area: 3,000 m2 | 32,290 Sq. Ft. Renovation Completion Year: 2024 Original Construction: 1958 Photographs: © Rafael Gamo Our goal was not to reinvent Hotel Avándaro, but to reinterpret its historical layers through a contemporary lens—respecting the past while responding to today’s needs and the surrounding landscape. – Renatta Chain & Lina Siman, Chain + Siman / Patricio Galindo Chain & Natalia Zenteno Ortega, modomanera Hotel Avándaro Photographs © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo © Rafael Gamo Hotel Avándaro: History and Programmatic Evolution The original Hotel Avándaro was a product of mid-20th-century Mexican modernism. It was designed to respond to the climatic and topographical qualities of Valle de Bravo with low-sloped roofs, wood beams, and spatial openness. Over the decades, the building’s program evolved, hosting not only hotel guests but also convention-goers and golf club members. However, the accumulation of layers without a comprehensive rethinking led to confusion in circulation and use. The renovation clarified spatial hierarchies and defined distinct zones for each user type. Rather than creating isolated areas, the new scheme focuses on transitions—how spaces relate to one another, how public becomes semi-private, and how interior flows outward toward the landscape. This clarity is functional and spatially generous, reactivating the existing structure with a more legible organization. Architectural Strategy: A Contemporary Layer on Historic Ground A key challenge of the project was articulating a new architectural layer that respects the original identity without replicating it. The design team maintained key features—such as the characteristic sloped roofs—but adjusted their angle for a more refined profile. Similarly, exposed wooden beams, emblematic of the 1950s construction, were updated with a contemporary material expression and construction technique. Spatially, the intervention emphasizes porosity and orientation. The 81 suites are now aligned toward the golf course and forest, providing framed views and reinforcing the relationship between the built environment and its setting. New programmatic additions—including a convention center, restaurant, and boutique—are integrated within the volumetric composition through a shared formal and material language. Internal layouts privilege indirect light, framed views, and moments of openness that connect guests to the surrounding topography. The material strategy is both site-conscious and narratively cohesive. Locally sourced materials—stone, wood, and stucco—are combined in a restrained palette that favors texture over color and weight over ornament. These decisions lend the project a visual silence that aligns with the forested context, allowing the architecture to become a backdrop to experience rather than a focal object. Integration with Landscape and Urban Context At the scale of the master plan, the intervention is less about singular buildings and more about spatial relationships. Landscape architect Pedro Sánchez worked with the architectural team to develop interventions that extend the building’s presence into its terrain. These range from gentle grading adjustments to curated paths and plantings that mediate the transition between architecture and nature. Importantly, Valle de Bravo is both a natural and an urban condition—an escape for Mexico City residents and a functioning town with its own rhythms. Hotel Avándaro navigates this dual identity through its accessibility and programming: it is close enough to the city to attract corporate groups but embedded enough in the environment to offer disconnection and retreat. This tension is reflected in its spatial logic: framed vistas alternate between open communal areas and introspective private zones, allowing guests to modulate their engagement with the surrounding world. Sustainability, Heritage, and Local Impact Rather than demolish and rebuild, the architects prioritized restoration as a strategy for sustainability. This approach—reinforced by structural reuse (such as converting a dividing wall’s façade into structural support), energy-efficient systems, solar panels, and water collection—minimized the project’s carbon footprint. The design is not “green” superficially; instead, it demonstrates how adaptive reuse and modest technological additions can collectively advance environmental goals without dominating the architectural narrative. The renovation also extended beyond environmental impact to include regional development. Local labor and materials were employed throughout, reinforcing the project’s embeddedness in its socio-economic context. This approach reduces embodied carbon through minimized transportation and catalyzes the local economy through construction, operations, and design jobs. Hotel Avándaro Image Gallery About Chain + Siman Chain + Siman is a Mexico City–based architecture and interior design studio founded by Renatta Chain and Lina Siman. The firm is known for its refined approach to contemporary design, blending minimalism, material warmth, and contextual sensitivity. Their work spans residential, hospitality, and commercial projects, often emphasizing spatial clarity, local craftsmanship, and a strong connection between architecture and landscape. Credits and Additional Notes Master Plan & Architecture: Chain + Siman (Renatta Chain, Lina Siman); modomanera (Patricio Galindo Chain, Natalia Zenteno Ortega) Interior Design: Chain + Siman Landscape Design: Pedro Sánchez Energy and Environmental Solutions: PRÓXIMA Construction: TUCA

Architect Student | © Cookie_studio via Freepik For architectural majors, college is a turning point. Learning technical skills is essential, but so is forming your architectural identity. You start to investigate various design ideas, grasp architectural history, and begin to create the creative viewpoint that will direct your future work at this time. College gives you, as an architectural student, the special chance to explore and find your own way to the constructed world. Your identity as an architect will finally be shaped by this investigation. Discovering Your Design Philosophy Your academic successes and your unique design philosophy both help to form your architectural personality. College is where you start to clarify your ideas on architecture and start to shape your design philosophy. In architecture, what most motivates you? Do you prefer simplicity or are you drawn to sustainable design? Maybe you enjoy the challenge of incorporating current technology into ancient areas or the intricacies of historical fashion. Exposure to different ideas helps your design philosophy evolve, but your own experiences ultimately shape it. Studying the works of great architects, experimenting with various design approaches, and interacting with new technology helps you create a foundation for tackling future architectural challenges. Although your design philosophy will guide your artistic choices throughout your career, your academic work provides the technical basis. Easing Your Architectural Journey in College You’re setting the foundation for your future profession as you investigate many technologies and try out numerous design ideas. Without the strain of real-world consumers or deadlines, college offers the ideal setting to experiment with new ideas. You’re free to explore your interests completely. Your architectural personality is formed by the projects you work on, the tools you use, and the mentors you interact with. Though you may not yet have a completely developed style, the seeds you sow today will affect the work you perform later in your career. Balancing your academic and architect duties might be difficult given the demands of assignments, deadlines, and projects. At these times, it’s crucial to focus on your strengths and seek help if needed. If you find yourself struggling with routine paper tasks, the platform https://edubirdie.com/assignment-help offers professional help to handle some of your paperwork. Delegating writing duties lets you concentrate on improving your architectural abilities and portfolio. This manner, you may focus your efforts on invention and discovery free from the pressures of academic writing impeding your development as an architect. Learning from Mentors and Collaborating with Peers Staircase | © Wirestock via Freepik Working with mentors and colleagues is one of the most rewarding parts of your architectural education. Practicing architects and professors have years of expertise and can provide you with insightful analysis that isn’t found in textbooks. Mentoring enables you to refine your ideas, challenge your limits, and view your concepts from different angles. Equally crucial is working with your peers. Architecture is a cooperative industry; engaging in group projects helps you to improve your communication and cooperation abilities—both of which are very crucial for success in the professional sphere. Interacting with others will enable you observe how other designers tackle issues and acquire fresh ideas that will help you develop your own design technique. The variety of concepts and methods in an academic environment will enable you to grow a more rounded knowledge of architecture. Although education provides you the tools to learn and explore, experience is vital to confirm your architectural identity. Work placements and internships let you apply what you have studied in the classroom to actual tasks. These encounters are priceless as they expose you to the professional side of architecture, including client relationships, financial management, and project management. You will also come to see more clearly how outside elements such construction rules, site circumstances, and client expectations affect design choices. Real-world experience provides you the confidence to approach your own projects with a realistic attitude and helps you grasp the difficulties architects confront in the field. By means of these encounters, you will not only hone your abilities but also begin to grasp your tastes in design and the kind of architecture you choose to follow after graduation. Changing with the Industry The field of architecture is always changing. Design trends, materials, and new technology always change how we construct and engage with the surroundings. Being an architectural student, remaining interested and open to change is really vital. Reading journals, going to seminars, and interacting with the worldwide architectural community will help you to stay current on the newest advances in architectural technology, smart cities, and sustainable design. Your architectural personality will develop more the more you know. Welcome these developments and include them into your design efforts. Being flexible and receptive to new ideas will help you to provide creative solutions in an always changing society and guarantee that your architectural vision remains forward-thinking. Forming Your Architectural Identity Creating your architectural identity at college is a several process that calls for time, investigation, and commitment. It’s a road of finding your design philosophy, refining your abilities, and acquiring useful experience. Your architectural personality will slowly form as you complete projects, learn from mentors, and acquire practical knowledge. This identity will assist you to contribute significantly to the built environment by guiding you through your working life. Embrace the difficulties, be inquisitive, and keep in mind that your time in education is about finding who you are as an architect and setting the groundwork for a successful profession, not only about mastering the art. Architecture Student by ArchEyes Team Leave a comment

New York Aerial View | © Martin Widenka via Unsplash Alright, let’s talk architecture. If you’re in the game, you know how chaotic it gets — juggling clients, contractors, tight deadlines, and of course, endless project revisions. And sending architectural blueprints and contracts? That’s another hassle. Paper, fax machines, waiting… no thanks. But good news: things just got a whole lot easier. Enter the fax online app — a total game-changer that lets architects and designers send critical documents instantly, straight from their phone or computer. No more trips to the copy shop or crossed fingers that the fax goes through. This is the modern way to share your work: fast, secure, and incredibly easy. Why Fax Apps are Perfect for Architects Let’s face it: faxing might seem like something your grandparents used to do. But when it comes to architectural work, faxing is still the MVP. The thing is, now it’s better than ever, thanks to apps that give you all the speed and security you need without the old-school hassle. 1. Send Documents Fast Time is money, right? In architecture, delays are the last thing you need. Whether it’s sending over a last-minute revision or getting approval from your client, waiting around for a fax machine to work is so last century. With a fax online app, you can shoot off plans, blueprints, contracts, or whatever you need with a few taps. You’re literally sending faxes from your phone on the go — no more waiting, no more paperwork piling up. 2. Keeping Your Stuff Safe Confidentiality is huge in architecture. Those project details? They’re yours, and you don’t want anyone messing with them. Sending stuff over email isn’t always the safest option. Enter the fax online app, which comes packed with top-notch security to keep your docs safe. It encrypts everything so that only the right people get access, meaning your designs, contracts, and ideas stay protected. And that peace of mind? Totally worth it. 3. Saving Your Wallet (and Your Office) Let’s be real: fax machines suck. They’re clunky, they break down, and they cost a fortune in paper and ink. With a fax online app, you can kiss all that goodbye. You don’t need to buy paper, ink, or maintain a fax machine anymore. It’s all digital, and it’s all in the app — no more overhead costs for old tech. Plus, most apps work on a cheap subscription model that’s way easier on your budget. 4. No More Paper Piles The world’s going green, and so should your workflow. Faxing with paper? So outdated. Using a fax online app means sending docs digitally, and you don’t have to deal with stacks of paper piling up in your office anymore. Plus, think about all the trees you’re saving! It’s a win for the environment and your workspace. Fax Apps: The New Secret Weapon for Architects Architect Using Fax Online App Now, you might think faxing’s dead — but here’s the thing: it’s still crucial. Fax online apps like Municorn Fax are taking everything that worked about faxing and making it faster, safer, and way more convenient. As architects, you need to stay connected, share plans quickly, and keep everything secure. This app helps you do that in real-time, with no fuss. Whether you’re working from home, traveling, or meeting with clients, faxing is now just part of your digital toolbox. You can send over everything from blueprints to contracts in a fraction of the time it used to take. The Future is Digital — and Faxing Isn’t Going Anywhere You might’ve thought faxing was stuck in the past. But with the rise of apps and digital security, faxing is still a powerhouse for architects, designers, and professionals. And it’s only getting better. The fax online app is transforming how architects and designers share documents, making it quicker, safer, and much more convenient. Forget the fax machine, embrace the future. Conclusion So, there you have it: fax online apps are the modern solution to sending architectural projects fast, secure, and hassle-free. Forget the old-school fax machines — your phone is all you need. The app’s got the speed, the security, and the convenience that’ll make your work life so much easier. If you’re still dealing with outdated fax machines, it’s time to level up. technology by ArchEyes Team Leave a comment

The Walt Disney Concert Hall | © Linda Pomerantz Zhang, Unsplash User The Walt Disney Concert Hall, completed in 2003 and designed by Frank Gehry, is not only a seminal work within the architect’s career but also a pivotal moment in the architectural and cultural evolution of downtown Los Angeles. Situated at the intersection of artistic ambition and civic identity, the building synthesizes formal innovation with technical precision, exemplifying the complex negotiations required in public cultural architecture. Walt Disney Concert Hall Technical Information Architects1-14: Frank Gehry (Gehry Partners, LLP) Location: 111 South Grand Avenue, Los Angeles, California, USA Client: Los Angeles Music Center / Los Angeles Philharmonic Association Area: 27,220 m2 | 293,000 Sq. Ft. Project Year: 1999 – 2003 Photographs: Unsplash Users, See Caption Details I wanted the building to be friendly, to express joy, and to be engaging to the community. – Frank Gehry 15 Walt Disney Concert Hall Photographs © Shiku Wangombe, Unsplash User © Tim Cheung, Unsplash User © Yana Marudova, Unsplash User © Ranjith Alingal, Unsplash User © Linda Pomerantz Zhang, Unsplash User © Venti Views, Unsplash User © Ashim D. Silva, Unsplash User © Sympodius, Flickr User © Tero Saarinen, Flickr User © Michael Muraz, Flickr User © David Chan, Flickr User Contextual Genesis and Urban Insertion The Walt Disney Concert Hall’s genesis lies in the philanthropic gesture of Lillian Disney, who in 1987 donated $50 million toward the creation of a new concert venue for the Los Angeles Philharmonic. Conceived as a civic landmark, the project was intended to reenergize downtown Los Angeles, particularly Bunker Hill, which was then undergoing a slow and fragmented transformation into a cultural corridor. From the outset, the commission was layered with symbolic, functional, and political expectations. Frank Gehry was appointed as lead architect in 1988 following a competition process. His early conceptual models, characterized by abstract sculptural forms and an insistence on spatial fluidity, were met with skepticism by some selection committee members. Gehry’s commitment to design integrity, often perceived as oppositional to donor preferences, led to a protracted design process marked by tension and financial recalibration. Nevertheless, the project persisted through over a decade of delays, when Gehry’s reputation expanded globally, most notably with the Guggenheim Museum Bilbao. The siting of the Concert Hall was both strategic and symbolic. Adjacent to the Dorothy Chandler Pavilion and perched atop Grand Avenue, the project engages with its urban surroundings through ramps, terraces, and gardens that blur the boundary between architecture and public space. Gehry’s approach resisted creating a closed monument, instead fostering permeability through a carefully modulated sequence of exterior and interior experiences. Formal Language and Material Expression The Concert Hall is often identified with the vocabulary of architectural deconstruction. Still, its formal language is more accurately understood as an expression of Gehry’s lifelong interrogation of geometry, movement, and tectonic tension. The building’s massing rejects symmetry and static composition, favoring a constellation of fragmented, curling surfaces that seem to emerge organically from the site. These gestures are not arbitrary; they constitute an intentional choreography of form calibrated to both experiential movement and performative requirements. A pivotal design evolution occurred when Gehry abandoned the originally proposed stone cladding in favor of stainless steel. This shift, influenced by budgetary concerns and the desire for greater sculptural fluidity, catalyzed a digital fabrication process involving CATIA software—a tool adapted from the aerospace industry. The reflective metal skin, composed of hundreds of custom-curved panels, captures and disperses light throughout the day, transforming the building into a dynamic object that responds to its environment. In contrast to the exterior’s visual exuberance, the interiors are defined by a restrained material palette and spatial clarity. The lobby and circulation areas are clad in warm Douglas fir and oak, invoking a sense of intimacy and tactile continuity. This deliberate contrast between exterior and interior further underscores Gehry’s dual commitment to expressive form and functional legibility. Walt Disney Concert Hall Acoustic Design Central to the Concert Hall’s architectural ambition is its acoustic performance. Gehry collaborated closely with Yasuhisa Toyota of Nagata Acoustics, whose expertise in concert hall acoustics shaped the auditory conditions and the spatial organization of the auditorium itself. Adopting a “vineyard” configuration—where seating terraces wrap around the stage—was both an acoustic and democratic gesture, fostering a sense of intimacy between musicians and audience. The main hall is defined by a series of suspended hardwood surfaces and ceiling reflectors that precisely shape the auditory environment. Acoustic panels, constructed from multi-layered Douglas fir, simultaneously diffuse and reflect sound, contributing to a natural reverberation that supports a wide range of orchestral dynamics. The acoustics were not merely applied to the architecture; they were generative of it. In addition to the primary auditorium, the building includes rehearsal spaces and smaller venues with equally rigorous acoustic detailing. These spaces were designed flexibly, accommodating everything from full orchestral rehearsals to community events. Post-occupancy adjustments were made to address minor acoustic challenges, a testament to the building’s ongoing calibration between design intent and real-world performance. Critical Reception and Architectural Legacy Upon opening, the Walt Disney Concert Hall was lauded for its architectural audacity and acoustic excellence. Yet its critical reception extended beyond aesthetics or function—it became a symbol of architectural perseverance and civic reinvention. For Gehry, the project marked a maturation of ideas first explored in earlier residential and institutional works, recontextualized at an urban scale. The building has since been positioned alongside other late-20th-century landmarks—such as the Sydney Opera House and the Pompidou Centre—not only for its formal expressiveness but also for its role in redefining what a cultural institution could look and feel like. Its influence is evident in the wave of performative, sculptural cultural buildings that followed, many of which adopt Gehry’s digital modeling and participatory form-making methods. For contemporary architects, the Walt Disney Concert Hall offers instructive lessons: the importance of sustained dialogue between architect and client; the potential of digital tools to reconcile form and fabrication; and the value of integrating acoustic, material, and spatial strategies from the earliest phases of design. The building remains a case study in architectural authorship—how a singular vision can evolve through resistance, negotiation, and iterative experimentation. Walt Disney Concert Hall Plans Ground Level | © Gehry Partners, LLP Floor Plan | © Gehry Partners, LLP Site Plan | © Gehry Partners, LLP Axonometric View | © Gehry Partners, LLP Walt Disney Concert Hall Image Gallery About Frank Gehry Frank Gehry is a Canadian-American architect renowned for his unconventional and sculptural approach to design, often characterized by fragmented forms, dynamic movement, and innovative material use. A key figure in contemporary architecture, Gehry’s work—from the Guggenheim Museum in Bilbao to the Walt Disney Concert Hall in Los Angeles—challenges traditional notions of structure and aesthetics through his distinctive deconstructivist language and pioneering digital modeling tools. Credits and Additional Notes Lead Architect: Frank Gehry Acoustician: Yasuhisa Toyota, Nagata Acoustics Executive Architect: Gruen Associates (Los Angeles) Structural Engineer: John A. Martin & Associates Mechanical Engineer: Donald F. Dickerson Associates General Contractor: Mortenson Construction Fabrication and Cladding: Zahner Company (metalwork and stainless steel paneling) Software Used: CATIA (adapted from aerospace engineering for digital modeling) Design Initiation: 1988 Construction Period: 1999 – 2003 Inauguration: October 2003 Site Area: Approx. 3.6 acres (14,569 m²) Total Floor Area: Approx. 293,000 sq. ft (27,220 m²) Main Auditorium Capacity: 2,265 seats Cohen, Jean-Louis. Frank Gehry: The Masterpieces. Paris: Cahiers d’Art, 2021. Goldberger, Paul. Building Art: The Life and Work of Frank Gehry. New York: Vintage, 2017.

Anadu Pine Villa | © Seth Powers Tucked away in a secluded valley two hours from Shanghai, Anadu Pine Villa is not simply a boutique retreat but a spatial manifesto on restraint, sensory immersion, and landscape choreography. Designed by STUDIO8 Architects, the estate consists of three guest villas and a reception pavilion embedded within a pine and bamboo forest. Eschewing the expectations of overt luxury or architectural spectacle, the project explores how architecture can act as a quiet mediator between the human body and the natural world. Anadu Pine Villa Technical Information Architects1-6: STUDIO8 Architects Location: Changxing, Zhejiang Province, China Area: 4,960 m2 | 53,400 Sq. Ft. Completion Year: 2021-2024 Photographs: © Seth Powers We believe that when the structure, density, and scale of a building are carefully considered—the ‘bone structure’—the quality of the interior space will naturally reveal its lasting value, without the need for excessive decorations. – STUDIO8 Architects Anadu Pine Villa Photographs Aerial View | © Seth Powers Aerial View | © Seth Powers Aerial View | © Seth Powers Courtyard | © Seth Powers © Seth Powers © Seth Powers © Seth Powers Entrance | © Seth Powers Facade | © Seth Powers Interior | © Seth Powers Dining Area | © Seth Powers Bedroom | © Seth Powers Bedroom | © Seth Powers From Philosophy to Form: A Site-Responsive Approach The architectural premise of Anadu Pine Villa begins with an ethos rather than a typology: “Find yourself in nature.” Rather than imposing a formal vocabulary onto the site, the design is articulated as a response to topographic rhythms and ecological patterns. The three guest units are positioned along the valley’s contours, each volume slightly rotated to frame unique views and minimize visual overlap, fostering a sense of solitude without isolation. The project also navigates historical memory. Where an old rural house once stood, the wine and cigar bar now rises. Yet instead of erasing the past, the new structure subtly echoes it: a reinterpretation of the gabled roof becomes a four-sloped volume, transforming the familiar into the abstract. This gesture—a blend of reverence and revision—anchors the estate to place and time. The overall composition of the estate reflects a non-hierarchical, anti-axial layout that privileges landscape over symmetry. The winding arrival sequence, the curved bamboo-textured walls, and the gravel transitions all contribute to a slow unfolding of space that foregrounds experience over image. Spatial Choreography: Enclosure, Exposure, and Transition A key strength of the project lies in its carefully curated spatial transitions. The journey begins at the threshold—a modest L-shaped gate clad in charred timber and bamboo-textured concrete—before extending along a pine-lined drive. The architectural language resists monumentality here, favoring low, grounded gestures that defer to the forest canopy. The wine house explores spatial dualities through massing: the enclosed cigar lounge sits tightly under a descending roof plane. At the same time, the reception area opens upward and outward, the ceiling appearing to levitate. The double-edged eaves become subtle instruments of light control and weather mitigation, but more significantly, they soften the building’s geometry, offering a moment of quiet formal ambiguity. The villas themselves intensify this dialogue. Upon entering, guests encounter a dramatic spatial release—two concrete slabs frame the forest without obstruction, offering a full 270-degree panorama. This strategy of compression and release recalls classical architectural promenade sequences, yet here it is filtered through a language of minimal materiality and maximal view. The plan dissolves traditional spatial boundaries: living, bathing, sleeping, and cooking zones flow into one another, delineated more by furniture and floor treatments than walls. This open, continuous interior reinforces the project’s central ambition—to minimize the distance between architecture and its setting. Materiality as Structure and Atmosphere Material decisions throughout Anadu Pine Villa reflect a commitment to structural clarity and sensory nuance. Exposed concrete forms the architectural skeleton, poured with integrated piping and structural beams to eliminate the need for surface-mounted systems. This infrastructural honesty allows the slabs to express weight and weightlessness—hovering above the terrain while anchoring the space. Yet concrete alone would risk austerity. STUDIO8 tempers this with a palette of natural materials that are locally informed and tactically deployed: reclaimed wood supports span small distances, carry mechanical systems, and lend warmth to key touchpoints; charred timber and textured concrete respond to traditional Chinese building techniques without defaulting to pastiche. The interiors are defined by custom wooden furniture, soft walnut finishes, and handcrafted brick vanity walls that fold through the bathroom corners. Rather than decorative flourishes, these elements are architectural—responsive to scale, proportion, and the rhythms of occupation. Lighting, too, is treated with nuance. From recessed cove lights to pendant and table lamps, illumination is layered to foster intimacy rather than spectacle. The effect is quiet modulation, aligned with the daily sunlight shifts through skylights and full-height glazing. Anadu Pine Villa Broader Significance Anadu Pine Villa challenges conventional hospitality models by embracing micro-scale and narrative spatiality. By resisting density and rejecting programmatic excess, the project reframes what it means to design for luxury, not as accumulation but as intentional reduction. Its significance extends beyond its footprint. As architecture increasingly contends with environmental and psychological crises, projects like Anadu offer an alternative: a design practice rooted in observation, slowness, and patient calibration of form to context. Moreover, STUDIO8’s emphasis on the “bone structure”—the fundamental spatial and structural integrity of a building—invites a reconsideration of architectural longevity. Here, the quality of space is not achieved through surface embellishment, but through measuring mass, void, light, and material. It is an architecture that does not demand attention, but quietly rewards it. By receding into the forest while heightening our experience, Anadu Pine Villa reminds us that architecture’s highest ambition may not be to express, but to reveal—to serve as a lens through which nature, time, and human presence can coalesce. Anadu Pine Villa Plans Site Plan | © Studio8 Architects Floor Plan | © Studio8 Architects Section | © Studio8 Architects Detail | © Studio8 Architects Anadu Pine Villa Image Gallery About STUDIO8 Architects STUDIO8 Architects is a Shanghai-based multidisciplinary design studio integrating architecture, interior design, landscape, and branding into cohesive spatial experiences. Guided by the philosophy “Time is the only expression,” the studio emphasizes contextual sensitivity, material honesty, and the seamless blending of Eastern and Western influences to create timeless, site-responsive architecture. Credits and Additional Notes Client: Anadu Chief Architects: Shirley Dong, Matteo Piotti, Andrea Maira Design Scope: Planning, Architecture, Interior, Landscape Total Building Area: 608 m² | 6,544 sq ft Wine & Cigar Bar (Reception): 234 m² Guest Villas: 374 m

The Melnikov House | © Ksenia Smirnova, Flickr User Situated in the Krivoarbatsky Lane of Moscow, the Melnikov House is a solitary icon of personal vision within the collectivist backdrop of early Soviet architecture. Designed and built between 1927 and 1929 by architect Konstantin Melnikov as his private residence and studio, the house is one of the few surviving examples of privately commissioned residential architecture during Stalinist rule. It was realized when the Constructivist movement was shaping the Soviet architectural agenda, yet the house’s singularity lies precisely in how it transcends that framework. The Melnikov House Technical Information Architects1-4: Konstantin Melnikov Location: Krivoarbatsky Lane, Moscow, Russia Area: 200 m2 | 2,150 Sq. Ft. Project Year: 1927 – 1929 Photographs: Flickr Users, See Caption Details This house is the precise architectural formula of my soul. – Konstantin Melnikov 5 The Melnikov House Photographs © Doctor Casino, Flickr User © Doctor Casino, Flickr User © Ksenia Smirnova, Flickr User © Paulkuz © Roberto Conte, Flickr User © Ksenia Smirnova, Flickr User © Ksenia Smirnova, Flickr User © Igor Palmin, Flickr User © Roberto Conte, Flickr User © Shakko Context and Vision: A Radical Home in Revolutionary Times Melnikov, trained as a painter and later became a prominent architect, conceived the house as an expression of spatial experimentation and personal autonomy. It was a manifesto—a rebellion against the emerging rigidity of state-sanctioned architectural production. Although often associated with Constructivism, Melnikov was not beholden to its principles. His approach blended geometric rationalism with a deeply intuitive understanding of space, resulting in a design that resists categorization. The house was both a retreat and a laboratory, embodying a resistance to ideological conformity and offering an alternative path for the architect’s role in society. At the core of the Melnikov House is its striking formal composition: two intersecting cylinders measuring roughly 9 meters in diameter and standing three stories tall. This bold geometrical decision was not merely formal—it was a strategic response to the structural and spatial challenges Melnikov faced, particularly the narrow plot and limited access to building materials. The cylindrical volumes allowed for optimal structural stability using traditional brickwork, distributing loads evenly without needing internal columns. Within this cylindrical envelope, the spatial organization is non-orthogonal and dynamic. Rooms are stacked in a loosely spiral arrangement, connected without corridors, fostering a continuous flow of movement and visual permeability. The spatial sequence resists traditional zoning, allowing for fluid transitions between domestic and studio functions. This adaptability was crucial for Melnikov, who lived and worked in the house for decades, and reflects his understanding of space as something lived, not merely drawn. The house’s fenestration further reinforces its architectural language. Sixty hexagonal windows punctuate the walls in a precise yet playful grid, diffusing natural light throughout the interiors and generating a rhythmic dialogue between interior and exterior. These openings are not aligned with interior walls or floors; instead, they hover in a pattern that seems independent of the structure’s internal logic, offering a form of visual liberation that echoes the house’s conceptual independence. The Melnikov House: Materiality and Construction Innovation While the design is formally avant-garde, the construction techniques employed in the Melnikov House were grounded in the limitations of the time. The cylinders were built using conventional hand-laid bricks, with no reinforcement from steel or concrete. This was both a necessity and a deliberate choice—Melnikov trusted the structural integrity of the cylindrical geometry to carry the loads, and his design proved remarkably effective. The interior materials are modest: exposed brick walls, wood flooring, and minimal ornamentation. Yet within this simplicity lies a sophisticated understanding of material expression. The white-painted brick surfaces create a luminous backdrop for shifting daylight, while the custom-designed furniture—also by Melnikov—emphasizes the total integration of architecture and life. Every element within the house, from spiral stairs to folding beds, was conceived as part of a cohesive spatial narrative. This integration of design and function underscores Melnikov’s broader architectural ideology. He did not separate architecture from living; the house exemplifies this unity. Rather than a neutral backdrop, the architecture participates in daily life, asserting its presence without overwhelming the occupant. Interpretation, and Contemporary Relevance The Melnikov House is more than an architectural curiosity; it is a case study in resistance, autonomy, and the architect’s role as both maker and thinker. Its reception has been complex. Initially celebrated in Western Europe and the United States for its formal innovation, the house fell obscured during Stalin’s reign, when Socialist Realism overtook avant-garde experimentation. Domestically, it was viewed with skepticism—an individualistic statement in a system increasingly intolerant of deviation. The house has been restored and preserved as a cultural heritage site in recent decades, though not without controversy. Conservationists and scholars have debated how to protect a structure that defies conventional architectural norms. Its preservation raises questions about authenticity, intervention, and the responsibility of institutions to maintain not just buildings, but the ideas they embody. For contemporary architects, the Melnikov House offers a rare example of architecture unmediated by institutional or commercial constraints. It demonstrates how geometric clarity, spatial inventiveness, and ideological resistance can coalesce into a deeply personal yet universally significant work. The house remains a touchstone for those exploring the edges of domesticity, authorship, and the politics of space. The Melnikov House Plans Plans | © Konstantin Melnikov Stair Section | © Konstantin Melnikov Axonometric View | © Konstantin Melnikov The Melnikov House Image Gallery About Konstantin Melnikov Konstantin Melnikov (1890–1974) was a pioneering Russian architect and painter known for his radical, individualistic approach during the Soviet avant-garde era. Although often associated with Constructivism, Melnikov charted an independent path that blended geometric innovation with deeply personal spatial concepts. His most renowned work, the Melnikov House in Moscow, exemplifies his unique vision, merging architectural experimentation with rejecting ideological conformity. Despite political suppression in later years, his legacy remains a cornerstone of 20th-century architectural discourse. Credits and Additional Notes Design Team: Konstantin Melnikov (sole author) Client: Konstantin Melnikov (self-commissioned) Number of Floors: 3 stories Current Status: Preserved as a museum and cultural heritage site (Melnikov House Museum, operated by the Shchusev State Museum of Architecture) Konstantin Melnikov and his House by Fritz Barth The Melnikov House, Moscow (1927 – 1929): Konstantin Melnikov by Juhani Pallasmaa

The Fan in Jinshanling | © Jonathan Leijonhufvud In the vast mountainous expanse of Jinshanling, located in Chengde City, Hebei Province, China, a subtle yet evocative architectural gesture redefines how visitors experience the threshold between nature and exhibition. Titled The Fan, this outdoor installation designed by TEAM_BLDG was conceived as a spatial prelude to sculptor Sheng Jiang’s solo exhibition Being In The Open Field. The exhibition, staged in 2023, occupies a once ancient and intensely present landscape, where lush valleys give way to the rugged outline of the Great Wall built during the Ming Dynasty. The Fan offers more than a transitional space; it becomes an atmospheric device, a ritualized passage, and a study in architectural restraint and responsiveness. The Fan in Jinshanling Technical Information Installation Architects1-6: TEAM_BLDG Architectural Design (Exhibition Venue – Jinshanling The Upper): Atelier Deshaus Location: Chengde, Hebei, China Area: 240 m2 | 2,583 Sq. Ft. Project Year: 2021 – 2023 Photographs: © Jonathan Leijonhufvud We want to achieve a relatively soft and light installation that complements the hard landscape. In our conception, the installation should be like a natural tree—it can capture the wind while also providing shelter for someone walking on the stone-paved exhibition path. – TEAM_BLDG Architects The Fan in Jinshanling Photographs © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud Contextual Framework: At the Edge of the Ancient Wall Situated at the terminus of the developed exhibition zone, The Fan operates within a landscape layered with historical, spiritual, and environmental weight. Its proximity to the Great Wall inscribes it into a cultural continuum. At the same time, the topography—comprising cliffs, terraced walkways, and natural flora—presents a dynamic ground condition that resists conventional architectural imposition. The main indoor exhibition is housed within Jinshanling The Upper, a landscaped architecture designed by Atelier Deshaus. However, the building remains visually secluded, nested within the valley’s folds. Here, TEAM_BLDG was invited to introduce a subtle architectural intervention—a “clue,” as they term it—that would guide and prepare visitors for the exhibition through a gradual immersion in space, sound, and materiality. Design Intent: Evoking Softness in a Hard Terrain Upon first encounter, Jinshanling presents a series of austere material juxtapositions: the coarse stone of ancient ruins, the sharp silhouettes of contemporary concrete structures, and the textured presence of Sheng Jiang’s Buddha sculptures. Against this context of hardness, the design team sought to introduce an element of softness—both materially and experientially. Inspired by Tibetan Buddhist prayer flags, The Fan reinterprets spiritual iconography into architectural form. Rather than replicating cultural motifs, the installation abstracts their essence: movement, rhythm, ephemerality, and a sense of presence within absence. This approach results in a structure that does not assert itself through monumentality but rather through its sensitivity to wind, terrain, and visitor interaction. By referencing sheltering trees and wind-catching canopies, the design encourages a contemplative mode of passage. It is a threshold not marked by gates or signage but by atmosphere and tempo. The Fan Material Expression and Spatial Resolution Structurally, The Fan consists of approximately forty T-shaped steel pipe units—each 3 meters high by 2 meters wide—arranged in a meandering sequence that extends more than 120 meters along the stone-paved exhibition path. These units support soft white gauze, suspended via articulated joints that allow the fabric to sway and flutter with the valley’s wind currents. The steel elements are anchored to concrete footings that accommodate the site’s irregular topography, allowing each element to adapt to the undulating ground without compromising structural clarity. This deliberate minimalism—the distilled composition of steel, gauze, and concrete—reinforces the project’s commitment to transparency and legibility. “What you see is what you get” becomes a spatial ethos. The structure’s openness allows natural light to pass through without obstruction while creating a shaded, modulated corridor for visitors. Equally significant is the inclusion of bells hidden within the steel joints, which respond to wind movement with soft chimes. This auditory element introduces a temporal and situational quality to the experience: visitors may hear the installation before they see it, and as they move along the path, the soundscape becomes part of the architectural narrative. The bells, inspired by Buddhist traditions of joy and surprise, elevate the structure from static object to participatory environment. Poetic Integration: Architecture as Sensory Experience Construction of The Fan demanded both precision and improvisation. Full-scale mockups were built and tested in Shanghai to simulate environmental conditions, yet on-site challenges—including stronger-than-anticipated wind loads—forced real-time structural adaptations. This responsive methodology made the final installation feel grounded in its context, not merely placed upon it. Ultimately, The Fan performs as more than a built form—it operates as a sensory register of place. Sunlight filters through the gauze in shifting patterns. Beetles and birds interact with its surfaces. Visitors find themselves not just passing through, but dwelling briefly within a space of quiet ceremony. The visual recall of Buddhist robes fluttering in the breeze reinforces the spiritual undercurrents in both the material and the site. The Fan in Jinshanling Plans Concept | © TEAM_BLDG Site Plan | © TEAM_BLDG Details | © TEAM_BLDG The Fan in Jinshanling Image Gallery About TEAM_BLDG TEAM_BLDG is a multidisciplinary architecture and design studio based in China. It is known for its thoughtful integration of architecture, art, and landscape. With a focus on spatial narratives and contextual sensitivity, the studio engages in a wide range of projects, from cultural and educational buildings to installations and exhibitions. Their work emphasizes clarity of structure, material honesty, and the creation of immersive environments that invite reflection and human interaction. Credits and Additional Notes Installation Design: TEAM_BLDG Architectural Design (Exhibition Venue – Jinshanling The Upper): Atelier Deshaus Design Team: Xiao Lei, Deng Zhaojing, Yang Yuqiong, Lin Yufeng, Hong Shining Architectural Design of Main Venue: Atelier Deshaus Landscape Design: Shunmyo Masuno + Japan Landscape Consultants (courtyards and gardens), Turenscape (environment) Client / Exhibition Organizer: The JIANGS (Sheng Jiang, Sculptor)

Jameos del Agua in Lanzarote | © Julian Weyer, Flickr User In the northeastern reaches of Lanzarote, beneath a rugged crust of basaltic rock, lies one of the most singular architectural experiments of the 20th century. Jameos del Agua, designed by the multidisciplinary Spanish artist César Manrique, redefines the boundary between architecture and geology. Carved into the remnants of a volcanic eruption, this subterranean complex is not a building in the conventional sense but rather a spatial strategy—a choreography of light, silence, and stone. Through restrained intervention, Manrique proposed a radical gesture: to do less, and in doing so, to reveal more. Jameos del Agua Technical Information Architects1-5: César Manrique Location: Lanzarote, Canary Islands, Spain Area: 5,000 m2 | 53,820 Sq. Ft. Construction Phases: 1966 – 1977 Photographs: © Julian Weyer, Flickr User For me, the most important aspect of art is nature. In Jameos del Agua, I did nothing more than underline the beauty that was already there. – César Manrique 6 Jameos del Agua Photographs © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User © Julian Weyer, Flickr User Lanzarote’s Geology and Manrique’s Vision The genesis of Jameos del Agua lies in geology. The site forms part of the extensive volcanic tube system generated by the eruption of La Corona Volcano nearly 4,000 years ago. These tubes, punctuated by collapsed sections known as jameos, offered a pre-existing, raw spatiality. The architecture emerges not by constructing anew but by accentuating what is already present—an inversion of typical architectural processes. César Manrique, born in Arrecife in 1919, returned to Lanzarote in the 1960s after years of artistic engagement in Madrid and New York. Confronted with the threat of unchecked tourism development, Manrique envisioned an alternative: a model in which art and ecology could co-exist. Jameos del Agua, inaugurated in phases beginning in 1966, became the prototype for his environmental ideology—a philosophy rooted in restraint, respect, and resonance with the land. As both artist and architect, Manrique eschewed authorial dominance, opting instead for a spatial modesty that foregrounds the natural environment. Jameos del Agua Spatial Strategy The experience of Jameos del Agua unfolds as a sequence of calibrated transitions. From the surface, visitors descend into darkness, enveloped by the volcanic tube’s porous walls and irregular surfaces. The first chamber, partially lit by a collapsed roof, contains an underground lake inhabited by the endemic blind albino crab (Munidopsis polymorpha). These species render the space both biologically unique and symbolically fragile. From there, the route continues through a tropical garden between volcanic walls, culminating in a visually surreal pool of turquoise water. The experience is not linear but episodic—each spatial fragment offers a distinct atmospheric condition. Light, temperature, and sound shift subtly between chambers, guiding the visitor without the need for signage or explicit direction. Materially, Manrique intervenes with an ethos of minimalism. Architectural elements—stairs, benches, railings—are embedded within the lava or whitewashed with lime. Structural additions are few and discreet. Instead of dominating the cave’s geometry, they echo it. The result is a hybrid landscape that reads as natural, intentional, raw, and curated. The architectural program resists categorization. Jameos del Agua is a cultural venue, ecological reserve, and experiential landscape. It houses a subterranean auditorium with exceptional acoustics, a restaurant built into the rock face, and an open-air space for reflection and repose. Yet, the architectural language remains consistent: no gesture is excessive, no surface ornamental. The architecture performs by withdrawing. Atmosphere, Light, and Phenomenology If Jameos del Agua has a primary material, it is not concrete or stone, but light. The project operates phenomenally, manipulating illumination to define space, accentuate textures, and heighten perception. The journey from the cave’s darkness to the garden’s brightness and finally to the searing white of the pool is not just optical but symbolic. It narrates a movement from the underworld to the surface—an architectural ascension from shadow to clarity. Manrique’s orchestration of light is neither theatrical nor didactic. It is atmospheric. Subtle lighting within the cave avoids spectacle, instead emphasizing depth and intimacy. Reflections on water multiply space and distort form. Conversely, the outdoor pool—surrounded by white walls and lush vegetation—amplifies brightness to a point of abstraction, where the volcanic context temporarily dissolves. These sensory strategies situate Jameos del Agua within a broader tradition of phenomenological architecture. Much like Zumthor’s Therme Vals or Ando’s Church of the Light, Manrique’s work is less concerned with form than with staging perception. His interventions are not compositions but conditions—atmospheres that unfold over time. Jameos del Agua Plans Site Plan | © César Manrique Axonometric View Jameos del Agua Image Gallery About César Manrique Credits and Additional Notes Collaborators: Jesús Soto (lighting design), Luis Iñiguez (technical coordination) Key Features: Volcanic cave system, underground lake, open-air pool, concert hall, endemic fauna Client: Cabildo de Lanzarote Geological Feature: Part of the Cueva de los Verdes volcanic tube, created by the eruption of the La Corona Volcano (~3,000–4,000 years ago) Current Operator: Centers of Art, Culture, and Tourism of Lanzarote (CACT) Fundación César Manrique, Lanzarote by César Manrique César Manrique and Lanzarote: Essential Guide by Alejandro Scarpa

HVAC Exhaust | © Elimende Inagella via Unsplash If you’re troubled by certain dubious things happening with your HVAC system, you’ve likely wondered, “How much is this going to cost me?” Heating and air conditioning prices have shifted due to ongoing supply chain changes, inflation, and the rising demand for energy-efficient systems. Whether it’s a faulty thermostat, a refrigerant leak, or a failing compressor, the price of repairs varies considerably. In this guide, we’ll explain everything you need to know about HVAC repair costs 2025 based on rough national averages, system-specific pricing, the most common repairs, and some additional factors that will affect the picture. General Factors The cost you’ll pay for HVAC repair will vary significantly depending on the type of issue, system, and location. Minor repairs can run as little as 75-150 dollars, while more complex repairs can fly up to nearly 3,000 dollars or more. In urban areas like California and New York, where more is charged for labor, the total will run you more than in rural states, such as Montana or Nebraska.  System Types Another major cost determinant is, of course, the type of HVAC system you have. They all have their own components, complexities, and needs in the event they become damaged. Air conditioners: These are designed specifically for cooling.  Furnaces: These are designed only for heating and run on gas, oil, or electricity.  Heat pumps: These are used both for heating and cooling homes, thus combining greater functionality. Ductless mini-split: These are wall-mounted units on the inside, with another unit on the outside. They are used for both heating and cooling and control the temperature in individual rooms. Age of the Unit Older units using an R-22 refrigerant, which is being phased out, may also cost more due to limited availability. Older systems, in general, are more prone to breakdowns and require discontinued parts. They’re also less energy-efficient and run up your bill more. Accessibility Labor becomes more difficult and time-consuming if your unit is in a tight attic, crawl space, or on a roof. A standard one-hour repair could take multiple hours to complete if it’s located in a cramped attic. Emergency Situations If you need a repair right away because of an emergency or you want a repairman to come out on the weekend or late at night, you can expect to be charged an extra fee, such as nearly double the price. Warranty Coverage If your system is still under manufacturer or labor warranty, you may only have to pay for labor or nothing at all. This could save you hundreds of dollars. Common HVAC Repairs HVAC Repairs  HVAC systems can fail in various ways, from a minor hiccup to a total failure. Here are some of the most commonly encountered cases. Thermostat Repair or Replacement These devices control your HVAC’s temperature settings. Common issues are dead batteries, sensor malfunctions, or software glitches in the case of smart models. The solution is to replace or reprogram it. Refrigerant Recharge This heating or cooling chemical absorbs heat from inside your home. Homes often run low on refrigerant due to leaks or improper charging. Various tools, such as bubble tests and UV-discoverable applications, can detect leaks.  Capacitor or Contactor Replacement These are electrical components that help start the system and keep motors running. They encounter wear and tear over time, power surges, or overheating. The capacitor, which stores electrical energy and needs to be replaced, would also need to be replaced, while the contactor switches power to the compressor and fan. Blower Motor This pushes air through your ducts to heat or cool your home. Sometimes, the motor burns out, the bearings are bad, or the fan blades get dirty. You have to repair the motor or clean the internal components. Compressor The compressor pressurizes and circulates refrigerant through your HVAC system. It may encounter an electrical failure, suffer internal damage, or overheat. If this happens, consider replacing it. Ductwork This is the system through which conditioned air is passed to deliver air to various parts of your home. It often has:  Leaks Holes Poor Insulation Disconnected Sections These will need to be sealed, ducts reconnected, and damaged segments replaced. Frequently, though, these systems were originally built in too cramped a space with too many sharp turns, which simply renders efficient air delivery impossible. So, the system will need to be modified or rebuilt. Evaporator or condenser coil Coils are responsible for heat exchange. Evaporator coils absorb heat, while condenser coils release it. Coils can become dirty or corroded, so it’s important to clean or repair them. Electrical repairs like wiring, boards, and fuses HVAC systems rely on a series of electrical circuits and control boards. Sometimes the fuses blow, they short-circuit, or the control boards don’t operate as they should. These parts can be replaced. Smart HVAC Systems Smart Thermostats These have rapidly grown in popularity, especially in newer homes and tech-savvy households. These units integrate with Wi-Fi, smart thermostats, and even voice assistants to give homeowners greater control over their home’s temperature, energy usage, and air quality. With innovation, however, comes complexity. More components mean more potential problems. Unlike traditional systems that rely on analog thermostats and simply relay switches, smart HVAC systems operate using an ecosystem of interconnected devices and sensors. These include:  Smart Thermostats Zoning Modules Occupancy Sensors Circuit Boards Proprietary Software All of these can be potential points of failure. Common issues are: Software or firmware bugs that prevent the system from responding to commands Connectivity loss with the home network or app interface Sensor malfunctions that misread temperature or humidity Synchronization failures between indoor and outdoor units Remote access errors, especially after router upgrades or password changes Smart Technology Adds to the Maintenance Costs Troubleshooting smart HVAC systems often requires more than just mechanical know-how. A technician may need to diagnose software issues, reset devices through proprietary apps, or even contact the manufacturer for remote diagnostics. This can add an extra hour or so to a standard repair, translating to 100-300 dollars extra for labor. This may only be done by a certified technician for the Smart brand. This limits your options, meaning you can’t shop around for a better deal.  As for the parts, smart thermostats alone can cost 200-400 dollars to replace, especially if they’re high-end models like the Nest Learning Thermostat or Ecobee Premium. If the issue lies with a proprietary control board or sensor, you may need to purchase the part directly from the manufacturer, which usually comes at a premium. If the system is under warranty, the replacement may still require you to pay labor fees. This complexity means regular maintenance will be more crucial. This includes firmware updates, battery replacements for the sensors, and periodic software checks as part of your upkeep routine. A minor glitch could turn into a costly service call. GuidesHVAC by ArchEyes Team Leave a comment

© Cristian Bădescu In Sebeșu de Sus, Romania, within the Făgăraș Mountains, a temporary architectural installation was constructed in 2024 for the Făgăraș Fest. Titled “It’s oh so quiet”, the project by atelier VRAC explores themes of spatial retreat, material impermanence, and site-specific design. Developed through an ideas competition organized by Conservation Carpathia, the installation examines the intersection of festival architecture and natural environments through a restrained and context-aware approach. It’s Oh So Quiet Installation Technical Information Architects1-3: Atelier VRAC Location: Sebeșu de Sus, Romania Site Area: 49 m2 | 527 Sq. Ft. Project Year: 2024 Photographs: © Cristian Bădescu We envisioned a space where architecture fades into the landscape—where slowness, silence, and local materials guide the experience. – Cristian Bădescu & Zenaida Florea, atelier VRAC It’s Oh So Quiet Installation Photographs © Cristian Bădescu © Cristian Bădescu © Cristian Bădescu © Cristian Bădescu © Cristian Bădescu © Cristian Bădescu © Cristian Bădescu Contextual Framework: Between Festival and Landscape The installation was designed to operate at the periphery—physically removed from the core of the festival activities, yet conceptually integrated into the broader experience of the event. This marginal positioning became a transitional zone between the human-centered event and the surrounding forested terrain. Thematically, the project responds to two intertwined objectives: preserving the Carpathian ecosystem and promoting design strategies that are environmentally responsible and locally grounded. This context situates the work within a lineage of architectural interventions that seek to tread lightly—literally and ideologically—on the land. In contrast to installations that assert their presence, “It’s oh so quiet” performs a more nuanced role, inviting users into a meditative relationship with nature and one another, while emphasizing the ecological fragility of the setting. Design Intent and Spatial Strategy Rather than imposing a fixed program, the installation embraces indeterminacy. It functions simultaneously as an amphitheater, an observatory, a resting platform, and an informal gathering space. This ambiguity is not a lack of intention but a deliberate act of architectural restraint, allowing meaning to emerge through occupation rather than prescription. A dual-facing structure defines the spatial experience. On one side, a solid wooden façade—rigid, almost defensive—establishes a boundary and shelters the interior. On the other hand, a cascading series of hay bales creates a stepped amphitheater open to the landscape. This bifurcation is central to the architectural concept: it frames a threshold between introspection and outward engagement. The act of climbing—whether via the vertical staircases embedded in the corners or through the slow ascent of the haystack—becomes a spatial ritual, encouraging users to alter their pace, perspective, and attention. The amphitheater’s orientation toward the mountains intensifies this effect. Through geometry and scale, visitors are guided toward a posture of observation. The installation becomes less a backdrop to activity than a device for amplifying the surrounding environment. Material Assemblage and Tectonics The project is unapologetically local materially. Hay bales sourced from the region are deployed as both structural and experiential elements. Their texture, smell, and temporality ground the installation in agricultural practice and seasonal rhythms. These bales are not decorative—they are integral components of the architectural language, used modularly to define form and function. Skeletal frameworks made of locally harvested timber, precisely joined but visually modest, support these. The tectonic clarity reinforces the installation’s performative role as a temporary structure: robust enough to hold, light enough to disassemble, and destined for decay or reuse. By embracing materials that are biodegradable, non-toxic, and easily handled by hand, atelier VRAC positions construction not as a permanent imprint on the landscape but as a momentary negotiation with it. The addition of solar-powered luminous spheres enhances this ethos, introducing soft, self-sustaining light that activates the space at night without compromising its ecological sensitivity. It’s Oh So Quiet Installation Plans Floor Plan | © Atelier VRAC Axonometric Diagrams | © Atelier VRAC It’s Oh So Quiet Installation Image Gallery About Atelier VRAC Atelier VRAC is a Romania-based architectural practice led by Cristian Bădescu and Zenaida Florea. It is known for its experimental and context-sensitive approach to design. The studio explores architecture as a medium of spatial storytelling, often working with local materials, temporary structures, and participatory processes that emphasize ecological responsibility and cultural resonance. Credits and Additional Notes Architects / Designers: Cristian Bădescu, Zenaida Florea – atelier VRAC Client: Conservation Carpathia Manufacturers / Fabricators: Hans Scherer, Sebastian Big, Oana Big, Ioana Iacob

Sandi Simon Center for Dance | © Eric Staudenmaier In the heart of Orange, California, a structure once dedicated to the packing and shipping of citrus has been carefully transformed into a center for movement, expression, and learning. The Sandi Simon Center for Dance, designed by Lorcan O’Herlihy Architects (LOHA) for Chapman University, represents a compelling case study in adaptive reuse that challenges conventional preservation strategies while reasserting architecture’s role in reframing historical narratives through contemporary use. Sandi Simon Center for Dance Technical Information Architects1-8: Lorcan O’Herlihy Architects | LOHA Location: Chapman University, Orange, California, USA Area: 6,689 m2 | 72,000 Sq. Ft. Original Construction Year: 1918 Renovation Completion Year: 2023 Photographs: © Eric Staudenmaier This project was an opportunity to demonstrate how architecture can preserve the soul of a historic structure while carving space for new rhythms of use—light, movement, and community. – Lorcan O’Herlihy Sandi Simon Center for Dance Photographs © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier © Eric Staudenmaier Context and Historical Framework Initially constructed in 1918 as the headquarters for the Santiago Orange Growers Association, the building is a rare example of early 20th-century industrial vernacular architecture in Southern California. Defined by its post-and-beam timber construction and sawtooth clerestory roof, the building embodies a utilitarian clarity characteristic of its time. Its later occupation by the Villa Park Orchards Association extended its industrial use well into the mid-century. Chapman University’s acquisition of the building—and their decision to maintain its historic envelope—offered a unique opportunity: not simply to restore, but to recontextualize. The university’s brief called for creating a dynamic educational and performance facility while retaining the structure’s historic significance. This dual ambition necessitated an architectural approach mediating between preservation and transformation. Sandi Simon Center for Dance Design Intent A precise and deliberate spatial incision guides LOHA’s intervention. By cutting through the building’s original floor plate, the design team effectively introduced a vertical circulation core and reorganized the formerly singular volume into three stratified levels. This act of subtraction—rather than addition—serves as the project’s defining move. The void becomes a connective spine, allowing light, air, and human movement to represent the newly internalized public realm. Rather than treat the historic structure as a static artifact, LOHA engaged it as a generative framework. The exterior shell remains largely intact, preserving its listed status, while the interior spatial logic has been entirely reimagined. This strategy balances reverence for the building’s past with a contemporary dance center’s functional and pedagogical demands. The program is distributed across the newly formed levels: five large studios, a black-box performance space, classrooms, offices, and informal social areas. The spatial configuration emphasizes visual and physical permeability, allowing for spontaneous interaction among students and faculty. This is not merely a building for instruction but facilitates a culture of exchange and creative dialogue. Spatial Qualities and Material Tectonics The original sawtooth clerestory windows, oriented north to diffuse direct sunlight, are instrumental in crafting the interior atmosphere. With the newly introduced atrium, this soft daylight is allowed to cascade through all levels, lending the space a quiet luminosity appropriate for both focused training and performance. Polycarbonate panels, chosen for their translucency and ephemeral character, line key interior walls and openings. Their mutable surface qualities—reflective, luminous, and soft—resonate with dance’s performative nature and underscore the project’s conceptual alignment between movement and architecture. Equally significant is LOHA’s material sensitivity. The design preserves and reuses the building’s original timber flooring, integrating it into the new interiors as a surface and memory. Massive historic trusses, once concealed in the lofted ceiling, are left exposed, rendering the structural system legible and tactile. These elements, made visible from both above and below, establish a dialogue between the building’s industrial lineage and its new cultural function. Integrating environmental systems was carefully aligned with the building’s historic fabric. Existing clerestory windows were retrofit with actuators and connected to the HVAC system, allowing for passive ventilation when conditions permit. This sustainable strategy further demonstrates how architectural heritage can be leveraged to meet contemporary performance and environmental goals. Architectural Significance and Urban Relevance At its core, the Sandi Simon Center for Dance embodies an architectural proposition: that movement, memory, and matter can be orchestrated in ways that elevate both spatial and social experience. The building does not simply house the art of dance—it participates in it, offering a sequence of volumes that mirror choreography in their fluid interconnection. The project contributes to the ongoing discourse surrounding adaptive reuse in American cities. At a time when institutions are increasingly seeking to align sustainability with cultural stewardship, LOHA’s work demonstrates how a profoundly contextual strategy can yield both functional vitality and architectural clarity. The building’s hybrid identity—simultaneously warehouse, performance venue, and educational facility—reflects a nuanced understanding of architecture as both artifact and agent. By carving new life from old form, the Sandi Simon Center resists the binary of preservation versus innovation. Instead, it stands as evidence that architecture, when attuned to context and driven by thoughtful transformation, can transcend its time without losing its place. Sandi Simon Center for Dance Plans Floor Plan | © Lorcan O’Herlihy Architects Sandi Simon Center for Dance Image Gallery About Lorcan O’Herlihy Architects Founded in 1994 by Lorcan O’Herlihy, FAIA, Lorcan O’Herlihy Architects (LOHA) is an award-winning architecture and urban design firm with studios in Los Angeles and Detroit. LOHA engages the complexities of the urban landscape, embracing architecture’s role as a catalyst for change. Their diverse portfolio includes art galleries, bus shelters, large-scale neighborhood plans, mixed-use developments, supportive housing, and university residential complexes. Credits and Additional Notes Architect: Lorcan O’Herlihy Architects (LOHA) Principal in Charge: Lorcan O’Herlihy, FAIA Project Director: Ghazal Khezri Project Leads: Joe Tarr, Abel Garcia Project Team: Morgan Starkey, Kathryn Sonnabend Project Assistants: Kevin Murray, Wentao Guo Client: Chapman University Program: Dance School, Performing Arts Theater, Classrooms, Dance Studios, Study Spaces, Offices

Taschenturm Ensemble | © Ralph Feiner In the shadow of the 14th-century Taschentorturm, one of Ingolstadt’s few remaining medieval gates, BÜRO MÜHLBAUER has undertaken a quiet yet profound transformation of a derelict city farm. Once a modest ensemble of residential and agricultural uses, the site—comprising a house, barn, and inner courtyard—has been reimagined as a multi-unit residential complex. While its new life speaks to contemporary needs, its architectural vocabulary remains in active conversation with the past. Taschenturm Ensemble Technical Information Architects1-3: BÜRO MÜHLBAUER Location: Ingolstadt, Germany Area: 180 m2 | 1,940 Sq. Ft. Project Year: 2019 – 2024 Photographs: © Ralph Feiner Thanks to the close cooperation between the private investor and the architects, a sustainable use was made possible. – BÜRO MÜHLBAUER Architects Taschenturm Ensemble Photographs © Ralph Feiner Entrance | © Ralph Feiner © Ralph Feiner © Ralph Feiner © Ralph Feiner © Ralph Feiner © Ralph Feiner © Ralph Feiner A Dialogue with History and the Urban Fabric Set within the historic perimeter of Ingolstadt, the project site holds a unique corner condition that accentuates its presence in the cityscape. The proximity to the Taschentorturm, a vestige of Ingolstadt’s medieval expansion, imbues the ensemble with symbolic and spatial significance. The architectural intervention navigates this layered urban palimpsest with restraint and clarity. The ensemble’s original function—residential living and agricultural production—reflects a bygone mode of urban-rural adjacency. From the 16th century to the mid-20th century, these buildings bore witness to shifting societal patterns, culminating in their eventual abandonment. Their vacancy, however, became a latent opportunity—an architectural tabula rasa charged with historical weight. Rather than erase or romanticize the past, the architects embraced the site’s complexities. The project resists nostalgic reconstruction; instead, it positions architectural reuse as an act of continuity and responsibility. This posture foregrounds the city’s evolving identity, making heritage not an object of preservation alone but a participant in contemporary urban life. Spatial Reconfiguration and Adaptive Typologies The adaptive reuse strategy preserved the ensemble’s fundamental logic while unlocking new spatial potentials. The original house now accommodates three distinct residential units, including two maisonettes and a single-level apartment—each calibrated to the existing structural grid. The barn, previously in a state of structural precarity, was reconfigured as a vertical townhouse across three floors. This reprogramming emphasizes a spatial dialogue between historical constraint and contemporary fluidity. The townhouse unfolds in a vertical sequence culminating in the restored roof truss. This spatial crescendo exposes the structural intelligence of the original timber construction while framing new domestic experiences. Equally thoughtful is the approach to the courtyard. Once a utilitarian space centered around a dung heap, it now operates as a shared outdoor room. A raised platform gestures to the site’s agrarian past, while including native species such as climbing hydrangea and mulberry tree reinscribes the courtyard within the local ecological context. This outdoor space, accessible to all residents, embodies a rare moment of urban collectivity—intimate yet open, historical yet reimagined. Material Strategy and Construction Logic The project’s architectural language is defined by its tactility and measured intervention. Structural integrity was addressed in the barn by inserting a new concrete shell, poured on-site in three successive phases. This element, characterized by its handcrafted board-formed texture, becomes a quiet protagonist in the interior. It performs both as a load-bearing structure and as a sculptural counterpoint to the patina of the existing masonry. What might have been a conflict between old and new is resolved through material honesty and spatial calibration. The use of single-sided formwork—necessary due to the preserved outer walls—resulted in a monolithic expression of the concrete, textured with the imprint of rough-sawn boards. This roughness echoes the raw materiality of the original barn, creating a conversation rather than a contrast. Importantly, core insulation allowed the architects to retain the 200-year-old masonry without invasive retrofitting. This decision exemplifies a “minimum intervention, maximum effect” approach: energy performance is improved while the historical fabric remains legible and intact. The selective upgrade of the outer walls further underscores the studio’s commitment to precision over replacement. Architectural Significance and Sustainable Narratives BÜRO MÜHLBAUER’s intervention is as much a cultural gesture as a technical one. At a time when heritage preservation is often polarized between cosmetic facadism and total erasure, this project models a middle path—one rooted in architectural intelligence and material humility. From a sustainability perspective, the project demonstrates a multi-scalar sensibility. District heating, minimized material waste, and retaining embodied energy through reuse all contribute to a low-impact footprint. But more critically, the sustainability lies in the project’s social and urban continuity. It reinforces local identity, supports a living heritage, and offers a model of urban densification without sprawl. The collaboration between the private client and public funding agencies enabled this careful restoration, illustrating how architectural vision, policy support, and civic engagement can align. The result is a housing solution that neither mimics nor disavows the past. Instead, it proposes a living archive, where history is not preserved behind glass but inhabited and adapted. Taschenturm Ensemble Plans Ground Level | © BÜRO MÜHLBAUER Level 2 | © BÜRO MÜHLBAUER Level 3 | © BÜRO MÜHLBAUER Section | © BÜRO MÜHLBAUER Detail | © BÜRO MÜHLBAUER Taschenturm Ensemble Image Gallery About BÜRO MÜHLBAUER ​BÜRO MÜHLBAUER is an architecture firm based in Ingolstadt, Germany, specializing in residential architecture. The firm is led by Andreas B. Mühlbauer, who served as the city architect of Eichstätt from 1990 to 2000, became an independent architect in Ingolstadt, and was appointed to the BDA (Association of German Architects) in 1999. ​ Credits and Additional Notes Collaborators: Alexander Mühlbauer, Andreas B. Mühlbauer, Andreas J. Mühlbauer Landscape Architecture: Maurus Schifferli Artist: Michael Schölß

Maison Louis Carré by Alvar Aalto | © Michelle Courteau Maison Louis Carré, completed in 1959, is the sole architectural work in France by Finnish architect Alvar Aalto. Commissioned by the influential French art dealer Louis Carré, the residence is in the rural commune of Bazoches-sur-Guyonne, roughly 40 kilometers west of Paris. At once intimate and monumental, the house exemplifies Aalto’s ability to bridge national traditions, material sensibilities, and human-centered design. Maison Louis Carré Technical Information Architects1-8: Alvar Aalto Collaborating Architect: Elissa Aalto Location: Bazoches-sur-Guyonne, Yvelines, Île-de-France, France Built Area: 400 m² | 4,300 sq ft Project Year: 1956 – 1959 Photographs: Flickr Users, See Caption Details Architecture must have charm; it is a factor of beauty in society. But real charm is not in shapes; it is in the infinite variety of the connections that exist between function and form. – Alvar Aalto 9 Maison Louis Carré Photographs Exterior View | © Michelle Courteau Side View | © Jonathan Rieke, Flickr User Front View | © Risto Raittila Side View | © Samuel Ludwig © Jonathan Rieke, Flickr User © Jonathan Rieke, Flickr User © Briac Robert, Flickr User © Darren Bradley, Flickr User © Darren Bradley, Flickr User Context and Commission The commission emerged from Carré’s desire to create a home that accommodates his personal life and substantial modern art collection. This dual programmatic requirement set the stage for an architectural response that blurred the boundaries between domesticity and exhibition. Carré’s choice to work with Aalto—an architect with no previous projects in France—was a decisive gesture toward the Nordic humanism Aalto embodied, a counterpoint to the more abstract modernism then dominant in France. Aalto approached the commission with characteristic sensitivity to context. The site, a gently sloping parcel of land with views toward the wooded landscape, became a defining element of the design. Rather than imposing geometry upon the terrain, Aalto allowed the house to unfold organically, with its plan responding to contours, vegetation, and light. Architecture does not dominate; instead, it inhabits the land. Spatial Composition and Formal Strategies The spatial organization of Maison Louis Carré reveals a deliberate zoning of public and private realms. The plan is anchored by a central axis, from which the different functions radiate in a sequence that feels both rational and intuitive. The entrance sets a subdued tone, opening onto a vestibule that transitions into the main gallery. From there, spaces progress with a rhythm that reflects both the daily life of its inhabitants and the choreography of art viewing. Aalto modulated ceiling heights, introduced changes in floor levels, and utilized natural light to distinguish spatial hierarchies. The gallery space, with its long skylight and controlled wall surfaces, becomes a contemplative void for art, while the living and dining rooms open outward, embracing the garden and horizon through expansive glazing. The result is a sequence of spaces where enclosure and openness are in constant dialogue. Circulation within the house is nuanced and layered. Subtle shifts in material, light, and alignment gently guide movement. The transitions between rooms avoid abrupt boundaries, favoring gradual thresholds that echo Aalto’s broader architectural philosophy of experiential continuity. There is a spatial narrative here, a sense that architecture unfolds in time as much as in plan. Maison Louis Carré Materiality and Detail Material selection in Maison Louis Carré reflects Aalto’s Nordic roots while embracing the local French context. Brick, oak, copper, and white plaster are deployed with restraint and care, their textures and tones harmonizing with the surrounding landscape. The craftsmanship in every joint, handle, and frame speaks to a level of attention that resists standardization. The interiors were designed as an extension of the architecture. Aalto, working closely with his wife Elissa, created much of the furniture, lighting, and textiles specifically for the house. These elements are not decorative additions but integral components of the spatial experience. Built-in furnishings emphasize horizontality, drawing the eye outward and reinforcing the relationship with the landscape. As always in Aalto’s work, light is treated as a material in its own right. Daylight enters through clerestories, skylights, and carefully oriented windows, subtly shifting over the day and animating surfaces. Indirect lighting strategies enhance this dynamic, creating spaces that feel both grounded and ethereal. The architecture invites a sensory engagement that goes beyond visual aesthetics. Maison Louis Carré occupies a distinctive place within Aalto’s oeuvre. While it shares thematic parallels with earlier residential projects such as Villa Mairea, its French setting and dual function as home and gallery give it a unique identity. The project synthesizes Aalto’s core principles—humanism, material sensitivity, spatial richness—into a composition that is at once site-specific and timeless. Maison Louis Carré Plans Floor Plan | © Alvar Aalto Foundation Elevation | © Alvar Aalto Foundation Elevation | © Alvar Aalto Foundation Elevation | © Alvar Aalto Foundation Sketch | © Alvar Aalto Foundation Maison Louis Carré Image Gallery About Alvar Aalto Alvar Aalto (1898–1976) was a Finnish architect, designer, and pioneer of modern architecture whose work seamlessly blended functionalism with a deep sensitivity to human experience, nature, and materials. Renowned for his holistic approach, Aalto designed buildings, furniture, lighting, and textiles as integrated systems, always prioritizing user comfort and spatial harmony. His architecture—ranging from civic buildings to private homes—reflects a distinctive humanist modernism that continues to influence contemporary practice worldwide. Credits and Additional Notes Structural Engineers: Bureau d’Études Techniques L. Mercier (France) Design Team: Alvar Aalto, Elissa Aalto, Studio Aalto (Helsinki), French local consultants (unnamed in most records) Client: Louis Carré (art dealer and collector) Site Area: Approximately 3 hectares (7.4 acres) Architectural Style: Organic Modernism / Humanist Modernism Building Type: Private Residence with Art Gallery Current Use: Museum and cultural site (open to the public under the Fondation Alvar Aalto) Heritage Status: Listed as a historic monument by the French Ministry of Culture in 1996 Weston, Richard. Alvar Aalto. Phaidon Press, 1997 Göran Schildt. Alvar Aalto: The Mature Years. Rizzoli, 1991

Ca’ delle Alzaie | © Andrea Sottana In Treviso, Italy, Ca’ delle Alzaie by Stefano Boeri Architetti proposes a nuanced model for urban residential living that interrogates the boundaries between architecture, landscape, and public infrastructure. Built between 2016 and 2021 on a former industrial plot along the river Sile, the project consists of three mid-rise residential buildings immersed in vegetation. The scheme addresses a complex array of urban and ecological concerns through an architectural language rooted in both environmental responsibility and spatial fluidity. Ca’ delle Alzaie Residential Complex Technical Information Architects1-4: Stefano Boeri Architetti Location: Treviso, Italy Gross Floor Area: 9,000 m2 | 96,875 Sq. Ft. Project Year: 2016 – 2021 Photographs: © Andrea Sottana In Treviso we proposed an unprecedented variation of our concept of Vertical Forest: not a tower, but three buildings surrounded by vegetation, with very different views of the surrounding landscape. In the next few years Treviso, with Milan, Utrecht, Brussels, Eindhoven, Munich, Cairo, Nanjing and many other cities in the world, will become the site of an innovative experiment to demonstrate that the architecture of the future will be able to host the cohabitation of more living species, becoming a fulcrum of biodiversity – as well as environmental sustainability. – Stefano Boeri Architects Ca’ delle Alzaie Residential Complex Photographs Aerial View | © Andrea Sottana Night View | © Andrea Sottana Facade | © Andrea Sottana Facade | © Andrea Sottana Facade | © Andrea Sottana Facade Corner | © Andrea Sottana Balcony | © Andrea Sottana Facade | © Andrea Sottana Stairs | © Andrea Sottana Contextual Framework and Urban Reconnection The site of Ca’ delle Alzaie occupies a residual industrial zone measuring approximately 11,000 square meters, positioned just outside Treviso’s historic core. Rather than simply introducing a residential development, the architects responded to a broader urban opportunity—the reweaving of a fractured edge condition between the city and its riverine landscape. At the heart of this reconnection lies the Restera pedestrian and cycling path, a linear public space parallel to the river Sile, which is reactivated and expanded through the project’s southern boundary. Pedestrian routes and embankments were not treated as peripheral or secondary but were designed as integral components of the project’s urban structure. The northern and southern slopes of the site are shaped into green infrastructure: flower meadows, tree-lined paths, and tiered gardens work collectively to soften the transition from public space to private domain. The southern retaining wall steps back in multiple locations to create moments of civic generosity—welcoming seating, bike stalls, and outdoor fitness elements that return spatial value to the community. This duality between public activation and private living is where the project situates its architectural relevance—not as an isolated object but as a porous system that negotiates the city’s thresholds. Ca’ delle Alzaie Spatial Organization Formally, the architecture avoids the temptation of monolithic repetition. The three residential buildings, while similar in height—each reaching seven storeys (27 meters)—are deliberately offset and rotated. This gesture disrupts the expectation of a linear riverfront wall. Instead, it produces a staggered composition that opens up framed views of the river while preserving visual permeability across the site. Each residential unit benefits from these spatial dynamics. Internally, the plan distinguishes between south-facing living areas and north-facing sleeping zones, ensuring natural light and river views to the spaces most frequently occupied during daylight hours. This sectional logic is mirrored in the facades, where orientation and program define the elevation strategy. With approximately three apartments per floor and a total of 60 units, the density remains moderate. Yet the spatial configuration offers a richness often absent in typical mid-rise housing. Large apertures, deep terraces, and the calibrated orientation of each building volume yield a diversity of micro-environments across units, resisting a one-size-fits-all typology. Beneath the buildings, an underground garage spans the full footprint of the complex. Rather than relegating this element to an infrastructural afterthought, the garage roof is transformed into a continuous green carpet. This elevated landscape supports communal gardens, vegetable plots, and the private gardens of ground-floor units. Here, program, structure, and landscape converge into a hybridized condition. Material Ecology and Vegetation as Architecture The architectural ambition of Ca’ delle Alzaie finds its most distinctive expression in its treatment of vegetation. Rather than serving as decorative greenwashing, plant life becomes both spatial material and ecological infrastructure. Over 50% of the total project surface—approximately 2 hectares—is dedicated to greenery. This includes 400 low-trunk trees, 170 full-scale trees, and 120 integrated directly onto building facades. This vertical forest strategy, developed in collaboration with agronomist Laura Gatti, draws from the ecological logic of the surrounding Sile Park. The palette of native plant species anchors the project within its environmental context and positions the building as an active contributor to local biodiversity. The architecture thus performs as a micro-ecosystem—a constructed habitat embedded within a larger urban-natural continuum. The facades, in particular, operate as living surfaces. The south-facing riverfront elevation is articulated through generous terraces, each three meters deep, designed to accommodate tree growth over time. Vertical planters punctuate the rhythmic horizontality, creating a facade of alternating solid and porous vegetated bands. The north facade is more restrained, projecting linear containers and vertical elements that house shrubs and smaller trees. The differentiation in planting strategy between the two orientations reflects both solar exposure and interior programmatic zoning. In this way, vegetation is not merely applied to the building; it is embedded in its architectural DNA—shaping its massing, regulating microclimates, and redefining the experience of inhabitation. Environmental Performance and Material Strategies In parallel with its biophilic agenda, Ca’ delle Alzaie engages with various sustainable design principles. Passive strategies such as solar orientation, natural cross-ventilation, and the strategic placement of vegetation collectively enhance thermal performance and acoustic insulation. Using trees and green surfaces contributes to mitigating urban heat island effects and airborne particulate matter while offering residents privacy and psychological comfort. Material selection further underscores the project’s ecological ethos. Anti-pollution paints and finishes were employed alongside renewable energy systems and durable materials selected for longevity and low environmental impact. Notably, these choices are not showcased as technological spectacle but are embedded quietly within the architecture’s systemic performance. The embankment—engineered as a flower meadow—functions as both structural infrastructure and green topography. It simultaneously conceals the subterranean garage, provides habitat, mediates between public and private realms, and creates continuity with the river’s edge. Thus, the landscape is not simply adjacent to the building; it is an active architectural medium. Ca’ delle Alzaie Residential Complex Image Gallery About Stefano Boeri Architetti ​Founded in 1993 by Italian architect Stefano Boeri, Stefano Boeri Architetti is an international architectural practice based in Milan, with additional offices in Shanghai and Tirana. The firm specializes in sustainable architecture, urban planning, and strategic urban development, focusing on integrating living nature into architectural design. Their notable projects include the Bosco Verticale (Vertical Forest) in Milan, a pioneering example of residential towers incorporating extensive vegetation to promote urban biodiversity. The firm’s work emphasizes environmental sustainability and has received numerous international accolades for its innovative approach to blending architecture and ecology. ​ Credits and Additional Notes Client: Cazzaro Costruzioni S.r.l. Landscape and Vegetation Consultant: Laura Gatti (Agronomist) Site Area: 11,000 sqm (approx.) Plot Area: 10,750 sqm

The Best Interior Design Books, Curated by ArchEyes Editors At ArchEyes, we understand that great design is rooted in a deep understanding of form and function. While our previous article, The 20 Best Architecture Books Every Architect Must Read, delved into the foundational texts that have shaped architectural thought, it’s equally important to explore the literature that informs the spaces within these structures.​ Interior design is more than just aesthetics; it’s the thoughtful crafting of environments that respond to human behavior, comfort, and experience. For architects and designers alike, books remain a timeless source of inspiration, theory, and technical guidance. From iconic modernist interiors to cutting-edge contemporary spaces, the following selection of 20 interior design books has been highly recommended by professionals in the field.​ by Frida Ramstedt by Charlotte and Peter Fiell  Few publications have had as enduring and comprehensive an impact on architecture and interior design discourse as Domus. Founded in 1928 by the visionary Italian architect and designer Gio Ponti, Domus chronicled the evolution of 20th-century design with unmatched breadth and sophistication. This monumental compendium, curated by Charlotte and Peter Fiell, distills over 70 years of the magazine’s archives into a richly illustrated, 12-volume box set (or, in some editions, a condensed single volume), offering readers an invaluable window into the shifting tides of modernism, postmodernism, and beyond.Each decade reflects a distinct aesthetic and cultural moment—documenting the rise of Bauhaus, the rationalism of Italian interiors, the playful provocations of Memphis, and the digital experimentation of the 1990s. Through its editorials, project features, and critical essays, Domus shaped not only how designers thought about interiors but how they understood their role in shaping modern life. For architects and interior designers, this book is more than a historical archive—it’s a design encyclopedia. It reveals how furniture, lighting, color theory, and material culture have intersected with architecture across generations. It’s especially relevant for those interested in the interplay between editorial curation and design evolution, making it both a collector’s object and an enduring professional reference. Square, Circle, Triangle by Bruno Munari by Anne Massey Anne Massey’s Interior Design Since 1900 is a scholarly yet accessible chronicle of the socio-cultural, technological, and artistic forces that have shaped interiors over the last century. Unlike many interior books focusing solely on aesthetics or individual designers, Massey contextualizes design within the broader framework of modern history, revealing how interiors reflect shifting values, ideologies, and ways of living. Structured thematically and chronologically, the book explores how movements like the Arts & Crafts, Bauhaus, Art Deco, Modernism, Postmodernism, and Minimalism influenced domestic, commercial, and institutional interiors. It draws connections between political developments—such as post-war reconstruction, consumerism, and globalization—and the spaces that emerged in response to these forces. This book is essential for architects because of its analytical approach to interior spaces as designed environments that both shape and are shaped by society. Massey does not reduce interiors to decoration but treats them as architectural and cultural artifacts. Her inclusion of lesser-known figures, women designers, and non-Western influences further enriches the narrative, offering a more inclusive and nuanced understanding of the field. With over 200 illustrations and case studies, Interior Design Since 1900 serves as both a reference and a critical lens to reconsider the interiors we design, inhabit, and critique today. by Alain de Botton by Deborah Needleman In a world saturated with curated perfection and aspirational minimalism, Needleman, former editor-in-chief of Domino and T: The New York Times Style Magazine, builds the book around a series of playful yet insightful chapters—A Bit of Quirk, A Touch of Glamor, Useful Things, and Cozifications—which serve as building blocks for creating warm, character-rich spaces. Her writing is informal yet sharp, guiding readers to value authenticity and intuition in their design choices. This book’s implicit critique of over-designed environments makes it particularly valuable for architects and interior designers. Needleman reminds us that true comfort and beauty often emerge from contrast, irregularity, and personal expression. She argues that design is not just about harmony and visual logic but also cultivating a sense of belonging and joy. Illustrated with whimsical watercolors by Virginia Johnson rather than high-gloss photography, the book reinforces its message: homes should be felt, not staged. It’s a handy reminder for those working at the intersection of architecture and interior design, encouraging a balance between professional rigor and emotional resonance. by Rosemary Kilmer and W. Otie Kilmer by Junichiro Tanizaki “In Praise of Shadows” is an eloquent and thought-provoking essay by Junichiro Tanizaki, first published in 1933. The work explores the aesthetics of darkness and shadows and their integral role in traditional Japanese architecture, arts, and culture. Tanizaki contrasts the subdued, nuanced beauty found in the soft shadows of Japanese design with the bright, stark illumination favored in the West. He delves into various aspects of Japanese culture – from lacquerware, interior design, and theater to cuisine, paper, and even complexion – illustrating how the interplay of light and darkness is cherished and capitalized upon. This insightful essay is a reflection on the cultural differences between East and West and a lament for the fading of traditional Japanese aesthetics in the face of rapid modernization. by Nathan Williams by Steven Holl Steven Holl’s House: Black Swan Theory is a profoundly introspective and conceptual exploration of domestic architecture. Unlike traditional interior design books, this work sits firmly within architectural thought, blending poetic speculation with rigorous design methodology. It offers a rare look at how one of the most philosophical architects of our time approaches the most intimate scale of architectural intervention: the home. The book combines drawings, watercolors, photographs, and reflective essays documenting thirteen of Holl’s house projects, both built and unbuilt. Each project is treated as a theoretical investigation—sometimes into light, other times into topography, tactility, or memory. Holl’s “Black Swan Theory” (a term borrowed from Nassim Nicholas Taleb) represents his embrace of the rare and unpredictable in design: the spatial anomaly that disrupts the expected and introduces meaning through surprise. This book is invaluable for architects. It challenges readers to rethink the house not just as a programmatic container but as a site of phenomenological experience. Holl’s interest in perception, movement, and atmosphere transcends conventional stylistic categories, proposing that interior space be sculpted as carefully as any façade. House: Black Swan Theory also emphasizes drawing as a medium of design thought, making it an inspiring read for architects who still value hand sketching and conceptual diagramming as part of their process. It’s not a book for clients or decorators—it’s for architects and spatial thinkers seeking to deepen their understanding of domesticity through theory and imagination. by Karl Fournier and Olivier Marty by Dominic Bradbury Modernist Design Complete by Dominic Bradbury is an authoritative compendium that captures the full scope of modernist thinking across architecture, interior design, furniture, lighting, and decorative arts. Rather than isolating modernist interiors as a niche category, Bradbury positions them within the broader sweep of 20th-century design ideology—showing how interiors evolved with technological innovation, social reform, and shifting modes of living. Structured as both a reference and a visual archive, the book covers seminal figures such as Le Corbusier, Alvar Aalto, Eileen Gray, Marcel Breuer, Charlotte Perriand, and Mies van der Rohe. It also highlights important regional movements, from Scandinavian modernism to the Bauhaus, the International Style, and American mid-century. Through hundreds of photographs and richly annotated entries, the book reveals how interiors became sites of radical spatial experimentation—where form followed function, ornament was stripped away, and space was engineered to enhance clarity and freedom. This book is a foundational resource for architects and interior designers alike. It connects material choices and spatial planning to ideological frameworks, illustrating how furniture and interiors were never afterthoughts in modernism but integral to architectural vision. Bradbury also includes lesser-known designers and artisans, making this an inclusive and nuanced look at the era. Whether used for research, inspiration, or curatorial thinking, Modernist Design Complete is essential for any designer engaging with modernism—not as a style to imitate, but as a philosophy to reexamine and reinterpret in contemporary practice. by Axel Vervoordt by Phaidon Editors The Phaidon Atlas of Interior Design is an ambitious global survey of over 400 contemporary interiors, making it one of the most comprehensive resources available for professionals and students in architecture and interior design. As with Phaidon’s acclaimed architectural atlases, this volume prioritizes breadth, diversity, and critical documentation over stylistic homogeneity, offering readers a rich panorama of spatial innovation across typologies, geographies, and design philosophies. Each project featured, from private homes and hotels to boutiques, galleries, and institutional spaces, is accompanied by high-resolution photographs, concise project descriptions, and essential data, including architect/designer credits, location, year of completion, and floor plans. This atlas is particularly valuable because it doesn’t merely celebrate aesthetic spectacle; it showcases interiors that reveal a more profound logic of use, materiality, and context. For architects, the Atlas is a vital reference. It allows for comparative spatial reading across cultures and climates, highlighting how different traditions, constraints, and narratives shape interior architecture. The inclusion of projects by emerging voices and established studios also makes it a dynamic reflection of the field’s current landscape. More than just a source of visual inspiration, this book functions as a professional tool—ideal for benchmarking, programming, and design strategy. Whether used in the early concept phases of a project or as an academic reference, the Phaidon Atlas of Interior Design is a must-have in any serious design library. by Mihoko Iida by Charlotte Perriand This landmark volume—Charlotte Perriand: Complete Works, Volume 1—is the first in a meticulously documented series that traces the life and work of one of the most influential yet long-underrecognized figures in 20th-century design. Spanning Perriand’s formative years up to 1940, this book offers a richly illustrated and academically grounded account of her pioneering approach to interiors, furniture, and integrating design with everyday life. Best known for her collaborations with Le Corbusier and Pierre Jeanneret, Perriand’s vision was anything but subordinate. Her work brought a sense of softness, tactility, and user-centered thinking to the otherwise austere vocabulary of early modernism. This volume includes her iconic tubular steel furniture—such as the LC4 chaise longue—and documents her role in shaping some of the most iconic interiors of the interwar period, including the interiors of the Unité d’Habitation prototypes. But the book goes beyond objects and rooms. It includes photographs, drawings, letters, and essays that reveal Perriand’s political convictions, deep appreciation for craft, and early interest in Japanese aesthetics. Her commitment to egalitarian design and modular functionality prefigures many concerns that still define socially conscious architecture and interior design today. For architects, this book is more than a historical record—it’s a call to reconsider modernism’s gendered authorship and to recognize interiors not just as applied art but as architectural acts in their own right. It’s essential reading for those seeking to understand how modern interior spaces came to be and how they can evolve. by Francis D.K. Ching by Peter Zumthor Atmospheres is Peter Zumthor’s poetic and philosophical reflection on the sensory and emotional impact of architecture, particularly the interior experience. Based on a lecture delivered in 2003, the book is not a manual or a catalog of work, but rather a stream of meditative insights that explore how buildings feel, how they move us, and how the invisible qualities of a space can be designed with great intentionality. Zumthor unpacks what he calls “atmospheres”—those intangible qualities that make a space resonate with memory, sensuality, silence, or presence. He discusses the orchestration of light, materiality, acoustics, proportions, smells, and even the patina of age as tools that shape emotional perception. His reflections are grounded in practice but expressed with the cadence of poetry, making this book a rare hybrid of architectural treatise and artistic manifesto. For interior designers and architects alike, Atmospheres reminds them that beyond technical precision and spatial logic, the true power of design lies in its capacity to elicit feeling. It’s a book about how we experience space—not in theoretical abstraction but in the tactile and temporal unfolding of real life. Zumthor doesn’t offer diagrams or floor plans—he offers sensibilities. This book invites readers to slow down and reflect on the spaces they’ve loved and why. It encourages designers to think beyond composition and functionality and consider architecture as a vessel for lived experience. Essential for architects who strive to design spaces with soul, Atmospheres is a timeless meditation on presence, intention, and the essence of spatial beauty. by Caitlin Flemming and Julie Goebel by Norm Architects Published in 2024, Stillness is a contemplative and exquisitely composed work by Copenhagen-based Norm Architects. It explores how Japanese aesthetic principles have shaped not only their design language but also a broader global movement toward introspective, mindful spaces. Rooted in wabi-sabi, shibui, and ma, the book bridges the Danish design ethos of restraint and naturalism with Japanese philosophies of stillness, imperfection, and spatial silence. Visually, the book is as meditative as the spaces it showcases—warm wood tones, diffuse light, and meticulously framed emptiness. But what elevates Stillness beyond a photobook is its philosophical core: essays and reflections delve into how architecture and interiors can foster mental clarity, emotional equilibrium, and a deeper relationship with the everyday. This is not merely inspiration for architects and designers—it’s a guide to designing atmospheres rather than objects. Norm Architects emphasize tactility, acoustic softness, sensory modesty, and material aging as tools to foster well-being. It’s also a subtle critique of overstimulation in contemporary life, advocating for spaces inviting pause, contemplation, and slowness. Stillness belongs alongside works by Axel Vervoordt and Peter Zumthor, but with a distinctly Nordic-Japanese synthesis. It’s essential reading for those working on hospitality, wellness, or residential projects that seek to go beyond form into emotional and psychological experience. Explore More Essential Reads: If you enjoyed this list, you might also be interested in exploring our other curated reading selections tailored for architects and designers. Don’t miss: Each article offers a focused deep dive into essential literature that complements and expands your knowledge of the built environment, from foundational theory to practical application. Disclosure: ArchEyes participates in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon. This means we receive a commission on items purchased through our Amazon links. However, please rest assured that this does not influence our editorial integrity. We are committed to providing honest and unbiased content, and the items we recommend are chosen independently by our editorial team.

Dubai’s Vertical Forest | © Stefano Boeri Architetti As ecological crises deepen and cities face mounting pressure to mitigate their environmental impact, architecture is increasingly being called to act as a regenerative agent. Few typologies exemplify this shift more than Stefano Boeri’s Vertical Forest, which merges high-density living with vertical biodiversity. This model is being reimagined for one of the world’s most extreme climates—Dubai. Presented at COP27 and currently under development, this project marks a significant evolution in the Vertical Forest series. It introduces a new paradigm for integrating architecture with ecological systems in the Middle East and North Africa region. Dubai’s Vertical Forest Technical Information Architects1-8: Stefano Boeri Architetti Location: Dubai, United Arab Emirates Project Year: 2022 – Ongoing Images: © Stefano Boeri Architetti The idea of building a tower completely surrounded by trees came to me in early 2007 in Dubai – one of the cradles of the new oil and financial capitalism. – Stefano Boeri Dubai’s Vertical Forest Photographs Model | © Stefano Boeri Architetti © Stefano Boeri Architetti © Stefano Boeri Architetti © Stefano Boeri Architetti Contextualizing the Vertical Forest in the MENA Region The Vertical Forest’s location in Dubai is far from incidental. It positions the project within one of the planet’s most environmentally and politically charged urban territories. Defined by vertical growth and resource-intensive development, Dubai represents both a cautionary tale and a unique laboratory for speculative urbanism. Introducing a Vertical Forest into this context asks pressing questions about the viability of ecological architecture in hyper-arid environments. Unveiled at COP27 in Sharm El-Sheikh—just one year ahead of Dubai’s hosting of COP28—the project was not merely an architectural announcement, but a symbolic gesture. It offered a prototype of what the future city in the MENA region might look like if environmental goals are integrated into the DNA of urban design rather than appended as technological afterthoughts. This is also the first Vertical Forest explicitly conceived for an arid climate. The departure from temperate zones, such as Milan, necessitates reconsidering both botanical strategy and environmental performance. This version is not a carbon copy, but a regionally attuned reinterpretation, raising vital questions about the adaptability of iconic ecological models across divergent environmental and cultural landscapes. Architectural Design and Spatial Strategies The design comprises two towers, rising to 190 and 150 meters respectively. Their proportions follow a principle of visual counterbalance while maximizing surface area for vegetation. The towers are not standalone monoliths but vertically orchestrated ecosystems. Their façades operate as living membranes, embedded with planters that accommodate 2,640 trees and 27,600 shrubs—creating a layered landscape from ground to sky. Spatially, the towers reflect a porous organization, with interstitial spaces where architecture and vegetation coexist. The integration of hydroponic gardens and greenhouses further challenges the conventional zoning of vertical structures. These programmatic insertions suggest a hybrid building typology—part residential, part agricultural infrastructure. Crucially, this vegetation is not an applied surface treatment. Instead, it is embedded into the logic of the architecture. The façade becomes a mediating threshold, negotiating between environmental exposure and interior comfort. From a spatial perspective, the vegetated envelope offers dynamic shading, enhanced privacy, and contributes to reducing urban heat through evapotranspiration. The result is a tower that functions not only as a container of domestic life but also as a scaffold for ecological processes. It shifts the conversation from verticality as a purely densifying strategy to one offering environmental reciprocity. Material Ecology and Technological Innovation Beyond its botanical ambitions, the Dubai Vertical Forest proposes a complex integration of renewable technologies and circular systems. Photovoltaic surfaces across the towers are projected to generate 5,100 kWh of clean energy harvested and stored using hydrogen batteries. This approach to energy independence is forward-looking, particularly in a region where fossil fuel dependency still defines the economic and infrastructural landscape. Water management, perhaps the most critical issue in this context, is approached with equal innovation. The towers employ desalination systems and greywater recycling to minimize water demand while maximizing reuse. These technologies are not peripheral systems but constitutive elements of the building’s performance and identity. From a material standpoint, the project remains in development, with ongoing research into construction technologies and material systems suited for the site’s climatic and ecological demands. The challenge lies in selecting systems that balance thermal resistance, structural efficiency, and environmental impact—particularly in light of the embodied carbon inherent in construction within the Gulf region. Integrating energy, water, and waste systems into the architectural narrative reflects a broader ambition: to dissolve the boundary between infrastructure and form. This convergence invites architects to consider the building as an active participant in its environment, rather than a static object. Dubai’s Vertical Forest Image Gallery About Stefano Boeri Architetti ​Stefano Boeri Architetti, founded in 1993 and based in Milan with offices in Shanghai and Tirana, is an international architectural firm renowned for integrating living nature into urban design. Their multidisciplinary approach encompasses architecture, urban planning, and interior design, strongly emphasizing sustainable development and urban regeneration. Notable projects include the Vertical Forest in Milan, a pioneering model of biodiversity in architecture. ​ Credits and Additional Notes Founding Partner: Stefano Boeri Director: Hana Narvaez Design Team: Yulia Filatova, Silvia Raiano Client: Impact One Botanical Consultant: Vannucci LCA (Life Cycle Assessment): ESA Tower Heights: Tower 1: 190 meters; Tower 2: 150 meters Vegetation: 2,640 Trees; 27,600 Shrubs; Integrated hydroponic gardens and greenhouses

Fernando Higueras Underground Home | © Loreto Mellado, Flickr User Building is an art form, with many styles borrowing ideas and concepts from across human cultures and history. From hulking brutalist megastructures to humble teahouses, each building gives us a way to explore our culture and express what we find the most important. Yet, despite the sheer variety on offer, we do tend to stick to one connecting truth: if we live in it, it goes above ground. This makes sense, since building above ground is easier and it lets people see what they’ve invested in. It’s not the only option, however, with newer approaches taking a different direction, down. Building a home into the ground might bring to mind the Hobbit homes of Middle Earth, but the reality can be seriously worth considering, with more forward-thinking advantages than you might think. Underground Doesn’t Mean Darkness When we think of underground, we tend to imagine digging a hole, building something, and then covering it up. We see a bunker, hidden away from the world and invisible at a glance. This is one way of interpreting the idea, but more recent adaptions of this type of home see the home as more of a kind of artificial hill. An existing hilltop can be dug out, a home can be built on top, and the soil can then be placed overtop, recreating much of the hill’s original appearance. Taking this route means you can still include many of the traditional features that make a regular great. You can still include windows towards the sides for natural light, you can still add skylights, and you can still feature large doors for a better flow. In this way, we could see the soil and grass more as natural cladding, while the bones of the building are still traditional. Underground Can Offer Serious Advantages Working with and around nature plays an important part in modern living and home building. Both in creating a greener living space and protecting ourselves against more extreme weather patterns, underground homes can offer features that traditional homes cannot. Soil is a natural insulator, which can help keep homes cool during the summer, while keeping heat in during the winter. Being underground (at least if you’re up on a hill) will also protect from extreme weather events. Underground can be a perfect extension of green philosophies and technology, where solar power and natural wells can support low-impact living better than older techniques. People taking this approach might even use their yards or rooftops to grow vegetables, further supporting themselves into a more self-sufficient future. Costs Can Be Unpredictable No house build is ever cheap, but at least most builders and developers come with the backing of decades of experience. While many of the basics of underground homes are transferable from traditional setups, there are major disconnects here. Very few builders will know how to anticipate every challenge that building underground will represent, and this means you’ll have to overestimate your costs. Generally, we’d suggest at least 15% over your budget in reserve, as a start. Savings can then be aided by locking down sales of existing properties before your underground build starts. There are many traditional options here, but more modern digital approaches can also help secure your bankroll more easily and effectively. For example, if you’re thinking that I would like to sell my house for cash, these online systems offer serious advantages. Backed by the ability to sell in your own timeframe with no hidden fees, these systems can help secure everything you need before the hard digging and building work begins. With free cash offers covering properties across the UK, taking an approach like this is key to building confidence before you begin building houses. Underground homes aren’t yet on the radar for many people, but the ongoing advantages might become too much to ignore for anyone considering countryside living. For living a greener future while protecting yourself against what Mother Nature might throw out next, a comfy home like this could be the perfect fit. Plus, you’d get to use the excuse you’re too busy mowing your roof when you want to get out of something, which is almost worth the effort for the bizarre sentence alone. by ArchEyes Team Leave a comment

Tips to avoid couch sagging | © Sherzod Gulomov via Unsplash Furniture is the backbone of each lounge and provides comfort and beauty to the living space. Even if it was initially very comfortable, a couch that sinks in can quickly lose appeal and attractiveness. Knowing how to avoid this common problem also helps ensure that the sofa continues to look inviting and retains its strength through the years. This guide provides you with some relevant information on how to maintain the shape and function of your couch. Choose Quality Materials It all starts with the materials used to build a couch—these play a major role in helping it last. When buying new furnishings, pick better-quality furniture than the regular ones. Seek out contemporary couches with strong wooden frames, hardy textiles, and heavyweight payloads. These materials are more resistant to wear and tear than the cheaper options, meaning the couch will last longer. Rotate and Fluff Cushions Cushions should be rotated and fluffed regularly to avoid uneven wear. They have a habit of taking the hit and will often compress and sag over time. Rotating them on a regular basis keeps the pressure evenly distributed, which helps maintain their shape. Standing cushions up to their original fluffiness, too, makes them easier to lay over and recapture shape, as well as keeping them cozy and supportive. Invest in Supportive Inserts Supportive inserts are the perfect answer to help revive droopy cushions. You can add foam inserts or extra padding where you want more firmness. You can tuck these inserts under or inside your existing cushions for a support boost without the expense of new furniture. This technique allows for comfortable seating while keeping it durable. Mindful Usage A couch can only retain its shape if used mindfully. Do not sit on the armrests or put pressure on one part by sitting too heavily. These habits pressure the frame and cushions and make it sag faster. Use the whole seating space to support balance. This exercise minimizes concentrated pressure, ensuring the couch holds its shape. Routine Cleaning and Maintenance © Inside Weather via Unsplash The cleanliness and maintenance of furniture play a significant role in ensuring its longevity. Over time, dust and debris settle in the fabric and cushions, leading to deterioration. Materials withdrawn through frequent vacuuming and gentle washing are protected from deterioration. You can also put on covers or drape your throws to mitigate the dangers of spills and stains, keeping your fabric free from these damages. Consider Professional Reupholstering If preventative measures have been taken but the droop still shows up, a professional reupholsterer may be a good option. Expert upholstery technicians can re-stuff the couch to make it firm again and clean the fabric, restoring its original gleam. While this is not the cheapest option, it completely refreshes the furniture, giving it a new feel and extending its life by years. Avoid Direct Sunlight and Moisture The fabric and surface material of the sofa are weakened by sunlight and moisture, both of which can happen in heavy doses during the warm weather months, which can also increase sagging. Prevent UV damage by positioning your furniture out of reach of windows and using blinds and curtains. Moreover, maintaining low humidity levels in the living space safeguards against moisture problems. All these precautions can help keep the couch pristine in all its glory. Use Sliders and Furniture Protectors Furniture sliders and protectors are immensely helpful in preserving your couch. Sliders also help move bulky furniture without damaging the frame and legs. Meanwhile, protectors secure the base so it does not touch the ground, thus reducing wear and tear. These additions individually assist the couch in retaining its structure and function. Conclusion It takes a combination of preventative care and active measures to prevent a couch from sagging. With good materials, regular maintenance, and supportive solutions, you can keep them comfortable and looking good for many years. Adopting these strategies not only prolongs the life of the couch but also improves the overall atmosphere of the living room. Furniture by ArchEyes Team Leave a comment

Brutalist Housing in Mexico City | © Jaime Navarro In a city where architectural interventions often contend with dense regulations and challenging topography, the ELEVATED BRUTALISM residence by Arroyo Solís Agraz emerges as a disciplined yet expressive response to these constraints. This 6365-square-foot stone-set house, completed in 2023 in Mexico City, offers more than a formal exercise in Brutalism—it embodies a dialogue between mass and void, geological anchoring and atmospheric lightness. Brutalist House Technical Information Architects1: Arroyo Solís Agraz Location: Mexico City, Mexico Area: 591 m2 | 6,365 Sq. Ft. Completion Year: 2023 Photographs: © Jaime Navarro This stone-set house boldly integrates the strength of concrete in a brutalist style, making full use of the terrain’s topography and subdivision regulations. – Arroyo Solís Agraz Architects Brutalist House Photographs Entrance | © Jaime Navarro Side View | © Jaime Navarro Entrance | © Jaime Navarro Stairs | © Jaime Navarro Rear Facade | © Jaime Navarro Side View | © Jaime Navarro Interior | © Jaime Navarro Stairs | © Jaime Navarro Garage | © Jaime Navarro Site Constraints and Design Intent Situated on a terrain defined by its natural undulations and strict subdivision guidelines, the design began with an apparent contradiction: how to assert a contemporary architectural presence without defying the site’s topographic and regulatory realities. Rather than resisting these forces, the solution engaged them as fundamental design parameters. Instead of leveling the land to fit a preconceived volume, the project strategically minimized excavation, respecting the site’s geological character. Urban height restrictions shaped the building’s massing, leading to a tripartite organization across three levels that cascade down the natural slope. This structural stratification became a necessity and an architectural opportunity, enabling a vertical narrative where the perception of space shifts dramatically from exterior to interior. The design’s intent is neither to camouflage nor aggressively contrast the site. Instead, it seeks a tectonic balance, embedding the building within the land’s existing contours while allowing its structural clarity to assert a presence. Spatial Experience and Perceptual Duality From the street, the building reads as a monolith: a concrete volume that resists interpretation at first glance. Its brutalist expression—rigid, solid, and abstracted—conveys a sense of permanence. Yet this initial encounter belies the complex spatial choreography that unfolds within. Once inside, the building disrupts its opacity. What appeared defensive becomes open, even porous. The internal spaces reveal a softened language, with careful proportions, filtered light, and tactile variation tempering the structural rigor. Vertical transitions—from the entrance down to the main living areas—are more than circulatory devices; they are experiential thresholds that reset scale and mood. Large openings and calculated voids reveal panoramic views of the city, elevating daily domestic rituals into scenic experiences. Brutalism is not an aesthetic end but a framework through which light, gravity, and orientation are meaningfully negotiated. Materiality as Architectural Argument Concrete, the project’s protagonist, is used not merely for its structural performance but as an expressive medium. Its application is not decorative but declarative—a surface that resists embellishment yet rewards close attention through its material honesty and subtle modulation. However, architecture does not remain loyal to one register. The interiors offer a material counterpoint: wood, stone, and glass introduce warmth and tactility, reframing the relationship between the body and the built environment. Where the exterior is about resisting time and context, the interior embraces changeability—of light, of seasons, of occupation. This material duality reinforces the project’s spatial narrative. Concrete walls frame and protect; wooden elements invite touch and soften acoustics. Glass mediates inside and out, allowing visual permeability while maintaining a sense of enclosure. Attention to detailing—from joint patterns to the transitions between materials—demonstrates a high level of technical and conceptual refinement. It is in these interstitial moments that the architecture speaks most clearly about its intentions: a choreography of weight and lightness, rawness and refinement. A Broader Architectural Reflection While Brutalism has often oscillated between revival and rejection, its appearance here is neither nostalgic nor ironic. It is recontextualized within the contemporary Latin American condition, where material honesty, climate responsiveness, and urban density converge in complex ways. The project aligns with a lineage of regional brutalism—one that includes figures such as Pedro Ramírez Vázquez and Teodoro González de León—but updates its language through an embrace of inhabitable softness and contextual nuance. This is not the heroic, institutional brutalism of the past, but a domestic reinterpretation: grounded, layered, and open to contradiction. Brutalist House Plans Floor Plan | © Arroyo Solis Agraz Floor Plan | © Arroyo Solis Agraz Floor Plan | © Arroyo Solis Agraz Section | © Arroyo Solis Agraz Brutalist House Image Gallery About Arroyo Solís Agraz ​Founded in 2014 in Mexico City by Salvador Arroyo, Alejandro Solís, and Rosa Agraz, Arroyo Solís Agraz is an architecture firm known for its diverse portfolio encompassing residential, commercial, and institutional projects. The firm’s design philosophy emphasizes contextual responsiveness and material expressiveness, as demonstrated in notable works like the Elevated Brutalism residence and the renovation of Bolerama Coyoacán. ​ Credits and Additional Notes Construction Budget: USD $1,250,000

Church in Dresden, Germany | © Darya Jum via Unsplash The origins of embroidery on sacred vestments can be traced back to the early centuries of Christianity, when Christian communities began to use precious fabrics and elaborate decorations to honor God and celebrate the sacraments. Initially, embroidery was an activity carried out predominantly within monasteries and convents, where monks and nuns dedicated their time and skill to creating unique and valuable sacred vestments. These early examples of liturgical embroidery were characterized by simple and symbolic motifs, such as crosses, lambs, doves, and other Christian symbols, made with linen threads, silk, and sometimes gold and silver. Embroidery was a decorative activity and an act of devotion and prayer, a way to express one’s faith and love for God through beauty and art. Embroidery operated as a visual language of faith, like the sacred architecture in which these vestments were worn. The motifs and materials echoed the iconography carved in stone and stained into glass, reinforcing a symbolic environment where every element had theological and spatial meaning. In this sense, liturgical embroidery functioned as a mobile extension of ecclesiastical architecture—carried by clergy through the nave, chancel, and altar, it activated the architecture through ritual movement and ornamental resonance. Techniques and Materials: The Art of Hand Embroidery In the following centuries, embroidery on sacred vestments developed further, with the introduction of new techniques and materials. Hand embroidery remained the predominant technique but was perfected with more complex and refined stitches, such as cross-stitch, satin stitch, chain stitch, and stem stitch. The materials used became more precious, using colored silk threads, gold and silver threads, pearls, precious stones, and applications of different fabrics. The decorative motifs became more elaborate, adding biblical scenes, figures of saints, coats of arms, and heraldic symbols. Hand embroidery required great skill, patience, and precision, and the hand-embroidered sacred vestments became true masterpieces of art, a testament to the craftsmanship of the artisans and the richness of the Christian tradition. This craftsmanship parallels architectural detailing, where precision, symbolism, and material interplay define aesthetic value and spiritual significance. As architecture elevates space, embroidery elevates presence, transforming garments into architectural artifacts that carry spatial and theological weight within the ritual framework. Embroidery in the Middle Ages and Renaissance: Splendor and Pomp The Middle Ages and the Renaissance were periods of great splendor for embroidery on sacred vestments. Royal courts and noble families commissioned richly decorated vestments for their private chapels and the most important churches. Sacred vestments became symbols of power and prestige, and embroidery reached unprecedented levels of excellence. During this period, essential centers of liturgical embroidery production developed, such as Florence, Venice, Paris, and London, where skilled artisans created vestments of extraordinary beauty and value. The decorative motifs were inspired by the art and architecture of the time, adding classical, Renaissance, and Baroque elements. Hand-embroidered sacred vestments became luxury items, reserved for social and religious elites. The dialogue between architectural forms and vestment embroidery became particularly evident during this time. Columns, arches, and decorative patterns from churches were translated into thread, showing the deep visual and symbolic alignment between liturgical spaces and their garments. The celebrant’s body, wrapped in embroidery, mirrored the sacred space in which they officiated—a human-scale architecture in motion. Industrial Embroidery: A Revolution in the Production of Sacred Vestments The advent of the industrial revolution in the 19th century led to a radical transformation in the production of sacred vestments. The introduction of industrial embroidery machines made it possible to produce series vestments at lower costs and faster times. Hand embroidery, while maintaining its prestige and artistic value, became less widespread, and industrial embroidery became established as the predominant technique in producing sacred vestments. Industrial embroidery machines made it possible to create complex and detailed motifs with precision and speed that were unthinkable for hand embroidery. However, industrial embroidery also had limitations, such as the lower quality of the materials used and the loss of the unique and personalized character of hand-embroidered sacred vestments. This industrial shift paralleled changes in ecclesiastical architecture—mass production met religious expression, prompting questions about authenticity, ornamentation, and the balance between efficiency and artistry. Computerized Embroidery: Innovation and Personalization Image Courtesy of HaftinaUSA Image Courtesy of HaftinaUSA In recent decades, computerized embroidery has further revolutionized the production of sacred vestments. Thanks to specialized software and computer-controlled embroidery machines, creating custom and complex motifs with unprecedented precision and speed is possible. Computerized embroidery offers excellent flexibility and allows for creating unique and original sacred vestments, tailored to the needs and tastes of each customer. Furthermore, computerized embroidery enables the use of a wide range of materials, from silk and cotton threads to metallic threads and synthetic fabrics. Computerized embroidery represents a perfect synthesis of tradition and innovation, a way to preserve the art of embroidery on sacred vestments while harnessing the potential offered by modern technology. As in contemporary architecture, digital tools have enabled a new level of personalization and complexity. Just as parametric design allows architects to craft forms based on input variables, computerized embroidery translates symbolic input into precise, expressive textile forms—both mediums merging tradition with innovation in the service of sacred experience. The Importance of Embroidery in Sacred Vestments Today Today, embroidery on sacred vestments remains a fundamental element for embellishing and ennobling liturgical garments. Whether it is hand embroidery, industrial embroidery, or computerized embroidery, the embroidery confers on sacred vestments an added value, a symbolic meaning, and an aesthetic beauty that makes them unique and special. Embroidery on sacred vestments is a decorative activity and a way to express one’s faith, honor God, and celebrate the sacraments with dignity and respect. Embroidered sacred vestments are a testament to the rich history of the Church, the craftsmanship of the artisans, and the beauty of Christian art. These garments are not separate from architecture but participants in the spatial drama of the liturgy. Like the altar, the apse, and the vaulted ceiling, their presence contributes to the sensory and symbolic richness of sacred space, affirming embroidery as an architectural element in its own right. HaftinaUSA: Your Source for High-Quality Embroidered Sacred Vestments HaftinaUSA offers a wide range of high-quality embroidered sacred vestments, crafted with care and attention to detail. Their collection includes: Ornate Vestments: Wide selection of vestments for every liturgical occasion, from classic models to contemporary designs. Albs: Simple and elegant albs, made with high-quality fabrics. Chasubles: Richly decorated chasubles, perfect for the most solemn celebrations. Stoles: Stoles of various shapes and colors, suitable for every minister of worship. Liturgical Accessories: Wide selection of liturgical accessories, such as stoles, maniples, corporal bags, and chalice veils. HaftinaUSA’s sacred vestments are made with precious materials and advanced embroidery techniques to ensure exceptional quality and durability. The company also offers customization options, allowing clients to personalize sacred vestments with coats of arms, initials, or decorative motifs of their choice. For more information and to view their collection, visit HaftinaUSA. Sacred Spaces by ArchEyes Team Leave a comment

Glass Curtain Walls Skyscrapers in London | © Alev Takil via Unsplash Modern architecture thrives on transparency, openness, and a seamless connection between indoor and outdoor spaces. Glass curtain walls embody these principles, transforming buildings into breathtaking structures that blend function with beauty. But beyond their sleek, sophisticated look, glass curtain walls offer a powerful advantage—maximizing natural light while enhancing aesthetics in ways traditional walls never could. Bringing in the Light Natural light is a game-changer in architectural design. It creates a sense of warmth, boosts mood, and reduces the need for artificial lighting. The glass curtain wall system, made of large expanses of glass held in place by aluminum or steel frames, makes this possible on an entirely new scale. Why Natural Light Matters? Health Benefits: Exposure to natural light increases serotonin levels, enhancing mood and productivity. Employees with access to daylight tend to be more focused and energized in workplaces. Energy Efficiency: More sunlight means less reliance on artificial lighting, leading to significant energy savings. According to the U.S. Department of Energy (DOE), maximizing daylight in office buildings can reduce lighting energy consumption by up to 60%. Enhanced Views: Traditional walls block sightlines and make spaces feel closed off. Glass curtain walls create an open, inviting environment that connects occupants to the outdoors. Aesthetic Brilliance Apple Headquarters in Cupertino | © Artem Horovenko via Unsplash Glass curtain walls aren’t just functional; they redefine architectural beauty. Their sleek and modern appeal makes buildings look high-end, sophisticated, and futuristic. Architectural Flexibility One of the biggest design advantages of glass curtain walls is their versatility. You can customize them into different shapes, sizes, and finishes, allowing architects to experiment creatively. Whether it’s a skyscraper, a luxury hotel, or a high-end residential complex, these walls add a complementary flair that is hard to match. A Sense of Grandeur Imagine walking into a building with a floor-to-ceiling glass facade—the first impression is breathtaking. The transparency creates a feeling of openness, making interiors seem larger and more inviting. This is why luxury brands, modern office buildings, and even some high-end homes use glass curtain walls to create a statement of elegance. Balancing Transparency with Performance Despite their beauty, some might wonder if glass curtain walls compromise privacy or insulation. But thanks to advances in glass technology, these concerns have been addressed. Privacy Solutions Tinted Glass: Reduces glare and limits visibility from the outside while still allowing natural light to enter. Smart Glass: Can switch between transparent and opaque at the touch of a button, offering privacy on demand. Fritted Glass: Features patterns or designs that partially obscure the view while maintaining a stylish look. Insulation and Energy Efficiency High-performance glazing solutions, such as double or triple glazing, help maintain indoor temperatures by reducing winter heat loss and minimizing summer heat gain. Low-E (low emissivity) coatings further enhance thermal efficiency, ensuring that glass curtain walls are not just visually appealing but practical, too. Real-World Examples St. Regis | © Lauren Lopes via Unsplash © Victor via Unsplash Several notable projects have successfully integrated glass curtain walls to enhance natural light aesthetics: O’Hare International Airport Expansion: The terminal extension features expansive glass curtain walls, creating a bright and welcoming environment for travelers while showcasing a modern architectural design. St. Regis Chicago: This iconic tower uses glass curtain walls to offer panoramic city views, blending luxury with contemporary design elements. Statue of Liberty Museum: The recently opened museum’s design uses glass curtain walls to offer visitors unobstructed views of the Statue of Liberty and the New York skyline, uplifting the overall visitor experience. Wrapping Up Though looks or aesthetics are the key to choosing glass curtain walls, they’re not the only ones. Incorporating glass curtain walls welcomes natural light, improves energy efficiency, and uplifts the mood of those inside your building. Long story short, it creates a space that feels alive, open, and visually stunning. If you’re an architect, designer, or property owner looking forward to pushing the boundaries of innovation, glass curtain walls are the go-to pick. They create a perfect balance of form and function. Whether a towering skyscraper or a boutique storefront, embracing glass in architecture isn’t just a trend—it’s the future. Incorporate glass curtain walls now. Let the light in and redefine your space today. Curtain WallsGlass by ArchEyes Team Leave a comment

Milan’s Vertical Forest | © Boeri Studio, Photograph by Giovanni Nardi In Milan’s Porta Nuova district, two verdant towers rise above the skyline—not as symbols of sustainability, but as living systems of architectural and ecological integration. Stefano Boeri Architetti designed the Vertical Forest (Bosco Verticale), redefining high-rise living through a radical embrace of biodiversity, positioning vegetation not as ornament but as structure and inhabitant. As explored in the recently published book Bosco Verticale: Morphology of a Vertical Forest, the project is more than a case study—it’s a manifesto for a new architectural paradigm, one in which urbanism and nature are not opposites, but coauthors of the future city. Milan’s Vertical Forest Technical Information Architects1-11: Stefano Boeri Architetti Location: Porta Nuova, Milan, Italy Area: 40,000 m2 | 430,500 Sq. Ft. Project Year: 2007 – 2014 Photographs: © Boeri Studio, Photographs by Giovanni Nardi, Dimitar Harizanov, Paolo Rosselli, Laura Cionci The Vertical Forest is a model for a sustainable residential building, a project for metropolitan reforestation that contributes to the regeneration of the environment and urban biodiversity without the implication of expanding the city upon the territory. – Stefano Boeri 12 Milan’s Vertical Forest Photographs © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Dimitar Harizanov © Boeri Studio, Photograph by Paolo Rosselli © Boeri Studio, Photograph by Dimitar Harizanov Drone Image | © Boeri Studio © Boeri Studio, Photograph by Laura Cionci © Boeri Studio, Photograph by Giovanni Nardi Replacing Symbols with Systems In architectural discourse, buildings are often burdened with the role of symbolism. We ask them to represent ideologies, national identities, even personal ambitions. Yet the Vertical Forest in Milan, designed by Stefano Boeri Architetti, proposes a different ambition that is less about symbol and more about system. It seeks not to stand as a monument but to model a new way of living rooted in coexistence across species and time. The project’s theoretical underpinning deliberately pivots away from the exhausted rhetoric of “sustainability,” offering instead “biodiversity” as a more actionable and biologically grounded concept. The distinction is not semantic—it suggests a reorientation of priorities. Whereas sustainability is often anthropocentric, measured by human-centric metrics like energy performance and carbon footprint, biodiversity demands an architectural response to the entanglement of species and their habitats. In this sense, the Vertical Forest is not merely an environmentally responsible tower but a provocation toward a new architectural paradigm. Design Intent and Typological Innovation At the core of the Vertical Forest lies a provocative typological redefinition: a high-rise conceived not as an abstract machine for living, but as a living ecosystem. The project consists of two residential towers, 80 and 112 meters tall, populated by over 900 trees, 5,000 shrubs, and 11,000 perennial plants. These elements are not decorative but structurally and conceptually central to the project. The architectural ambition is to recreate, in vertical format, the complexity and variability of a woodland ecosystem. This is not merely metaphorical: the vegetation is carefully distributed based on solar exposure, altitude, and microclimate considerations, creating differentiated vertical ecologies. The design rejects the flattening uniformity often found in high-rise developments, proposing a living façade in constant flux instead. The project programatically expands the role of the domestic balcony. No longer just a marginal exterior space, the balcony becomes a micro-garden, a site for domestic interaction with the natural world. This domestic-natural threshold is deeply architectural. It demands careful calibration of dimensions, load-bearing systems, and environmental control. Furthermore, the Vertical Forest introduces a new occupant: the non-human. Birds, insects, and microorganisms are not intruders here—they are co-residents. Architecture, in this model, is not anthropocentric. It is relational. Milan’s Vertical Forest Materiality Technically, integrating vegetation at this scale required extensive innovation. The façade system incorporates custom-designed planters that are structurally bonded to cantilevered balconies. These planters are equipped with automated irrigation and drainage systems, ensuring the plants’ survival and minimizing maintenance demands. The material palette is sober and intentionally recessive, allowing the vegetation to define the building’s appearance. Reinforced concrete and high-performance glazing form the base infrastructure, while steel supports accommodate plant containers. Here, materiality is subordinate to life. The building’s expressive potential lies in its ability to host dynamic, seasonal transformation. From within, the spatial experience is both ordinary and radical. Interior spaces are standard in configuration, yet the constant presence of trees at eye level transforms the perception of urban dwelling. Residents are immersed in a filtered lightscape, where branches rather than neighboring structures cast shadows. The ever-changing interior and exterior relationship between architecture and nature becomes an architectural quality. Moreover, a team of specialized arborists maintains the building, who rappel from the rooftop to tend to the trees. This maintenance is not ancillary but part of the building’s operational logic. The architecture extends beyond static form to include ongoing ecological care as a fundamental element. Broader Contextual Significance and Legacy Since its completion, the Vertical Forest has attracted international attention, not just as a compelling image, but as a new urban prototype. Its replication in cities like Nanjing, Utrecht, and Paris signals the emergence of an alternative model of urbanization that considers vegetal life not as landscape but as architecture. However, the broader significance of the Vertical Forest lies in its challenge to architecture’s disciplinary boundaries. It invites collaboration with botanists, ecologists, agronomists, and environmental engineers, expanding the scope of architectural authorship. The architect is no longer the sole creator but a coordinator of living systems. By proposing biodiversity as a new metric for urban quality, the Vertical Forest calls into question many of the assumptions of contemporary urban design. It resists object-building and its preoccupation with form, reorienting architecture toward ecological integration and biological interdependence. If there is symbolism here, it is not in the building’s image but in its ambition to seed a different kind of city—one that acknowledges that the future of architecture may well depend on how effectively it can become a host. Milan’s Vertical Forest Plans Landscape | © Boeri Studio Milan’s Vertical Forest Image Gallery About Stefano Boeri Architetti ​Stefano Boeri Architetti, established in 1993 and headquartered in Milan with additional offices in Shanghai and Tirana, is an international architectural practice renowned for integrating biodiversity and sustainable design into urban environments. The firm’s diverse portfolio spans architecture, urban planning, and interior design, consistently emphasizing the symbiotic relationship between nature and the built environment. Their groundbreaking project, the Vertical Forest (Bosco Verticale) in Milan, exemplifies their commitment to innovative solutions that promote urban reforestation and ecological balance. Credits and Additional Notes Design Team: Stefano Boeri (Lead Architect), Gianandrea Barreca, Giovanni La Varra Client: Hines Italia SGR S.p.A. Structural Engineering: Arup Botanical Consulting: Laura Gatti (Agronomist and Landscape Consultant) Façade Engineering: Arup and Milan Ingegneria General Contractor: ZH General Construction Company Landscape Maintenance: Boeri Studio in collaboration with specialized arborists Height: Tower D: 80 meters (19 floors); Tower E: 112 meters (27 floors) Greenery: 900+ Trees (3, 6, and 9 meters tall); 5,000+ Shrubs; 11,000+ Perennials and ground cover plants Residences: 113 Apartments LEED Certification: Gold Bosco Verticale: Morphology of a Vertical Forest by Stefano Boeri Architetti 

Reina Sofía Museum – New Access | © COLL-BARREU ARQUITECTOS A bold reimagining of one of Spain’s most important cultural institutions, the new access project for the Reina Sofía Museum by COLL-BARREU ARQUITECTOS enhances public interaction, connectivity, and urban integration. Through a contemporary architectural lens, the intervention celebrates transparency, movement, and accessibility, reinforcing the museum’s role as an open and dynamic space for all. Reina Sofía Museum Renovation Technical Information Architects1-3: COLL-BARREU ARQUITECTOS Original Architect (18th Century): José de Hermosilla Location: Madrid, Spain Area: 21,170 m2 |  227,935 Sq. Ft. Competition Year: 2022 Visualizations: © COLL-BARREU ARQUITECTOS From the beginning, the proposal was intended to be an intervention without intervention. – COLL-BARREU Architects Reina Sofía Museum Renovation Photographs New Access | © COLL-BARREU ARQUITECTOS New Access | © COLL-BARREU ARQUITECTOS New Access | © COLL-BARREU ARQUITECTOS Courtyard | © COLL-BARREU ARQUITECTOS Courtyard | © COLL-BARREU ARQUITECTOS Courtyard | © COLL-BARREU ARQUITECTOS Courtyard | © COLL-BARREU ARQUITECTOS Interior | © COLL-BARREU ARQUITECTOS Context and Historical Continuity The Reina Sofía Museum occupies a site deeply embedded in Madrid’s architectural and social fabric. Initially conceived in the 18th century by José de Hermosilla as the General Hospital of Madrid, the building’s formal logic was systematic clarity and hygienic rationalism. It later received input from Juan de Villanueva and, after periods of abandonment and adaptive reuse, was restored in the 20th century by Antonio Fernández Alba with academic precision. The building reopened as the Reina Sofía Art Center in 1986 and later transitioned into a national museum in 1992. Notably, the addition of three external glass elevator towers by Íñiguez de Onzoño and Vázquez de Castro in 1988 provided a bold infrastructural gesture that complemented the sobriety of Hermosilla’s structure. Yet the museum’s spatial identity remained unresolved in urban terms. Although architecturally significant, Jean Nouvel’s 2005 extension was located at the periphery of the site, effectively reinforcing the building’s disconnect from the Paseo del Prado—Madrid’s principal cultural artery. The main entrance, still anchored to the vestigial apothecary access on Santa Isabel Street, faced inward toward a cloistered square rather than outward to the city. For decades, the museum existed physically close but conceptually apart from the urban and civic dynamism of the Prado axis. Architectural Strategy: Intervention Without Addition Rather than repeating the common strategy of annexation or visual landmarking, COLL-BARREU ARQUITECTOS pursued what they described as an “intervention without intervention.” This paradoxical phrase encapsulates an approach rooted in the existing structure’s latent spatial and tectonic capacities. There are no new appendages, no formal spectacles, no signature geometries. Instead, the intervention operates through subtraction, reactivation, and realignment. Central to this strategy is the relocation of the main entrance—from its residual, historically contingent location on Santa Isabel Street to the more civic façade that faces the Paseo del Prado. However, the architects proposed a network of distributed access points rather than establishing a single monumental threshold. This decision reflects the egalitarian nature of the building’s original fenestration and a conscious rejection of architectural hierarchy. The new access system recognizes the plurality of today’s museum users and resists the idea of the institution as a singular authority. The architecture of access becomes the architecture of openness—literal and conceptual. The old hospital façade, once sealed off from the Prado, is now perforated with restored openings, transforming the building into a porous, civic landscape. Spatial and Experiential Reconfiguration The transformation extends beyond access to reimagine how visitors circulate and experience the museum. A pivotal move is the rearticulation of the internal courtyard, historically underutilized, as a central spatial hinge. This courtyard becomes both a point of orientation and a place of pause—simultaneously framing the experience of nature, light, and the museum’s architectural strata. Equally critical is the extension of the vertical circulation system. The museum’s exo-cores, while emblematic, previously terminated above the first floor, leaving the entry level disconnected from the building’s primary movement networks. By extending these elevators down to the ground level, COLL-BARREU resolves a long-standing infrastructural gap and affirms the first floor as the foundational interface between city and institution. Here, spatial clarity meets accessibility. The visitor is no longer funneled into a predetermined route but encouraged to navigate more intuitively. Circulation becomes non-linear, responsive, and embedded in a dialogue with the architecture’s historic logic. Light penetrates deep into the plan, orientations become legible, and the museum experience is recalibrated around comfort, agency, and legibility. Toward a New Institutional Urbanism This project is more than a museum retrofit. It reflects a broader shift in architectural thinking that positions public institutions not as monuments isolated from the city but as porous infrastructures deeply engaged with civic life. In resisting the urge to add or dramatize, COLL-BARREU aligns itself with a lineage of critical architecture that values continuity over rupture and intelligence over image. The Reina Sofía no longer turns its back on the Paseo del Prado but aligns with it—spatially, symbolically, and functionally. The design also makes a quiet but profound political statement. The dismantling of a singular, dominant entrance in favor of multiple access points speaks to a rethinking of institutional authority. A democratic museum must be spatially democratic—open, adaptable, and in tune with the flows of urban life. Architecture becomes a tool of inclusion rather than direction, enabling rather than prescribing. By integrating the museum into the reimagined “Prado city garden,” the intervention not only completes an unfinished historical narrative but also models a new way forward: one where heritage, contemporary use, and urban vitality are no longer seen in opposition, but as parts of a continuous, evolving whole. Reina Sofía Museum Renovation Plans Site Plan | © COLL-BARREU ARQUITECTOS Axonometric View | © COLL-BARREU ARQUITECTOS Section | © COLL-BARREU ARQUITECTOS Reina Sofía Museum Renovation Image Gallery About COLL-BARREU ARQUITECTOS ​Founded in 2001, COLL-BARREU ARQUITECTOS is a Madrid and Bilbao-based architectural firm renowned for its innovative and sustainable designs. The firm engages in research, design, and construction of architectural projects while contributing to theory, culture, art, and communication. Notable projects include the Basque Health Department Headquarters in Bilbao and the E8 Building in Vitoria-Gasteiz. Credits and Additional Notes Design Team: Juan Coll-Barreu, Daniel Gutiérrez Zarza Architects Contributors to Reina Sofia: Juan de Villanueva, Antonio Fernández Alba (20th-century restoration), José Luis Íñiguez de Onzoño & Antonio Vázquez de Castro (1988 elevator towers), Jean Nouvel (2004–2005 extension) Client: Museo Nacional Centro de Arte Reina Sofía

Las Americas Housing Night View | Iwan BaanLas Americas offers a compelling counterproposal in Len, Mexicoa city long shaped by horizontal expansion and unchecked suburban sprawl. Designed by SOLID OBJECTIVES IDENBURG LIU (SOIL) in collaboration with Imuvi Development and the City of Len, the project critically challenges the dominant low-density housing model by introducing a vertical typology that is both economically viable and spatially humane. The result is not merely a building but a prototype: a spatial and social experiment in compact urban living, intended to seed future urban regeneration across similar contexts.Las Americas Housing TechnicalInformationArchitects1-3: SOLID OBJECTIVES IDENBURG LIU (SOIL)Location: Len, Guanajuato, MexicoArea: 3,000 m2 | 32,300 Sq. Ft.Completion Year: 2021Photographs: Iwan Baan, Lorena DarqueaWe have always believed housing to be an essential part of every city, and that quality housing should be a right for all. Florian Idenburg, Co-founder, SO ILLas Americas Housing PhotographsAerial View | Iwan BaanLas Americas Housing | Iwan BaanFacade | Lorena DarqueaFacade | Lorena DarqueaCourtyard | Lorena DarqueaTerrace | Lorena DarqueaCourtyard | Iwan BaanDetail | Iwan BaanModel | SOLID OBJECTIVES IDENBURG LIU (SOIL)Rethinking Density: Urban Context and Design IntentLens housing landscape has long been defined by mass-produced, detached dwellings on the citys outskirtstypologies that have inadvertently deepened urban inequality, stretched municipal services, and disconnected residents from the citys social and economic core. The proliferation of these freestanding homes has led to an alarming loss of density, undermining the viability of public infrastructure and transit systems.Las Americas confronts this condition by proposing an alternative: a 60-unit vertical housing block located within the citys central fabric. This strategic siting is as political as it is architectural, repositioning affordable housing not as a peripheral necessity but as urban infrastructure. By densifying inward rather than sprawling outward, the project reclaims the promise of a walkable, interconnected cityone in which housing is integrated into the economic and cultural life of the metropolis.The design intends to bridge the psychological and spatial gap between detached single-family dwellings and collective vertical living. Rather than merely stacking units, SO IL sought to craft a building that could emulate the spatial dignity, privacy, and autonomy associated with freestanding homes while leveraging the economic efficiencies of collective infrastructure.Spatial Qualities: Organization, Privacy, and Dwelling ExperienceA defining feature of Las Americas is its single-loaded corridor systema pragmatic yet nuanced spatial decision that allows all units to open onto dual interior courtyards. This configuration ensures cross-ventilation and daylighting in each unit while creating a porous boundary between private and communal space. While modest in size, these courtyards function as microclimatic regulators and potential social condensers, offering the possibility of shared encounters without compromising individual privacy.Crucially, the design ensures that no unit directly faces anotheran architectural gesture that preserves the residents sense of seclusion and ownership. This arrangement signals a subtle but significant shift in a context where vertical housing is often associated with overcrowding and anonymity. The buildings internal logic suggests that density need not come at the expense of intimacy or identity.The corridors themselves, often neglected in affordable housing typologies, are not reduced to utilitarian conduits but treated as extensions of the domestic realmtransitional spaces that mediate between the private unit and the shared life of the building. Views to the neighborhood and courtyards reinforce a sense of belonging and visual connection to the surrounding city.Materiality and Prefabrication: Building Character Under ConstraintWorking within the constraints of a minimal budget, SO IL turned to prefabrication and modularity as tools of both economy and expression. Utility cores are shared across units, minimizing infrastructural redundancy, while prefabricated components expedite construction and reduce costs without compromising spatial quality.Most notable is the faade system, composed of uniquely developed concrete blocks. These units do more than mask the buildings structurethey actively contribute to its environmental and experiential performance. The blocks are configured to filter light, enhance privacy, and introduce subtle variations in texture and shadow. They cast rhythmic patterns from within that enrich the interior atmosphere; from without, they generate a tactile, monolithic identity that responds to Lens material vernacular while establishing its architectural voice.This synthesis of economy and character reflects a broader ethos throughout the project: material constraints need not result in aesthetic impoverishment. Instead, limitation becomes a catalyst for innovationan opportunity to reexamine conventional hierarchies between cost, quality, and design intent.Las Americas Housing Prototype PotentialLas Americas is not simply a one-off solution but a prototype with systemic ambitions. By proposing a replicable model for urban affordable housing, the project speaks directly to the challenges facing many Latin American cities: rising inequality, infrastructural fragmentation, and the urgent need for sustainable density. In this light, the projects significance lies in its built form and strategic alliances between architects, municipal actors, and private developers to reform urban housing policy.Significantly, the project reframes the idea of affordable housing in cultural terms. It resists the notion that such developments must be utilitarian, remote, or stigmatized. Instead, it argues for a new vernacular rooted in material honesty, spatial intelligence, and urban integration.Las Americas Housing PlansFloor Plan | SOLID OBJECTIVES IDENBURG LIU (SOIL)Unit Typology | SOLID OBJECTIVES IDENBURG LIU (SOIL)Unit Typology | SOLID OBJECTIVES IDENBURG LIU (SOIL)Las Americas Housing Image GalleryAbout SOLID OBJECTIVES IDENBURG LIU (SOIL)SOLID OBJECTIVES IDENBURG LIU (SOIL) is a New Yorkbased architectural practice founded in 2008 by Florian Idenburg and Jing Liu. The firm is known for its innovative, tactile approach to architecture that emphasizes material experimentation, spatial fluidity, and cultural engagement. SOILs work spans exhibitions, public buildings, and housing projects worldwide, often blurring boundaries between inside and outside and provoking interaction through light, texture, and form.Credits and Additional NotesTeam: Florian Idenburg, Ilias Papageorgiou, Isabel Sarasa, Seunghyun Kang, Sophie Nichols, Pam AnantrungrojConsultants: Amador Rodriguez, Ruben Alejandro Vazquez Rivera (Imuvi)Client: Imuvi Development & City of Len

Kukje Gallery | Iwan BaanAmidst the densely woven urban landscape of northern Seoul, where traditional hanok architecture and cultural heritage define the citys texture, SOILs Kukje Gallery intervenes with a design that neither retreats into mimicry nor asserts dominance. Instead, it negotiates its presence through architectural subtlety and material innovation. Completed in 2012, the gallery proposes a nuanced model of cultural insertion that balances contemporary spatial demands with an empathetic reading of context.Kukje Gallery Technical InformationArchitects1-4: SOLID OBJECTIVES IDENBURG LIU (SOIL)Location: Seoul, South KoreaArea: 1,500m2 | 16,145Sq. Ft.Project Year: 2009 2012Photographs: Iwan BaanWe wanted to create a building that becomes part of the city without imposing on ita quiet presence that contributes through its porosity and lightness. Florian Idenburg, SOILKukje Gallery PhotographsAerial View | Iwan BaanStreet View | Iwan BaanStreet View | Iwan BaanFacade Mesh | Iwan BaanStairs | Iwan BaanCourtyard | Iwan BaanStairs | Iwan BaanInterior | Iwan BaanInterior | Iwan BaanFacade Detail | Iwan BaanNight View | Iwan BaanKukje Gallery Contextual Framework The Kukje Gallery is more than an exhibition space; it is a deliberate architectural gesture embedded within a complex urban and historical matrix. Located in the Samcheong-dong neighborhoodknown for its proximity to historic palaces and alleyways lined with hanok housesthe site required a response that could engage in dialogue with its surroundings without succumbing to formal pastiche.SOIL rejected the standard white cube typology that has dominated global gallery design, recognizing its incompatibility with the sites atmospheric richness. Instead, the design channels two overlapping ambitions: first, to support Koreas contemporary art scene on an international stage; second, to offer a building that integrates sensitively and productively with its historical context. The result is an architecture of mediation, where openness and enclosure, lightness and solidity, innovation and tradition converge.The building asserts its identity not through mass or ornament, but through veiled presence. A softly draped chainmail faade distinguishes the gallery from its neighbors while echoing the sloping gestures of adjacent roofs. This architectural ambiguityvisible and recessivebecomes a central part of the buildings conceptual vocabulary.Spatial Strategy and Programmatic FlexibilityInternally, the gallery resists rigid formalism in favor of fluid adaptability. Circulation is organized along the periphery, liberating the central volume for exhibitions that range in scale and media. This spatial strategy enables flexibility: daylight can softly filter through the translucent veil, or be entirely blocked to accommodate light-sensitive installations.Below grade, SOIL carves out a compact auditorium that accommodates lectures, film screenings, and performances. Seating 60, this subterranean space expands the gallerys curatorial reach while maintaining the ground planes minimal footprint. Offices, storage, and art handling facilities are tucked beneath, further emphasizing the architectural economy that defines the project.Yet, the power of the gallery lies not only in its adaptability but also in its spatial calibration. Volumes are restrained but not austere, and transitions are articulated with care, inviting a gradual unfolding of experience. The architecture choreographs encounters with art while remaining attuned to human scale and movement.Materiality and Construction InnovationThe projects most distinctive featurethe chainmail faadeemerges from an uncommon fusion of digital precision and hand craftsmanship. Composed of over 500,000 individual rings, the metallic skin was developed through a close collaboration between SOIL, engineering consultants Front Inc., and artisans in Anping, Chinaa region renowned for its wire mesh production.This draped surface is not a conventional faade in the tectonic sense, but rather an atmospheric layer. It modulates light, movement, and perception independently from the structural frame. Its porosity allows glimpses of the building beneath while producing shifting reflections that animate the streetscape. At times ephemeral and others monumental, the faade resists categorization.From a material standpoint, chainmail challenges standard ideas of enclosure and skin. It provides solar shading, reduces glare, and animates the surface without relying on mechanical systems or conventional ornament. More importantly, it bridges scalesreading as textile from up close and architecture from afar.Urban Resonance and Cultural DialogueThe gallery does not merely occupy a plot; it participates in the city. Its modest footprint and understated presence contribute to the areas pedestrian rhythm, while its materiality and form signal cultural significance. In this way, Kukje Gallery functions as a landmark and a background, simultaneously guiding and yielding.The public plaza that frames the entrance draws from regional paving traditions, subtly recalling cobblestone streets and the thresholds of historic compounds. This attention to local typologies extends to the gallerys massing, where the soft curvature of the veil mirrors the gestures of traditional eaves without direct imitation. Such strategies foster continuity without resorting to literal reconstructiona critical approach to contextual design in heritage settings.Kukje Gallery PlansSite Plan | SOLID OBJECTIVES IDENBURG LIU (SOIL)Floor Plan | SOLID OBJECTIVES IDENBURG LIU (SOIL)Section | SOLID OBJECTIVES IDENBURG LIU (SOIL)Kukje Gallery Image GalleryAbout SOLID OBJECTIVES IDENBURG LIU (SOIL)SOIL (Solid Objectives Idenburg Liu) is a New York-based architecture studio founded by Florian Idenburg and Jing Liu. It is known for its thoughtful, materially inventive, and context-sensitive designs. The firm explores architecture as a medium that connects individuals to their environment, often blurring boundaries between interior and exterior, public and private. With a focus on cultural and institutional projects, SOIL challenges conventional typologies through innovative use of form, fabrication, and spatial strategies that respond to social and urban dynamics.Credits and Additional NotesDesign Team: Florian Idenburg, Jing Liu, Ilias Papageorgiou, Iannis Kandyliaris, Cheon-Kang Park, Sooran Kim, Seunghyun KangConsultants: Dong Yang Engineering, G.K TechnologyMesh and Faade Consultant: Front Inc.Client: Kukje Gallery

Amant Art Campus | Iwan BaanIn a city where density often dictates form, Amant, designed by SO IL, offers an alternative architectural proposition that privileges fragmentation over monumentality and permeability over enclosure. Located in the industrial periphery of North Brooklyn, this cultural campus occupies three separate blocks, threading itself into the fabric of a rapidly evolving neighborhood. Rather than asserting itself as a singular object, Amant is a spatial and civic strategy, a constellation of volumes and voids that test the role of the art institution in the contemporary city.Amant Art Campus Technical InformationArchitects1-15: SOLID OBJECTIVES IDENBURG LIU (SOIL)Location: Brooklyn, New York, USAArea: 1,951m2 | 21,000 Sq. Ft.Project Year: 2014 2021Photographs: Iwan BaanCentral to Amants design is the idea of an urban oasis, a space where the pace of art-making can slow to allow experimentation and meaningful reflection. SOIL ArchitectsAmant Art Campus PhotographsAerial View | Iwan BaanStreet View | Iwan BaanStreet View | Iwan BaanRear Facade | Iwan BaanPatio | Iwan BaanEntrance | Iwan BaanWindow | Iwan BaanInterior | Iwan BaanInterior | Iwan BaanModel | SOLID OBJECTIVES IDENBURG LIU (SOIL)Urban Fragmentation and the Notion of Contextual DialogueAmant is not a buildingit is a distributed condition, a spatial field dispersed across a tight urban grid. Situated in a context marked by warehouses, garages, and traces of industrial infrastructure, the project engages in a dialogue with its surroundings by mimicking and adapting. The architects resist the traditional typology of the sealed cultural building. Instead, the project manifests as a sequence of volumes and open spaces, inserted between and around existing structures.This dispersed strategy enables Amant to act as a kind of urban filterporous to the neighborhood, yet specific in its interior functions. The insertion of multiple entry points, alleys, and interstitial courtyards creates opportunities for incidental encounters and unprogrammed use, softening the boundary between institution and public. In a context where privatization of urban space is the norm, Amants configuration feels generous and radical.Spatial Ethos and Curated MovementAt the heart of Amant is a spatial ethic oriented toward slowness and reflection. The project is not organized around a singular axis or procession but through a network of lateral connections and nested sequences. Movement through the site is non-linear, deliberately choreographed to encourage exploration rather than efficiency.The campus accommodates a hybrid programartist studios, exhibition galleries, a performance space, administrative offices, and a cafeach located in one of four primary buildings. Between these, courtyards and narrow passageways guide visitors in and out of light, sound, and social atmospheres. This interplay between architecture and experience allows the visitor to drift, fostering solitude and social exchange conditions. The architecture does not assert itself over the artwork or the visitor but facilitates a range of tempos, modes of engagement, and intensities of presence.Amant Art Campus Material LanguageSOILs material choices in Amant articulate a deliberate ambiguity, offering a subdued yet nuanced language that resists overt expression. The buildings are formed in cast-in-place concrete, shaped by profoundly textured form liners that animate otherwise blank surfaces. Bricks are subtly rotated out of plane, introducing a shadow play that recalls masonry traditions while abstracting them. Galvanized steel bars veil certain facades, filtering views and reflecting the changing sky. This material palette, while modest, lends the project a rich tactile dimension.From a distance, the buildings appear almost muteanonymity as urban camouflage. However, a different reading emerges upon approach: craft, detail, and attention to surface take precedence. This architectural language is not one of spectacle but of proximity and encounterit rewards the visitor who slows down. In this sense, materiality becomes a medium for contemplation, echoing the institutional mission to provide a space for unhurried artistic production and appreciation.Cultural Typology and Institutional FlexibilityAmant reconsiders the cultural campus as a non-hierarchical ensemble. Each building within the compound houses a distinct gallery, differentiated in scale, light quality, and infrastructural specificity. This strategy allows the campus to accommodate diverse artistic practices, from immersive installations to intimate screenings. More importantly, it invites a flexible curatorial approach, where programs evolve and spaces are reconfigured without compromising the coherence of the whole.Beyond programmatic adaptability, Amant is a test case in rethinking the cultural institutions relationship to the city. It challenges the image of the autonomous museum-as-object and instead proposes an embedded, open, and responsive typology. As an urban oasis, it provides a retreat not through isolation but through the careful modulation of exposure and shelter. In doing so, it contributes to an ongoing conversation about architectures role in fostering inclusive, experimental, and civic spaces for art.Amant Art Campus PlansFloor Plan | SOLID OBJECTIVES IDENBURG LIU (SOIL)Section | SOLID OBJECTIVES IDENBURG LIU (SOIL)Axonometric View | SOLID OBJECTIVES IDENBURG LIU (SOIL)Image GalleryAbout SOLID OBJECTIVES IDENBURG LIU (SOIL)SO IL (Solid Objectives Idenburg Liu) is an internationally recognized architecture and design firm based in New York City. Founded in 2008 by Dutch architect Florian Idenburg and Chinese architect Jing Liu, the firm has gained acclaim for its innovative and contextually responsive designs. Notable projects include the award-winning Kukje Gallery in Seoul and the Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. SOILs work emphasizes creating structures that foster new cultures and institutions, engaging thoughtfully with local and global contexts. Credits and Additional NotesExecutive Team: Florian Idenburg, Jing Liu, Kevin Lamyuktseung, Ted BaabDesign Team: Pietro Pagliaro, Grace Lee, Sanger Clark, Lucia Sanchez-Ramirez, lvaro Gmez-Sells, Kristen Too, Sophie Nichols, Christopher Riley, Alexandre Hamlyn, Regina Teng, Etienne Vallat, Marisa Musing, Tyler Mauri, Julie Perrone, Mario Serrano, Diego Fernandez, Yuanjun Summer Liu, John ChowClient: Lonti EbersProject Management: Paratus GroupStructural Engineering: Silman AssociatesMEP Engineering: CES Engineering, Plus Group EngineeringLighting Design: Buro Happold EngineeringCladding Consultant: Simpson Gumpertz & HegerCivil Engineering: Bohler EngineeringExpediter: J. Callahan Consulting, Inc.Acoustics / AV / Security: Harvey Marshall Berling AssociatesConcrete Consultant: Reginald Hough AssociatesGeotechnical Engineering: Langan Engineering, PMT Laboratories, Inc.Landscape Design: Future GreenGraphic Design: Linked by Air