White Cave House | © Ken’ichi Suzuki Photo Studio The conventional courtyard house confronts a climatic paradox in Kanazawa, Japan, where winter snow accumulates in deep, persistent layers. Traditionally associated with sunlit, arid environments, heavy snowfall can fundamentally challenge the courtyard typology. In response to these conditions, Takuro Yamamoto Architects devised White Cave House (2013), a residence that critiques, reshapes, and revalidates the courtyard model for a snowy suburban context. White Cave House Technical Information Architects1-8: Takuro Yamamoto Architects Location: Kanazawa, Japan Area: 172.33 m2 | 1,855 Sq. Ft. Project Year: 2011 – 2013 Photographs: © Ken’ichi Suzuki Photo Studio We proposed to connect these external spaces one another into a large single tube, or Cave, and have each part serve multiple purposes in order to make up for the space limitations. – Takuro Yamamoto Architects White Cave House Photographs Facade | © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio White Cave House: Adapting Typology to Climate This single-family house, located on a 493.88 m² site, is not merely a formal exercise in white minimalism but an attempt to resolve spatial contradictions through architectural strategy. Rather than prioritizing interior space at the expense of outdoor functions or vice versa, the architects introduce a third condition: the Cave. This spatial system, composed of a continuous, cranked void, acts as a connective and generative device that rethinks how program, privacy, and climate interact. The initial brief called for a home with minimal expression and multiple exterior spaces, including a roofed garage, a covered entrance, a sky-facing terrace, and a courtyard. However, in Kanazawa, such outdoor amenities often become non-functional in winter. Snow not only conceals the courtyard but complicates access to the home. To navigate this contradiction, the design reframes the courtyard as part of a larger architectural system. The solution was not to compartmentalize or reduce but to integrate. By spatially linking the outdoor elements into a continuous, kinked tube, what the architects describe as a White Cave, each programmatic element retains autonomy while benefiting from collective spatial logic. This bent and folded cave balances visibility and opacity, allowing light and air to circulate while preserving internal privacy. The project becomes an architectural diagram in three dimensions, an exercise in folding a linear void into a coherent living framework that works both in summer and under heavy snow. Spatial Logic and Visual Continuity Unlike most courtyard homes, where the courtyard is the central void around which functions are organized, White Cave House positions the void itself as a pathway. This void is not residual but essential: it is the architecture. The kinked configuration of the Cave mediates privacy by obstructing direct lines of sight from the street. Its geometry offers framed, oblique views rather than open panoramas. This spatial logic introduces a sense of depth and progression, transforming what could have been leftover outdoor space into a dynamic corridor of light and shadow. Internally, rooms are organized to face this void, not for outward views but for carefully curated inward experiences. In a sense, the architecture turns itself inside out. The Cave becomes both a facade and an interior, challenging conventional spatial hierarchies. Materiality and Phenomenological Depth Materially, the house is defined by its white monochrome in form and surface treatment. Thick, load-bearing walls, painted in matte white, produce a monolithic impression, emphasizing the house’s sculptural quality. The continuous whiteness allows subtle changes in light and texture, seasonal, daily, and momentary, to become the focus of visual experience. Perhaps most striking is the use of water as a spatial modifier. A thin basin integrated into the terrace captures shallow pools of water, transforming a flat surface into a reflective void. As sky and sunlight dance across its surface, the basin becomes a mirror of atmospheric conditions. Here, the Cave no longer just carves through solid material; it also holds and reflects the ephemeral. This material clarity extends into structural decisions. The wooden frame is not articulated expressively but concealed to reinforce the building’s mass-like presence. The result is a space that feels not constructed but excavated. White Cave House Plans Floor Plan | © Takuro Yamamoto Architects Sections | © Takuro Yamamoto Architects Elevations | © Takuro Yamamoto Architects White Cave House Image Gallery About Takuro Yamamoto Architects Takuro Yamamoto Architects is a Tokyo-based architectural practice founded in 2005 by Takuro Yamamoto. The firm is renowned for its minimalist residential designs that thoughtfully integrate light, voids, and spatial continuity. Their work often explores the interplay between interior and exterior spaces, emphasizing privacy and openness. Notable projects include the White Cave House and the Little House with a Big Terrace, both exemplifying the firm’s commitment to creating timeless architecture that responds to its environment. Credits and Additional Notes Structure: Wood Design Period: Feb 2011 – Sept 2012 Construction Period: Oct 2012 – June 2013 Structural Engineer: Yamada Noriaki Structural Design Office Construction: Ninomiya-Kensetsu Client: Married couple + child Site Area: 493.88 m² Building Area: 132.68 m²

F-WHITE Aerial View | © Kindaikouku In a quiet residential area of Kashiwa City, Chiba Prefecture, F-WHITE emerges as a spatial response to three simultaneous conditions: a client’s desire for unity, the awkward geometry of a leftover suburban lot, and the architectural lineage of the Japanese courtyard house. Designed by Takuro Yamamoto Architects, this one-story residence challenges normative interpretations of courtyard living through a deceptively simple yet highly deliberate plan. F-WHITE Technical Information Architects1-11: Takuro Yamamoto Architects Location: Kashiwa City, Chiba Prefecture, Japan Area: 122.03 m2 | 1,313.86 Sq. Ft. Project Year: 2007 – 2009 Photographs: © Kindaikouku, © Ken’ichi Suzuki Photo Studio This oblique angle makes the courtyard look like a box which happened to be thrown out on one very large internal space. – Takuro Yamamoto Architects F-WHITE Photographs Aerial View | © Kindaikouku Aerial View | © Ken’ichi Suzuki Photo Studio Facade | © Ken’ichi Suzuki Photo Studio Facade | © Ken’ichi Suzuki Photo Studio Courtyard | © Ken’ichi Suzuki Photo Studio Courtyard | © Ken’ichi Suzuki Photo Studio Living Room | © Ken’ichi Suzuki Photo Studio Living Room | © Ken’ichi Suzuki Photo Studio Kitchen | © Ken’ichi Suzuki Photo Studio Interior | © Ken’ichi Suzuki Photo Studio Bedroom | © Ken’ichi Suzuki Photo Studio Corner | © Ken’ichi Suzuki Photo Studio Office | © Ken’ichi Suzuki Photo Studio F-WHITE Context and Design Intent The conceptual genesis of F-WHITE was shaped by the client’s request for a spatially unified home that would not fragment the daily rhythms of a three-member family into disconnected rooms or vertical divisions. The insistence on a single-story scheme was not a stylistic preference but a spatial demand: the desire to maintain a continuous, communal living environment, resisting the compartmentalization typical of multi-story dwellings. The site itself offered both a provocation and an opportunity. At 259.31 m², it is larger than the standard suburban plot yet unusually narrow, an irregularity that had consigned it to use as a parking lot for decades. This inherent contradiction, generous area paired with constrained proportion, led the architects to reconsider the role of central outdoor space. Rather than impose a traditional orthogonal courtyard at the heart of the dwelling, the team sought an alternate geometry to reconcile continuity with division. Spatial Strategy and Courtyard Geometry F-WHITE’s defining gesture lies in the courtyard’s rotation. Placed at an oblique angle within the house’s orthogonal boundary, the courtyard interrupts the expected spatial reading. This tilt is more than a formal device; it allows the surrounding interior spaces to link fluidly at their corners, bypassing the need for corridors and reinforcing a sense of spatial cohesion. This move mitigates the typical courtyard issue in narrow lots, where the outdoor void threatens to divide rather than unify. In F-WHITE, the courtyard is perceived not as a central void to be circumnavigated but as a geometric insert, a spatial wedge around which the house unfurls. It appears almost incidental, like a box that has landed within a continuous interior shell, carving subtle niches and allowing glimpses of the sky without fracturing the whole. Notably, the plan avoids over-articulation. Functions are assigned with clarity, yet the transitions between public and private realms are not demarcated by walls but by proximity, orientation, and visibility changes. The residence achieves a spatial sequence of unfolding rather than zoning, and each corner turned offers a fresh yet familiar perspective on the courtyard’s presence. Material Palette and Tectonic Expression Materially, F-WHITE adheres to a restrained palette that reinforces its conceptual clarity. The interior is defined by birch flooring, lauan plywood ceilings, and plasterboard walls finished with AEP, creating an atmosphere of calm continuity. These surfaces absorb and reflect light with subtle variation, amplifying the temporal and climatic shifts orchestrated by the central courtyard. The mortar lysin exterior gives the house a muted, almost anonymous presence from the outside. This subdued finish resists spectacle and reinforces the introverted nature of the design; its architectural intensity is reserved for those who inhabit the space rather than those who pass by. The project is rooted in wood-frame construction, a pragmatic and contextually appropriate choice structurally. Built by Nagano-Koumuten and furnished by Tallman STUDIO, the residence balances craft with efficiency, eschewing expressive tectonics in favor of modest precision. The architecture does not draw attention to its construction; instead, it invites attention to the voids, transitions, and relationships it enables. F-WHITE Plans Site Plan | © Takuro Yamamoto Architects Section | © Takuro Yamamoto Architects Perspective | © Takuro Yamamoto Architects F-WHITE Image Gallery About Takuro Yamamoto Architects Takuro Yamamoto Architects is a Tokyo-based architectural practice founded in 2005 by Takuro Yamamoto. It is known for its minimalist residential designs that emphasize spatial continuity, natural light, and the integration of voids to enhance privacy and openness. The firm’s work often explores the interplay between solid and void, crafting serene environments that respond thoughtfully to site constraints and client needs. Notable projects include the White Cave House and F-WHITE, which exemplify their commitment to creating timeless, context-sensitive architecture. Credits and Additional Notes Project Architect: Eiji Iwase Structural Engineer: Masuda Structural Engineering Office Construction: Nagano-Koumuten Furniture Design: tallman STUDIO Structure: Wood Frame Construction Client: Married couple with one child Site Area: 259.31 m² Building Area: 122.03 m² Total Floor Area: 118.99 m² (in accordance with Japanese regulations) Design Period: August 2007 – October 2008 Construction Period: November 2008 – April 2009

Courtyard House without Second Floor | © Ken’ichi Suzuki Photo Studio In the dense urban fabric of Tokyo’s low-rise residential zones, the idea of a courtyard house often arrives burdened with contradictions. While courtyards promise tranquility, daylight, and spatial openness, they simultaneously risk exposure in neighborhoods where proximity to adjacent buildings is a constant reality. In Courtyard House without Second Floor, Takuro Yamamoto Architects responds to this tension not by enclosing the courtyard at ground level, as is typical in urban Japan, but by lifting it skyward and, in doing so, rethinking the basic assumptions of residential typology. Courtyard House without Second Floor Technical Information Architects1-11: Takuro Yamamoto Architects Location: Tokyo, Japan Area: 84.81 m2 | 912.87 Sq. Ft. Completion Year: 2023 Photographs: © Ken’ichi Suzuki Photo Studio By having a courtyard on the third floor where one does not need to worry about neighbors’ houses, and by making the living room that faces the courtyard the main living space, it is possible to propose a lifestyle of living with the sky. – Takuro Yamamoto Architects Courtyard House without Second Floor Photographs © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio © Ken’ichi Suzuki Photo Studio Rethinking the Urban Courtyard Typology In the dense urban fabric of Tokyo’s low-rise residential zones, the idea of a courtyard house often arrives burdened with contradictions. While courtyards promise tranquility, daylight, and spatial openness, they simultaneously risk exposure in neighborhoods where proximity to adjacent buildings is a constant reality. In Courtyard House without Second Floor, Takuro Yamamoto Architects responds to this tension not by enclosing the courtyard at ground level, as is typical in urban Japan, but by lifting it skyward and, in doing so, rethinking the basic assumptions of residential typology. Commissioned by a couple seeking privacy and serenity within a compact urban site, the house proposes a bold inversion of conventional planning. Rather than layering private and public functions vertically, the architects chose to eliminate the second floor entirely, allowing the first and third floors to operate in deliberate dialogue. The result is a residence that privileges visual and environmental connection with the sky while subtly redefining the relationship between floor height, program, and spatial character. Design Intent and Spatial Strategy: Living with the Sky At the core of the project lies a radical conceptual maneuver: displacing the courtyard from the ground to the third floor. This decision emerges from a critique of the traditional urban courtyard model. In this Tokyo neighborhood, where surrounding buildings are often taller and closely spaced, a ground-level courtyard would likely be overlooked, compromising its function as a private outdoor room. High surrounding walls could restore privacy but at the cost of daylight and spatial openness. By relocating the courtyard upward, above the line of sight of nearby houses, the architects enable a new kind of domestic experience centered on openness, air, and sky. The third floor becomes the primary living domain, composed of a light-filled living room that opens directly onto the rooftop courtyard. The courtyard, in turn, becomes not just a spatial device but a living boundary between interior and exterior, structured absence and atmospheric presence. This elevated void also informs the project’s volumetric logic. Since the clients required only a modest floor area, the architects chose to dispense with the intermediate second floor, enabling a clearer division of functions. Communal and spatially expansive activities are raised above, while intimate, enclosed functions occupy the ground level. This unusual strategy reorients how verticality is deployed not as a stacking of programs but as a spatial gradient calibrated to privacy, light, and openness. Materiality, Light, and Spatial Atmosphere Constructed using a rigid wooden frame structure, the house maintains a calm and tactile material palette, allowing spatial relationships and natural light to define its atmosphere. The first floor, often overlooked in vertically stratified dwellings, benefits from a double-height volume due to the absence of the second floor. This inversion creates unexpected generosity in typically constrained spaces, such as the two workrooms facing each other across a slender internal courtyard planted with a Japanese dogwood tree. Light becomes the central agent of spatial modulation. Tall windows on the first-floor drawing in daylight, softening the compactness of the lower level and offering fluctuating lighting conditions throughout the day. Meanwhile, the upper courtyard receives unobstructed sunlight, casting dynamic shadows and amplifying the architectural strategy of turning upward for openness. The spatial sequence thus becomes non-linear, entering into lower, quiet rooms whose expanded vertical dimensions lend them dignity before ascending to a third-floor realm that opens horizontally to the sky. Rather than a classical hierarchy of levels, the house presents a compositional field of contrasts between enclosure and exposure, compression and release, and ground and air. Courtyard House Urban Context Tokyo’s residential neighborhoods are defined not only by density but also by a highly codified regulatory environment. Within the constraints of a Type 1 restricted low-rise residential zone, the architects worked with a site area of 169.78 m², achieving a floor area ratio of 77.87% and a building coverage of just under 50%. These constraints typically lead to compact, stacked dwellings. Yet the Courtyard House without Second Floor resists this default model, proposing a typological deviation that extracts architectural generosity from regulatory discipline instead. Courtyard House without Second Floor Plans Floor Plan | © Takuro Yamamoto Architects Section | © Takuro Yamamoto Architects Elevation | © Takuro Yamamoto Architects Courtyard House without Second Floor Image Gallery About Takuro Yamamoto Architects Credits and Additional Notes Design Team: Takuro Yamamoto, Tomoko Yanagi Structural Design: NCN Corporation / Yuusuke Okamoto Construction: REMOL DESIGN / Hiroyuki Watanabe, Syuhei Watanabe Furniture: Tanaka Kogei / Toshiya Tanaka, Takeshi Minamizawa Structure: Wooden rigid frame Site Area: 169.78 m² Total Floor Area: 132.21 m² 1st Floor Area: 74.09 m² 3rd Floor Area: 58.12 m² Lot Percentage: 49.95% Floor Space Ratio: 77.87%

Lovell House | © Julius Shulman Few residential projects in the history of architecture have so concisely synthesized the aspirations of the modernist movement as the Lovell House. Designed by Richard Neutra and constructed between 1927 and 1929, this hillside residence overlooking Los Angeles is more than a stylistic landmark. It is a rigorous exploration of space, health, and industrial modernity. Commissioned by Dr. Philip Lovell, a health advocate and proponent of naturopathy, the house was conceived not as a retreat from the world but as a manifesto supporting rational living. For Neutra, who had recently arrived in the United States from Europe, this project represented a professional breakthrough and a profoundly personal alignment of ideological principles. Lovell House Technical Information Architects1-6: Richard Neutra Location: 4616 Dundee Drive, Los Feliz, Los Angeles, California, USA Area: 446 m2 | 4,800 Sq. Ft. Project Year: 1927 – 1928 Photographs: © Julius Shulman Philip Lovell wanted a house that would express his ideas of health, hygiene, and fitness. I wanted a house that would express my ideas of modern architecture. In the end, we built both. – Richard Neutra 7 Lovell House Photographs © Michael Locke, Flickr User © Michael Locke, Flickr User © Barcelo Photography © Barcelo Photography © Barcelo Photography © Barcelo Photography © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman © Julius Shulman Context and Commission The interwar period witnessed a radical reevaluation of domestic space, partly driven by technological advancements and shifting attitudes toward hygiene and well-being. Within this cultural milieu, Dr. Lovell, already known for commissioning the Lovell Beach House by Rudolf Schindler, sought to build a residence that would embody his beliefs in clean living, sun exposure, and fresh air. His choice of Neutra, an architect trained in Vienna and influenced by figures such as Adolf Loos and Erich Mendelsohn, signaled a deliberate move toward a more European, functionalist approach. The Lovell House was Neutra’s first major commission in the United States and his opportunity to engage with the burgeoning discourse around the International Style. Lovell’s trust in Neutra and the architect’s commitment to creating a scientifically ordered environment set the stage for one of the most iconic modern homes in American architecture. Design Strategies and Construction Innovation On the hills of Los Feliz, the Lovell House is among the earliest examples of residential steel-frame construction in the United States. Neutra’s use of this system, more commonly associated with commercial or industrial buildings then, allowed for a remarkably lightweight structure that could seemingly float above its steep site. The steel frame also permitted large spans and cantilevers, freeing the plan from traditional load-bearing constraints and enabling expansive glazed openings. The house is organized as a vertical sequence of spaces, with each floor serving a distinct function. The lower level includes areas for exercise and recreation, aligned with Lovell’s ideals, while the upper floors house living and sleeping quarters. Circulation is carefully orchestrated, with a suspended exterior stair emphasizing the connection between levels without interrupting the building’s formal clarity. Transparency and openness are guiding principles throughout the design. Ribbon windows, floor-to-ceiling glazing, and open terraces blur the boundary between inside and out, capitalizing on Southern California’s climate while reinforcing Neutra’s belief in architecture’s capacity to mediate between human beings and their environment. Materiality and Environmental Integration The Lovell House’s material language is deliberately spare. Industrial steel, concrete, glass, and stucco are deployed precisely, rejecting ornamentation in favor of surface, proportion, and rhythm. Neutra’s choice of materials was aesthetic and deeply aligned with the project’s hygienic ethos: smooth, cleanable surfaces, built-in furniture, and controlled daylight contribute to a sense of physical and psychological well-being. Despite its machine-like clarity, the house is far from alienated from its context. The steeply sloping terrain becomes an active component of the design. Outdoor terraces, bridges, and gardens mediate between the constructed and natural environments, encouraging movement, exposure to sunlight, and engagement with the landscape. Neutra’s sensitivity to site and orientation ensured that the building was not merely placed on the land but woven into its topography and climate. Legacy and Influence The Lovell House has long occupied a pivotal place in the architectural canon. Featured in the 1932 Museum of Modern Art exhibition that introduced the International Style to an American audience, it exemplified the movement’s nationalist ideals in built form. Its influence on subsequent generations of architects in the U.S. and abroad cannot be overstated. For Neutra, the project marked the beginning of a prolific career dedicated to what he termed “biorealism”: integrating architecture with its inhabitants’ physiological and psychological needs. The house’s emphasis on health, efficiency, and environmental responsiveness would become hallmarks of his later work. Lovell House Plans Sketches | © Richard Neutra Floor Plans | © Richard Neutra Elevations | © Richard Neutra Elevations | © Richard Neutra Isometric View | © Richard Neutra Lovell House Image Gallery About Richard Neutra Richard Neutra (1892–1970) was an Austrian-American architect whose work played a pivotal role in defining the architectural identity of mid-20th century California. Deeply influenced by European modernism and trained under figures like Adolf Loos and briefly Frank Lloyd Wright, Neutra brought a rigorous, human-centered approach to design that emphasized clarity, health, and environmental responsiveness. His architecture fused technological precision with psychological and physiological considerations, resulting in dwellings that were as much about wellness as they were about aesthetics. Best known for projects like the Lovell House and the Kaufmann Desert House, Neutra’s legacy is a model of modern architecture’s potential to harmonize life, nature, and innovation. Credits and Additional Notes Client: Dr. Philip Lovell Design Period: 1927 Construction Period: 1928–1929 Site Conditions: Steep hillside lot in Los Feliz with expansive views over Los Angeles Construction System: Steel-frame structure with gunite (sprayed concrete) and stucco cladding Architectural Style: International Style / Modernism Neutra: Complete Works by Barbara Mac Lamprecht, Peter Gossel, Dion Neutra, Julius Shulman

Imagine Montessori School | © Mariela Apollonio Located along the edge of the En Dolça ravine in Paterna, Valencia, the Imagine Montessori School by Gradolí & Sanz Arquitectes reimagines the relationship between educational space and nature. More than an academic facility, the project is a mediating layer between the urban grid and a Mediterranean pine forest. With an architectural strategy that prioritizes child-centered learning, spatial legibility, and material authenticity, the school articulates a pedagogical framework through its built form. Imagine Montessori School Technical Information Architects1-23: Gradolí & Sanz Arquitectes Location: Paterna, Valencia, Spain Area: 2,922 m2 | 31,449 Sq. Ft. Project Year: 2017 – 2024 Photographs: © Mariela Apollonio The building is not intended to be an object in the landscape, but a part of it, an extension of the terrain that disappears so that nature becomes the true façade. – Gradolí & Sanz Arquitectes Imagine Montessori School Photographs Street View | © Mariela Apollonio Entrance | © Mariela Apollonio Facade | © Mariela Apollonio Facade | © Mariela Apollonio Courtyard | © Mariela Apollonio Opening | © Mariela Apollonio Facade | © Mariela Apollonio Terrace | © Mariela Apollonio Balcony | © Mariela Apollonio Stairs | © Mariela Apollonio Interior | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Classroom | © Mariela Apollonio Contextual Foundations: A Site-Driven Pedagogy The school’s defining gesture is its orientation, not toward the street but toward the landscape. In rejecting the street-facing urban façade, the building signals a reversal in conventional institutional typologies. The access route begins within a pine grove, where children traverse elevated wooden walkways between trees. This procession is not simply aesthetic but symbolic: a transition from the ordered rhythms of the city into the fluid, unpredictable logic of nature. Here, the site is not an inert backdrop but an active participant in shaping architectural decisions. The building emerges as an extension of the ravine itself, folding, settling, and disappearing beneath a green roof that mimics the topography. The landscape is not curated; it is left raw and wild, with pinecones, roots, and mushrooms serving as didactic tools. The design resists the sanitization often found in contemporary schoolyards and instead engages directly with the ecological conditions of the terrain. Spatial Strategy and Pedagogical Integration Formally, the building adopts an elongated S-shaped footprint, generating two distinct outdoor voids: a western entry plaza and an eastern natural playground. This configuration does more than optimize views; it choreographs an internal spatial rhythm aligned with Montessori principles. Each classroom opens onto the ravine, allowing daylight, ventilation, and natural stimuli to become integral components of the educational environment. Interior planning is liberated from hierarchical spatial orders. There is no teacher’s desk nor any central focal point. Classrooms are divided into five zones: sensory, practical life, language, mathematics, and cultural studies, enabling fluid movement and diverse learning modes. Circulation is not relegated to corridors but expanded into informal gathering spaces: widened paths, seating niches, double-height voids, and interior balconies foster spatial democracy and autonomy. Crucially, the architecture speaks to children through scale. Arched thresholds, lofted alcoves, and floor-level seating areas are intentionally designed to accommodate bodies in formative stages. These gestures create an environment where children encounter the building not as a fixed container but as a responsive medium. Imagine Montessori School Material Honesty The building’s construction is didactic. Clay and timber, the two principal materials, are left exposed, allowing the tectonic logic of the building to remain legible. The 60 cm-thick brick walls serve as a load-bearing structure, thermal mass, and finish. There is no applied cladding; instead, the imperfections of material tool marks, tonal variation, and subtle cracks are embraced as part of the building’s expression. Wood complements clay in both structural and experiential ways. Timber roof panels, partitions, and joinery elements soften the masonry mass, introducing warmth and tactile variation. Concrete use is minimized, restricted primarily to foundations, while steel appears only in strategic elements such as railings and slender columns. Mechanical and electrical systems are not concealed behind ceilings or walls. Their visibility transforms the building into a diagram of its operation, offering students insight into energy, water, and ventilation flows. This transparency reinforces the project’s pedagogical ethos: education begins not only in the classroom but also in the fabric of the building itself. Landscape as Curriculum Rather than isolating the building from its context, the project incorporates the landscape into every facet of the educational experience. Each classroom opens directly to a semi-covered terrace with a water fountain, a deciduous tree, and tiered seating. These thresholds become spatial hybrids, neither entirely interior nor exterior, blurring the division between architecture and ecology. The ravine functions as a temporal and sensory field. Its shifting hydrology during rains, the seasonal shedding of trees, and the growth of wild asparagus are not distractions but phenomena to be observed and interpreted. There is a deliberate absence of traditional sports infrastructure; the sloped terrain is manipulated into ramps, climbing walls, and caves, inviting exploration and risk within a safe environment. This approach aligns with contemporary ecological pedagogy but avoids its typical tropes. There is no simulation of “naturalness” through curated green spaces or artificial turf. Instead, the landscape is allowed to be what it is: dynamic, coarse, unpredictable, and children are entrusted to navigate it. Imagine Montessori School Plans Ground Level | © Gradolí & Sanz Arquitectes Level 2 | © Gradolí & Sanz Arquitectes Roof Plan | © Gradolí & Sanz Arquitectes Sections | © Gradolí & Sanz Arquitectes Elevations | © Gradolí & Sanz Arquitectes Imagine Montessori School Image Gallery About Gradolí & Sanz Arquitectes Gradolí & Sanz Arquitectes is a Valencia-based architecture studio founded by Carmel Gradolí and Arturo Sanz, known for their context-driven, materially honest, and environmentally conscious designs. Since 1993, the practice has developed a diverse portfolio of public and private projects that respond sensitively to their cultural and physical surroundings. Their work often engages with heritage, pedagogy, and sustainability themes, characterized by restrained formal language and thoughtful use of local materials. Guided by a commitment to civic responsibility and architectural clarity, the studio seeks to create functional and emotionally resonant spaces. Credits and Additional Notes Lead Architects: Arturo Sanz, Carmel Gradolí, Fran López Collaborating Architects: J. Luis Vilar, María Navarro, Daniel López Quantity Surveyor: Francisco Vallet Traditional Structure Engineering: Adolfo Alonso Timber Structure Engineering: Albura Wood & Concept Acoustic Consultant: Silens Acústica  Green Certification Consultant: GBCE  Phase 1 Installations & BREEAM Consultant: Zero Consulting  Phase 2 Installations: GME  Lighting Design: Cosmo Stil General Constructor: Grupo Valseco Brick Vaults: Cercaa Exterior Wood Carpentry: Morata Interior Carpentry: DISBEA Showlutions  Metalwork: Martí Cots  Glasswork: Cristalería Crevillente  Landscape Design (Phase 1): GM Paisajistas  3D Visualizations: Drawfield Client: Zubi Educational Real Estate Built-up Area: 2,922 m² Usable Floor Area: 2,298 m² Plot Size: 4,556 m² Construction Cost: €4.6 million

Ocean House Resort in Rhode Island | © Stephen Mcfadden via Unsplash In today’s dynamic hospitality sector, being one step ahead is key to achieving success. Contemporary tourists desire more than a place to lodge; they crave adventures and innovation paired with comfort. Greython Construction stands out as a player in the hotel renovation realm for their skill in revamping hotel areas to fulfill and surpass these demands.  Comprehensive Project Management Greython Construction takes a holistic approach to hotel renovations, managing every aspect from initial design to final inspections. Their team ensures a seamless process that includes: Creating the design ideas. Setting the budget to meet the client’s objectives and respond to market needs.  Execution with an emphasis on effectiveness and exceptional artistry.  Ensuring adherence to industry regulations is key during quality checks and final approvals. This thorough approach to management guarantees that projects are finished promptly and within the allocated budget while meeting all requirements precisely. Ultimately alleviating pressure on hotel proprietors and operators.  Customized Design Solutions Every hotel has a unique brand identity, and Greython Construction collaborates closely with clients to create spaces that reflect their vision. Their approach includes: Improving guest satisfaction by designing layouts and using high-quality materials for an experience.  Ensuring that the designs are in line with the brand’s identity to uphold a look across all areas.  Blending classic design elements as required to enhance the charm of the hotel with each renovation endeavor.  By focusing on personalization, Greython helps hotels distinguish themselves and provide guests with a well-deserved stay. Sustainable and Innovative Practices © Fabio Fistarol via Unsplash The hospitality construction industry today needs to prioritize sustainability as an element rather than just a passing trend, according to Greython Construction firm. The firm incorporates eco-friendly practices into all its projects and has a keen focus on sustainability initiatives such as… Environment-conscious materials that reduce footprint and improve longevity.  Systems that save energy and cut down on expenses in the run.  Incorporating building technologies to improve efficiency, such as automated lighting controls and climate regulation systems, while also focusing on water conservation measures. These forward-thinking practices benefit the environment and improve a hotel’s profitability and guest satisfaction. Minimizing Operational Disruption Greython excels in carrying out renovations that impact hotel day-to-day operations by deploying teams that work seamlessly even during busy operational hours.  Working closely with the hotel staff to plan tasks when they have disruption.  The strategic scheduling of building work to ensure guest comfort and ongoing business operations.  Implement methods to manage noise and dust effectively to maintain an atmosphere.  By prioritizing operational efficiency, Greython ensures that hotels can continue to serve guests while undergoing essential upgrades. Expertise Across Diverse Projects Greython Construction has a list of hospitality projects in their portfolio that showcases their flexibility and prominent position in the industry sectors they specialize in:  Upscale vacation destinations featuring touches and top-notch facilities.  Hotels that focus on providing guest experiences and architectural charm.  Developments in the hospitality industry that demand planning and execution on a scale.  Their recent selection for the renovation and expansion of Sugar Bay Resort & Spa in St. Thomas showcases their capability to manage complex, high-profile projects with excellence. Why Choose Greython Construction? Greython Construction has built a reputation for delivering superior results across all aspects of hospitality renovation. Their key advantages include: Demonstrated success in implementing top-notch improvements for hotels and resorts.  Dedication to quality workmanship and high-grade materials guaranteeing sturdiness.  Creating design solutions to enhance guest interactions and elevate the branding of hotels.  A thorough approach to project management that simplifies each step of the renovation process.  Makes sure to prioritize sustainability and energy efficiency to ensure that your hotel operations are well-prepared for the future.  Ensuring that business operations continue smoothly with minimal disruption is a skill to have.  Conclusion Hotel owners and developers seeking to enhance their properties can rely on Greython Construction for the skills and insight required to thrive in today’s hospitality world. With their knack for combining aesthetics with practices and operational effectiveness, Greython Construction guarantees that each project yields enduring benefits.  Let’s team up with Greython Construction for a makeover that will impress visitors, boost our brand image, and secure our future growth.  by ArchEyes Team Leave a comment

Casa De Blas | © Hisao Suzuki Set on a hillside in Sevilla la Nueva, a town southwest of Madrid, Casa De Blas is a distilled expression of the architectural dialectic between weight and lightness, earth and sky. Designed in 2000 by Spanish architect Alberto Campo Baeza, the house is both an act of landscape intervention and a metaphysical construct, a spatial meditation on essential form and material logic. Casa De Blas Technical Information Architects1-3: Alberto Campo Baeza Location: Sevilla la Nueva, Madrid, Spain Area: 250 m2 | 2,690 Sq. Ft. Project Year: 2000 Photographs: © Hisao Suzuki This house aims to be a literal translation of the idea of the tectonic box upon the stereotomic box. Like a distillation of the most essential in architecture. Once again, more with less. – Alberto Campo Baeza Casa De Blas Photographs © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki © Hisao Suzuki The Architecture of Duality: Ground and Sky Campo Baeza’s work consistently revolves around a search for architectural clarity. In Casa De Blas, this clarity manifests as two boxes: a grounded concrete volume that holds the domestic program and a glass pavilion above that elevates the act of looking. The house is not merely built on the landscape; it is in dialogue with it. The conceptual strategy of Casa De Blas is rooted in a tectonic-syntactic opposition between the stereotomic base and the tectonic roof. The lower portion consists of a robust concrete platform embedded in the earth like a carved podium. This base supports a lighter glass structure above, where steel elements define the enclosure with minimal mass. The house engages the site with careful restraint. Rather than dominate the hilltop, it accepts the slope and turns its attention to the northern view of the Sierra de Guadarrama. This orientation informs light and shadow’s spatial organization and phenomenological qualities. Inside the concrete base, the architecture follows a precise logic. A service band is located toward the rear, while primary living spaces occupy the front, facing the landscape. Square window openings, deeply set into the thick walls, frame views with the intentionality of a camera obscura. These apertures do not merely let in light; they shape perception, creating a sense of distance and inwardness. The Pavilion as Apparatus for Contemplation Above this grounded core, the transparent upper volume serves as a lookout. Reached from the interior by ascending stairs, the glass box sits lightly on the podium, offering a counterpoint to the cave-like enclosure below. There is no visible carpentry, just frameless glazing and a white steel canopy, which shades the upper level while preserving its airy, open quality. The north-facing glass stretches toward the edge, embracing the panoramic view. On the southern side, the volume recedes to create a shaded void, regulating solar gain. This sectional asymmetry allows the architecture to perform environmentally without compromising its compositional purity. Campo Baeza describes the house as a literal translation of the idea of a tectonic box upon a stereotomic box. The reference is not metaphorical but structural and spatial. The upper pavilion is not a symbol of transparency but a mechanism for perception. In this way, the house operates as a philosophical instrument as much as a dwelling. Casa De Blas Proportion and Compositional Rigour The power of the project lies in the spatial sequence from the heavy to the light, from the shaded to the luminous. The contrast between these two atmospheres creates a duality of experience: shelter and openness, introspection and projection. The structural order contributes to this sense of serenity. Steel supports are arranged in double symmetry, reinforcing the composition’s static quality. Nothing feels arbitrary. Every gesture is reduced to its essential nature. The palette is limited to concrete, glass, and steel, yet the result is rich in meaning. The interior is equally restrained, avoiding superfluous detailing. It is architecture as a frame, a backdrop for landscape and thought. Campo Baeza’s work here touches the territory of the poetic, not through expressionism but through control and abstraction. Casa De Blas Plans Concept | © Alberto Campo Baeza North Elevation | © Alberto Campo Baeza East Elevation | © Alberto Campo Baeza Upper Level | © Alberto Campo Baeza Floor Plan | © Alberto Campo Baeza Section | © Alberto Campo Baeza Casa De Blas Image Gallery About Alberto Campo Baeza Alberto Campo Baeza is a Spanish architect born in 1946 in Valladolid. Renowned for his minimalist and essentialist approach, he emphasizes the interplay of light, gravity, and proportion in his designs. His notable works include the Casa Turégano, Casa de Blas, and the Caja de Granada headquarters. Campo Baeza was a full-time design professor at the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM) from 1986 until his retirement in 2017. He has received numerous accolades throughout his career, such as the RIBA International Fellowship and the Heinrich Tessenow Gold Medal, recognizing his contributions to contemporary architecture. Credits and Additional Notes Design Team: Alberto Campo Baeza, Alfonso González Gamo Structural Engineer: Julio Martínez Calzón, MC-2 Collaborators: Teresa Campos

Visual by Think Noir Adding boho accents with Scandinavian-style wallpaper and mixing them makes for a great combination of minimalism and unique features. The seamless integration creates spaces that walk the line between functionality and adventurous adaptability, spaces you would welcome for their serenity yet wrap you in their warmth. Knowing how to mix these two styles appropriately would make any living space visually appealing and comfortable. What Exactly is Scandinavian Style? Scandinavian-style wallpaper or design boasts minimalistic elements, simple lines, and functionality. Nothing screams minimalism without sacrificing comfort, like neutral palettes, natural materials, and an emphasis on light. Wallpaper in this style includes wallpaper with soft patterns, soft colors, basic geometric designs, etc. These elements provide a tranquil backdrop, establishing a state of calm in any space. Embracing Boho Accents Bohemian, or boho, design embraces color and texture, creativity, freedom, and an unconventional blend of home design styles. Rich textiles, bright patterns, and a mix of global influences characterize it. Boho touches bring personality and vibrancy into the space, creating layers of interest in the decor. Woven baskets, colorful rugs, or unique lighting are all boho elements that add a sense of warmth and personality to a space. Selecting a Suitable Wallpaper Choosing Scandinavian wallpapers in neutral tones with subtle patterns helps them to mix with boho decor. Something like soft stripes, light florals, or basic geometrics will soothe the more active boho parts. However, the wallpapers mustn’t dominate the accents; instead, they should enhance the effect of the accents. Find the Balance in Colors & Textures Visual by Think Noir Visual by Think Noir The secret to combining the two styles is all in the colors and textures. They are often adorned with boho accents against a Scandinavian wallpaper that acts as a soothing background backdrop to these colorful decorations. Textiles, like cushions, throws, or area rugs can be a great way to add a variety of textures to the room and give it some depth and dimension. A color scheme that brings the rustic decor’s subtle hues and some bolder shades can help tie the two styles and spaces together. Their Approach to Using Natural Elements Another main thing you will notice in both Scandinavian and boho designs is natural materials. Wood, rattan, and stones can easily connect the two genres. Plants bring a natural element that freshens up the look. Some minimalist styling with wooden furniture, rattan baskets or stone vases, and modern eclecticism will fill the gap between the two sensations. Layering with Accessories Accessories, however, are a way of doing you, of creating magic. Layering is the key to a Scandinavian-boho blend. Macramé wall hangings, patterned cushions, and eclectic art pieces infuse character into the space. Wisps of conjoined artifacts or small paraphernalia can speak volumes, creating depth while never abandoning the root of minimalism. Get The Most Light And Space Possible Both styles favor open and airy areas. Scandinavian style appreciates natural light, so ensure that there is enough of it, and boho style flourishes when there is enough light. Opt for sheer curtains that can diffuse the sunlight and provide privacy while providing light flow. Placing mirrors in specific locations can also reflect the light around, giving the effect of a bigger room and a more space-friendly atmosphere. Creating Cozy Corners Both evoke a sense of comfort and relaxation—something the coziest  corners are perfect for. A Scandinavian chair with a boho throw in a reading nook can be a favorite place. A mini side table with a lamp or stack of books will invite contemplation and create a seamless space. Conclusion Mixing Scandinavian-style wallpaper with boho pieces is a fun experiment with juxtaposing but flattering styles. This new design trend marries the tranquility of minimalism with the boldness of eclectic design to create the best of both worlds. Anyone can compose a warm and welcoming home, carefully choose elements, and dispel colors, textures, and natural materials. Selecting this design challenge can result in a space with unique character, a small sanctuary that provides a chuckle at the least, and an embrace of style and comfort at the most.

Fuma House | © Toshihisa Ishii, FU-MA, 2024 The A’ Design Award & Competition, widely regarded as the premier international accolade across creative disciplines, announced the winners of its 2024-2025 edition in April 2025. Founded to recognize and promote excellence in design, the competition spans over 100 categories, from architecture and interiors to product design and visual communication. It is one of the most comprehensive and respected awards globally. Each submission was rigorously evaluated by an international jury panel composed of distinguished academics, members of the press, established design professionals, and experienced entrepreneurs. Their collective expertise and critical judgment ensured that only the most innovative and impactful works were recognized. For designers and architects, awards like A’ Design represent prestige, valuable exposure, industry validation, and an opportunity to contribute meaningfully to contemporary design discourse. More details about the prize and evaluation criteria can be found here. In this feature, ArchEyes presents a curated selection of 20 outstanding architectural and spatial design projects from the 2024-2025 competition. Each project exemplifies the values we advocate: timelessness, spatial clarity, and design rooted in context. It also reflects the diversity and innovation celebrated by the A’ Design Awards. Fuma House by Masakatsu Matsuyama Fuma is a three-story concrete residence in Fukuoka that confronts the harsh realities of its environment, rail noise, urban decay, and past flood trauma through architectural resilience and spatial openness. Designed as a sectional composition of intersecting axes and voids, the home transforms a once inhospitable site into a tranquil, light-filled retreat. Elevated living areas, deep cantilevers, and strategic planting blur the line between inside and out, creating a peaceful, curtain-free lifestyle that celebrates openness amidst adversity. Village Hall Public Multifunctional Building by Youpei Hu Sreed Ebisu T Office Building by Salhaus This project is a nine-story office building in Tokyo. The architects created a new prototype for urban timber architecture. The proposal was a hybrid structure of a steel post-and-beam frame and timber seismic frames inserted into it. This timber frame, which they call a “seismic timber lattice shell,” is not only a structural but also an interior element to realize new workspaces where people can work in a more relaxed mode, enjoying the spatial value of the timber construction. Huai’an Zhongshuge Bookstore by Li Xiang No Footprint Wood House by Oliver Schutte The No Footprint Wood House is located along Costa Rica’s southern Pacific coast. Its bioclimatic design integrates with the surrounding tropical forests and natural habitats. The project forms part of the ongoing No Footprint House series. Climate-responsive building variations are based on passive design strategies such as site-specific positioning and the use of natural resources. Industrial building techniques are combined with locally harvested and regenerative construction materials. Deer Chaser Yuchi Resort by Chi Wei Shih Valencia House by Lucas Padovani Located in the countryside of São Paulo, Valencia House is a carefully designed summer retreat to bring the family together amidst the tranquility of the countryside. The project’s central concept is to promote a direct integration between the natural environment and the residence’s interior, achieved through spacious and permeable social spaces. Single Wall Residence by Suna Arquitetura – Pedro Sunye Zen House Private Residence by Drew Gilbert This villa is uniquely immersed in water, creating a serene and luxurious atmosphere. Upon entering, the pool comes into view, centered around a beautiful olive tree, setting the tone for a seamless indoor-outdoor connection. As one moves further into the home, the living space floats within the pool, reinforcing the sense of tranquility and exclusivity. Aziz House Residential Building by Sara Harhash Essence of Faith Mosque by Ahmed Habib The Essence of Faith Mosque design emphasizes simplicity, functionality, and spiritual focus. The architecture features clean lines and open spaces, fostering a sense of tranquility. The main prayer hall, often adorned with minimal decor, directs worshippers towards the qibla. Natural light floods the space through strategically placed windows, enhancing the serene atmosphere. Using sustainable materials promotes harmony with the environment, while the overall layout encourages community interaction and reflection, embodying the essence of Islamic values. Crevice Art Museum by Socal V Ondsauna Sauna by Taro Shimokawa In a sauna, strangers sit nearly naked in close proximity, creating potential intimacy. Yet, public saunas haven’t fostered this sense of community in Japan. The architect aimed to create a space that encourages shared understanding without forced intimacy by aligning with Japan’s unique sense of closeness. “Non-intrusive” walls balance connection and separation; their verticality resonates with the forest, while their spacing draws nature in and modulates closeness among neighbors. Kouunji Kyakuden Reception Hall of Temple by Hiroaki Iwasa Wedge House Residence by Kiyoshi Sugimoto The site offers a scenic view but poses significant challenges due to its narrow footprint, steep slope, and a strict building coverage ratio limited to 40% by local regulations. To achieve the required floor area while adhering to these constraints, the architects employed a three-story mixed structural system, two above-ground levels constructed in wood, and a subterranean level built with reinforced concrete. The building is wedge-shaped, with the second floor strategically designated as the main living area to maximize views. Floor areas decrease progressively toward the base to minimize lateral pressure on the retaining wall and reduce structural load. Aperitio House by Tomohiro Araki Yokohama Tsuzuki Housing by Shin Takamatsu and Kei Tamai This project seeks to create a home where one can live harmoniously with nature, even in densely populated cities. Inspired by traditional Japanese homes, the architect redefines modern living through a deep connection to the sky. At the heart of the design is a large central courtyard, connecting every room and creating a unified space. No matter where one is, the sky is ever-present, offering a sense of being embraced by the open air. Green Island Urban Power Substation by Xudong Zhu Nesting Plan VII—Formosan Wild Boar by Cheng Tsung Feng Nesting Plan VII—Formosan Wild Boar is an artwork that reflects the unique ecological characteristics of Forest Park in Hualien. It honors the indigenous species of Formosan Wild Boar and explores its architectural abilities. The piece showcases the boar’s nesting instincts, such as using hay and branches to construct nests while keeping their snouts facing the entrance to remain alert. Additionally, the work integrates native wood and bamboo, harmonizing with the surrounding forest environment. Slow Bakery Retail Design by Jing Ting Wu These exemplary projects highlight the diverse approaches and innovative solutions in contemporary architecture. They are committed to sustainability, functionality, and aesthetic excellence, aligning with ArchEyes’ worldwide mission to promote timeless architecture. Registrations for the A’ Design Award are now open for architects and designers aspiring to gain international recognition and showcase their work on a global platform. Submit your projects and join a community dedicated to excellence in design. Learn more and register here: competition.adesignaward.com/registration.php. To understand what the A’ Design Award entails and how it can benefit your professional journey, visit whatisadesignaward.com or adesignaward.com. Registration for the A’ Design Award & Competition 2025-2026 is now open.Results will be announced to the public on April 2025.  

Caja Granada Savings Bank | © Hisao Suzuki In the undefined periphery of Granada, where infrastructure precedes urban identity, Alberto Campo Baeza inserts a resolute and luminous object: the central offices of the Caja General de Ahorros. Designed in 1992 and completed in 2001, the Caja Granada Savings Bank is not merely a corporate headquarters. It is an architectural essay on the materialization of light. Framed within a rigorous conceptual structure, the project challenges the conventions of commercial office typologies by elevating light, geometry, and permanence as its core protagonists. Caja Granada Savings Bank Technical Information Architects1-8: Alberto Campo Baeza Location: Carretera de Armilla s/n, Granada, Spain Project Year: 1992 – 2001 Photographs: © Hisao Suzuki, © Fernando Alda, © Duccio Malagamba, © Roland Halbe It is simply a stone and concrete box that traps sunlight in its interior to serve the functions carried out within this ‘impluvium of light. – Alberto Campo Baeza Caja Granada Savings Bank Photographs © Hisao Suzuki © Fernando Alda © Duccio Malagamba © Hisao Suzuki © Hisao Suzuki © Alberto Piovano © Hisao Suzuki © Roland Halbe Caja Granada Savings Bank Conceptual Framework The project is essentially governed by a singular idea: the impluvium of light. Echoing the Roman typology of a central atrium designed to collect rainwater, Campo Baeza reinterprets the impluvium not as a hydraulic device but as a spatial and phenomenological mechanism to harvest light. The building becomes a luminous vessel designed to trap and distribute sunlight through a precise orchestration of form and material. The formal gesture is clear and disciplined: a semi-cubic volume elevated on a monumental base. This stereotomic plinth, embedded into the sloped terrain between two major roads, houses the archives, data center, and parking functions anchored to the earth. Upon this base rises the cubic mass of the main building, structured by a 3x3x3 meter reinforced concrete grid. This grid is not merely structural but the ordering system through which light is captured, filtered, and diffused. The conceptual clarity of the cube operates as a spatial manifesto, engaging with the theoretical dichotomies of stereotomic and tectonic (as articulated by Kenneth Frampton) and container and contained (per Hans Sedlmayr), both of which underpin Campo Baeza’s architectural language. Spatial Organization and Programmatic Clarity The building’s spatial organization is as deliberate as its geometry. The podium functions as a silent base, concealing technical and logistical operations. Above, the cube contains seven floors of offices arranged around a central courtyard. This interior void, void in mass but saturated in light, serves both a symbolic and functional role. It becomes the building’s lung and eye, a space that breathes and sees. Circulation is organized along a continuous perimetral ring surrounding the central impluvium, punctuated by four equidistant vertical cores. This configuration allows for both spatial clarity and programmatic flexibility. The southern façades, equipped with brise-soleils, host open-plan workspaces softly lit by filtered southern sun. In contrast, the northern façades accommodate individual offices, bathed in the uniform, cool light of the north and clad in alternating bands of stone and glass. These sectional variations respond not just to programmatic needs but to the nuanced choreography of light and orientation. Light, Materiality, and Atmosphere Light is the architectural protagonist of the Caja Granada building, not merely as illumination but as a spatial substance. The skylights embedded in the thick concrete roof channel sunlight into the central courtyard, where alabaster-lined surfaces catch and reflect it with delicate diffusion. This alabaster, chosen for its semi-translucent properties, acts as both membrane and mirror, modulating the intensity of incoming light and amplifying its reach across the interior. Campo Baeza establishes a profound dialogue between materiality and perception. The stereotomic box, the heavy, load-bearing frame of concrete and stone, embodies gravity and containment. The tectonic box within, light iron frames, translucent alabaster panels, and delicate glass invoke lightness and transience. The architecture is neither monolithic nor immaterial. It is the tension between the two that generates its poetics. Atmospherically, the building offers a calibrated interior landscape where light is never incidental. It is directed, reflected, and framed with an almost liturgical care. The experience of space is defined not by decorative features or formal exuberance but by the shifting intensity of light across surfaces, by shadow as much as by brightness. Caja Granada Savings Bank Plans Site Plan | © Alberto Campo Baeza Ground Level | © Alberto Campo Baeza Floor Plan, Typ. | © Alberto Campo Baeza Level 6 | © Alberto Campo Baeza Section | © Alberto Campo Baeza Section | © Alberto Campo Baeza Caja Granada Savings Bank Image Gallery About Alberto Campo Baeza Alberto Campo Baeza is a Spanish architect renowned for his minimalist and poetic approach to architecture, emphasizing clarity, light, and geometric order. Influenced by classical principles and modernist thought, his work often explores the interplay between solid and void, weight and lightness, using restrained materials like concrete, stone, and alabaster to create profound spatial and emotional resonance spaces. As a practicing architect and a longtime professor at the Madrid School of Architecture (ETSAM), Campo Baeza has significantly shaped contemporary architectural discourse through built work and theoretical writings. Credits and Additional Notes Architect Collaborators: Felipe Samarán Saló, Ignacio Aguirre López, Gonzalo Torcal Fernández-Corugedo, Emilio Delgado Martos, Raúl del Valle, María Concepción Pérez Gutiérrez, Tomás García Píriz Structural Architects: Andrés Rubio Morán, Víctor Martínez Segovia Engineer: Rafael Úrculo Aramburu Client: Caja General de Ahorros de Granada Design Competition: 1992 Design Development: 1998 Construction Period: 1999–2001 Contractors: OHL (A. Padilla), LKS (F. Varela)

House of the Infinite | © Javier Callejas Sevilla Located at the edge of the Atlantic Ocean in Cádiz, Spain, House of the Infinite (Casa del Infinito) by Alberto Campo Baeza embodies a radical architectural gesture: a purified horizontal plane confronting the sea’s boundless horizon. This project, conceived as a minimal podium built in Roman travertine, is not merely a dwelling but a metaphysical and spatial declaration. It speaks to permanence, classical memory, and the elemental relationship between architecture and landscape. House of the Infinite Technical Information Architects1-33: Alberto Campo Baeza Location: Cádiz, Spain Area: 900 m2 | 9,688 Sq. Ft. Completion Year: 2012-2014 Photographs: © Javier Callejas Sevilla We have built an infinite plane facing the infinite sea, the most radical house we have ever made. – Alberto Campo Baeza House of the Infinite Photographs © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla © Javier Callejas Sevilla Conceptual Foundations and Design Intent Campo Baeza has long explored the poetic potential of light, void, and geometry. House of the Infinite is among his most distilled propositions. The project begins with an intellectual premise: to construct an infinite plane, a plinth of stone facing the infinite sea. The house is rendered not as an accumulation of volumes but as a singular surface that evokes the timeless idea of a temenos, a sacred precinct where gods and mortals once met. Echoing historical and artistic precedents, Campo Baeza draws inspiration from Rembrandt’s etching Christ Presented to the People, in which a sharply delineated horizontal line becomes a stage for profound human drama. He also references the formal clarity of Mies van der Rohe and the tectonic boldness of Adalberto Libera’s Casa Malaparte. Unlike its precedents, this house situates itself not within a composition of objects but as a platform that is both architectural and geological, extending toward the Atlantic horizon. The building functions as a philosophical statement as much as a physical structure. It abstracts domesticity into an act of looking. Standing upon the podium, one becomes part of an ancient ritual, gazing toward the west, where the sun disappears into the ocean. Architecture becomes both frame and threshold. Spatial Strategy and Programmatic Organization Despite its visual simplicity, the spatial composition of House of the Infinite is highly deliberate. The bare, denuded, and wind-swept upper platform is a literal and figurative stage. Here, the house’s daily life becomes a performance against the elemental backdrop of sea and sky. Three protective stone walls define this plane, framing an open void that is both a domestic terrace and a civic plaza. Beneath this surface, the house unfolds through an inversion: two subterranean levels excavated into the bedrock. A 20-meter-wide by 36-meter-deep box conceals the dwelling’s private functions. These include bedrooms, service areas, and circulation routes, all carved from the site’s solidity. The entry sequence reinforces this spatial dramaturgy. From the street, one enters via a trench cut into the travertine, which leads down into the rock before reemerging atop the plane. Rather than composing interior volumes with partitions and layers, Campo Baeza defines space through section, light, and geometry. The sea becomes the façade and the sky the ceiling. Materiality and Construction Methodology The house’s material logic is as rigorous as its conceptual ambition. Roman travertine, a material imbued with historical and symbolic weight, dominates the project. It recalls both the ruins of nearby Baelo Claudia and the tectonic grandeur of imperial architecture. Used for the walls, floors, and cladding, travertine unifies the building as both structure and surface. The structural core, a reinforced concrete box embedded in the rock, supports the floating stone plane above. Given the harsh coastal conditions, the construction required precision in excavation, stone masonry, and weatherproofing. Suppliers such as Sierra Elvira Rocas Ornamentales provided the travertine, while Naturstone executed the façade work, emphasizing craftsmanship and permanence over stylistic novelty. This attention to material integrity, stone, glass, metal, and wood, reflects a deeper architectural ethic. Form, material, and place must speak with one voice. Contextual Significance and Critical Reflections House of the Infinite is firmly rooted in its site, both geologically and culturally. The choice of Cádiz is not incidental. The location is historically layered at the threshold between the Mediterranean and the Atlantic. It is a place of Roman ruins, Phoenician ports, and mythical sea routes. The house acknowledges this legacy without mimicry. It is contemporary and timeless, grounded yet abstract. Campo Baeza’s body of work has consistently pursued the essential. This project extends that pursuit to its architectural extreme. In rejecting ornament and traditional domestic articulation, he arrives at a condition of architectural silence, a radical clarity that seeks to outlast trends. House of the Infinite Plans Roof Level | © Alberto Campo Baeza First Floor | © Alberto Campo Baeza Ground Level | © Alberto Campo Baeza Section | © Alberto Campo Baeza Image Gallery About Alberto Campo Baeza Alberto Campo Baeza is a Spanish architect celebrated for his minimalist and poetic approach to architecture, which is characterized by light, geometry, and essential materials. Rooted in a deep philosophical foundation, his work often explores timeless spatial concepts, drawing inspiration from classical antiquity while maintaining contemporary clarity. Campo Baeza has taught architecture for decades and is widely respected for projects emphasizing purity, gravity, and metaphysical resonance. Credits and Additional Notes Codirectors of Construction: Tomás Carranza, Javier Montero Collaborating Architects: Alejandro Cervilla García, Ignacio Aguirre López, Gaja Bieniasz, Agustín Gor, Sara Oneto Quantity Surveyor: Manuel Cebada Orrequia Contractor: Chiclana Quality Control: Laboratorios Cogesur Excavation & Demolition: Excavaciones, derribos y transportes Chiclana Foundations: Tefesan Concrete Structure: Chiclana Roofing & Waterproofing: Sika, Fructuoso Pascual e Hijos Floating Pavement Base: SAS Partitions & False Ceilings: Hermanos Aguilar Travertine & Limestone Supplier: Sierra Elvira Rocas Ornamentales Stonework Installation: Naturstone Aluminum Carpentry: Jofebar Skylights: Hiberlux Metalwork: Náutica y Talleres González Guerra Wood Carpentry & Cabinetry: Madercorte Sliding Doors: Scrigno Locksmithing: Carpe Glasswork: Carlos Moreno, Cristal Vila Painting: Segundo Decoración E.H. Elevator: Zardoya Otis Electrical & HVAC Systems: Inelectri Cadiz Electrical Mechanisms & Domotics: Jung Lighting: Ferram, Iguzzini, Simes, Daisalux Solar Panels: Inoma Renovable (Igfoton) Plumbing: Corleo Plumbing Fixtures: Vola, Hansgrohe, Grohe Sanitary Fixtures: Duravit Swimming Pool: Aqualar Piscinas Kitchen Installation: Ambiente M.C. – Santos Roller Blinds: Bandalux

Concrete House in Brissago | © Hannes Henz Set against the dramatic landscape of Brissago, a small town perched above Lake Maggiore in Switzerland, the Concrete House by Wespi de Meuron Romeo Architetti is conceived as a quiet intervention that respects and reinterprets its topographic context. Anchored directly to the roadside, the building emerges from the terrain as a restrained monolith of washed concrete, simultaneously asserting presence and embedding itself within the natural slope. This duality, between solidity and sensitivity, becomes a guiding principle throughout the project. Concrete House Technical Information Architects1-13: WDMRA | Wespi de Meuron Romeo Architetti Location: 6614 Brissago, Switzerland Area: 190 m2 | 2,045 Sq. Ft. Completion Year: 2013 Photographs: © Hannes Henz This house can be experienced like a historic village. – Wespi de Meuron Romeo Architects Concrete House Photographs © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz © Hannes Henz Spatial Organization and Circulation Rather than turning away from the infrastructural condition of street adjacency, the architects embrace it: the roof doubles as a parking platform, seamlessly integrating vehicular access into the architectural form. The entry sequence, an elongated descent along a narrow alley, reorients the visitor’s experience, framing the landscape in increasingly intimate vignettes and shifting the perception of scale and spatial depth. The house departs from the idea of a singular dwelling in favor of a typological abstraction reminiscent of a miniature village. Paths, thresholds, and courts unfold in a layered narrative, emphasizing movement, encounter, and discovery. These gestures speak to the architects’ ongoing interest in drawing from vernacular architectures and transforming them through contemporary material and spatial strategies. Internally, the house is structured as a vertical sequence of spatial episodes. Upon entry, one is received not in a foyer or antechamber but directly into the house’s social core, a kitchen and dining area that open generously to the landscape. The glass wall facing the entrance courtyard can be fully recessed, dissolving boundaries between inside and outside and allowing the domestic program to spill outward in warmer months. This deliberate permeability is not a superficial gesture of openness but a carefully modulated transition between architectural enclosure and environmental immersion. Descending to the next level, the program continues with a secondary living room, fireplace, and library spaces of retreat that nonetheless maintain a strong visual and spatial connection to the outside. The central courtyard, paved in natural stone and populated with olive trees and a fountain, serves as the project’s physical and conceptual heart. It mediates between spaces, allowing visual overlaps and multiple circulatory paths. Much like a village square, it is a site of confluence and pause, gathering movement from across the house and redirecting it outward toward the terraced garden, pool, and outdoor kitchen. The lowest levels contain private zones, including bedrooms, baths, and wellness areas. These rooms remain tethered to the exterior through curated openings and connections to the landscape. Rather than a hierarchy of isolated functions, the house offers a gradient of spatial intimacy and exposure, negotiating the demands of privacy and openness through sectional manipulation and courtyard logic. Material Expression and Constructive Clarity Materially, the house is defined by its restrained palette and precision in execution. The washed concrete structure is not merely a façade strategy but the tectonic essence of the building load-bearing, textural, and atmospheric. Its coloration harmonizes with the surrounding stone and vegetation, reinforcing the sense that the house has grown from the hillside rather than been imposed upon it. Interiors follow a similarly measured approach. Oak veneers, chrome steel, and natural stone are deployed with discipline, forming a tactile counterpoint to the rawness of the concrete. Most of the fixed furniture, such as kitchen cabinetry, beds, desks, and dining tables, were custom-designed by the architects, reinforcing a coherent material and formal language throughout the building. Notably, the absence of ornament and decorative excess does not result in sterile minimalism; instead, spatial richness is achieved through proportion, light, and the subtle interplay of surfaces. Constructively, the house reflects a collaboration between local artisans and specialist consultants. Attention to building physics ensures comfort and environmental performance. At the same time, details such as operable gates, recessed glass panels, and integrated drainage systems speak to the precision with which the house negotiates its programmatic and environmental challenges. Atmosphere, Memory, and Typological Resonance Perhaps the most compelling aspect of the Concrete House in Brissago is its ability to evoke memory and place through spatial configuration rather than iconography. The courtyard becomes a mnemonic device, recalling the spatial logic of Mediterranean hill towns and enclosed patios. It serves not just as an organizing element but as an experiential anchor, grounding the inhabitants’ domestic routines within a broader cultural and environmental context. The house resists the impulse for singularity. It is not a ‘house as object’ but a ‘house as experience’ fragmented, layered, and subtly orchestrated. Each movement through the space reveals a new axis, material contrast, or a changing light condition. In this way, the project aligns more closely with phenomenological traditions in architecture, where atmosphere and sensory experience are primary concerns. Concrete House Plans Levels 1 and 2 | © WDMRA Levels 3 and 4 | © WDMRA East Elevation | © WDMRA West Elevation | © WDMRA South Elevation and Section | © WDMRA Concrete House Image Gallery About Wespi de Meuron Romeo Architetti Wespi de Meuron Romeo Architetti is a Swiss architecture studio based in Caviano, known for its minimalist, context-sensitive designs that emphasize materiality, spatial clarity, and a strong dialogue with the landscape. Their work often integrates traditional typologies with contemporary forms, resulting in architecture that is both timeless and rooted in place. Credits and Additional Notes Construction Supervision: Roberto La Rocca Architekt Structural Engineer: Pedrazzini Guidotti Sagl Building Physics: IFEC Consulenze SA Master Builder: Verzeroli Elia e Figli SA Carpenter: Steiner Schreinerei GmbH Windows: Lurati & Frei SA Site Area: 631 m² Living Floor Area: 190 m² Secondary Rooms: 60 m² Covered Terraces: 20 m² Courtyards: 45 m² Terrace / Lounge: 50 m² Swimming Pool: 22 m²

House ME | © Giacomo Albo In the hillside village of Brissago in Switzerland’s canton of Ticino, Transformation House ME by Wespi de Meuron Romeo Architects undertakes a quiet yet deliberate act of architectural redemption. The project is not a reconstruction in the conventional sense but a spatial and material unveiling of an effort to restore clarity to a historic structure that had lost much of its architectural identity through successive, unsympathetic modifications. House ME Transformation Technical Information Location: Nucleo Piodina 18, 6614 Brissago, Ticino, Switzerland Area: 185 m2 | 1,990 Sq. Ft. Completion Year: 2023 Photographs: © Giacomo Albo This project is intended as a gentle conversion, with the aim of revealing and strengthening the existing architectural qualities, which are now mostly hidden. – Wespi de Meuron Romeo Architects House ME Photographs Facade | © Giacomo Albo Courtyard | © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo © Giacomo Albo Revealing Architecture Through Spatial Reconfiguration Set on a sloped site with sweeping views of Lake Maggiore, the house is embedded within a vernacular landscape of stone walls, compact volumes, and terraced vineyards. While the structure’s origins are rooted in this traditional context, the past decades had layered it with ill-fitting interventions: an oversized exterior terrace supported by intrusive columns, heavy-handed plastering that obscured the original stonework, and interior transformations that diluted the spatial hierarchy. Wespi de Meuron Romeo’s approach is less about invention and more about a thoughtful subtraction, reconnection, and recalibration process. Central to the project’s spatial logic is the reversal of the typical domestic programmatic order. The architects strategically relocated the primary living areas from the upper levels to the lowest floor. This inversion establishes a direct physical and visual relationship with the garden, which had previously been relegated to a peripheral position due to the awkward elevation of the main social spaces. In turn, the removal of the out-of-scale terrace at the upper level restores both the proportion and integrity of the façade. This act of spatial inversion is complemented by a sectional strategy that introduces a double-height void in the new living area. This vertical gesture not only enriches the interior’s spatial dynamics but also produces moments of inter-level dialogue, drawing light deep into the plan and generating visual connections between the social and private zones of the house. It is a precise and calculated disruption that transforms the formerly compressed interior into a porous, light-filled environment that remains grounded in the scale and language of its setting. Architectural Memory in Material Tectonics Wespi de Meuron Romeo’s material approach is grounded in a philosophy of architectural archaeology. The team removed the non-historic plaster coatings, revealing the original stone masonry beneath. In place of comprehensive restoration, they chose a partial re-plastering technique, guided by traditional construction logic still observable in neighboring village homes. The resultant aesthetic is neither romanticized nor raw. It is calibrated and filtered through a contemporary lens without severing ties to the past. New architectural insertions, windows, interior finishes, and furniture are executed with restraint and tactility. The architects designed many of the fixtures themselves, including the kitchen, dining table, and various built-ins, lending the project a coherent material vocabulary. Their use of robust, tactile materials, stone, concrete, wood, and metal, reinforces the continuity between old and new while ensuring compliance with current energy and thermal standards. Notably, the roof truss, a key remnant of the original structure, is treated as both a structural necessity and an architectural protagonist. By removing sections of the ceiling and replacing them with horizontal glazing, the truss is visually integrated into the upper-floor bathroom and circulation zones. These are not mere aesthetic gestures but spatial decisions that reassert the legibility of the original building logic. House ME: Recontextualization Without Erasure The project’s broader significance lies in its capacity to negotiate between historical authenticity and contemporary living. Rather than treating the building as a static object of preservation, the architects engage with it as a living entity whose identity can be rearticulated through design. The choice to preserve all intermediate floor levels and expose the original wooden beams while simultaneously reinforcing the structure to accommodate modern systems (such as the new elevator) exemplifies this layered approach. From the insertion of modest new window openings at the garden level to replacing the basement’s vaulted ceiling with a structural concrete slab, each intervention is technically necessary and architecturally expressive. The result is a house that speaks multiple temporal dialects, a convergence of vernacular memory and contemporary function. House ME Transformation Plans Level -1 | © WDMRA Ground Level | © WDMRA Level + 2 | © WDMRA Level +1 | © WDMRA Elevation | © WDMRA Section | © WDMRA House ME Transformation Image Gallery About Wespi de Meuron Romeo Architects Wespi de Meuron Romeo Architects is a Swiss architecture studio based in Caviano, Ticino, known for its refined and contextually sensitive residential projects that blend contemporary spatial strategies with vernacular forms and materials. The firm, led by Markus Wespi, Jérôme de Meuron, and Luca Romeo, emphasizes architectural restraint, clarity, and craftsmanship, often working with traditional stone, wood, and concrete to create atmospheric spaces deeply rooted in their surroundings. Their work is characterized by a subtle dialogue between the old and the new, making them a significant voice in modern Alpine and Mediterranean architecture discourse. Credits and Additional Notes Engineering: De Giorgi & Partners Ing. SA Building Physics: IFEC Consulenze SA Master Builder: Walzer costruzioni SA Windows: Morotti Sagl Joinery: Zehnder AG Surface Coating: Liner SA Metalwork: Arte e Ferro di Novarina Stefan Furniture & Curtains: Bonetti arredamenti interni

Caviano House | © Hannes Henz Located within the steep terrain of Caviano, Switzerland, the concrete residence by Wespi de Meuron Romeo Architects emerges not as a gesture of dominance but as a measured act of densification. Built on a residual plot measuring just 128 square meters, directly adjacent to the architects’ studio, constructed in 1981, the house redefines the potential of leftover urban space by demonstrating how density, restraint, and contextual fidelity can converge into a formally rigorous and spatially rich work of architecture. Caviano House Technical Information Architects1-12: WDMRA | Wespi De Meuron Romeo Architetti  Location: 6578 Caviano, Gambarogno, Tessin, Switzerland Area: 80 m2 | 860 Sq. Ft. Project Year: 2015 Photographs: © Hannes Henz The polygonal exterior shape and the steep topography of the site let the building appear as an archaic stone block in middle of the forest. – WDMRA Architects Caviano House Photographs Street View | © Hannes Henz Facade | © Hannes Henz Facade | © Hannes Henz Entrance © Hannes Henz Entrance | © Hannes Henz Interior | © Hannes Henz Courtyard | © Hannes Henz Kitchen | © Hannes Henz Dining | © Hannes Henz Patio | © Hannes Henz Living Room | © Hannes Henz Contextual Framework and Design Strategy The project originates from a complex matrix of regulatory constraints and site limitations. With boundaries determined by mandatory setbacks from the adjacent road, forest, and neighboring buildings, the permissible building envelope adopts a peculiar pentagonal form. Rather than resisting this irregular geometry, the architects embraced it and embedded a rectilinear volume of 48 square meters within it that houses the essential domestic functions. The juxtaposition of irregular outer form and rational inner core reflects a larger architectural strategy: reconciling regulatory necessity with spatial clarity. This house was conceived as a primary residence for a family of three. The site’s adjacency to the architecture office demanded technical precision and a sensitive approach to architectural cohabitation. Instead of overpowering the preexisting conditions, the design acts as a counterbalance. It augments the spatial dialogue between built forms, forests, and lakes. The project is an exercise in calibrated intensification, where compactness catalyzes architectural quality. Spatial Strategy and Sectional Logic Organized over three levels, the house operates with a vertical clarity that belies its compact footprint. At the top level, aligned with the street, are the public living functions: the kitchen, dining, and living spaces arranged in an open plan. Two facades are left opaque for privacy and insulation; the other two open toward paired courtyards, bringing light, ventilation, and a nuanced relationship with the exterior. The dual-courtyard system is not a decorative or aesthetic move but a spatial mediator. The mountain-side courtyard serves as a visual and acoustic buffer from the street while admitting sunlight through a narrow aperture. In contrast, the lake-facing courtyard opens to expansive views of Lake Maggiore and the surrounding mountains while reflecting ambient light inward via its closed perimeter walls. Together, these spatial voids transform the living floor into a transitional zone. It is neither fully interior nor exterior but dynamically oscillates between enclosure and exposure. Descending one level, the second floor contains two bedrooms, each with its loggia. These provide private outdoor extensions that subtly reinforce the verticality of the section. The lower ground floor houses the technical rooms and a small workspace, with service functions embedded within the slope. Light penetrates through the skylight above the stairs, creating a continuity of daylight throughout the stacked program. Material Expression and Atmospheric Control Materially, the house speaks a quiet but confident language. Rough-washed concrete clads the exterior. This choice resonates with the surrounding geological textures and reinforces the impression of the building as a monolithic insertion into the hillside. The surface is intended to weather and darken over time, further embedding the structure into its landscape. This raw expression of mass contrasts with the interior, where built-in furniture and fittings designed by the architects create a tactile continuity and spatial discipline. The integration of art into the architecture adds another layer of authorship. One of the architects, Hanspeter Wespi, contributed two paintings strategically within the house. At the same time, Jérôme de Meuron crafted a wall sculpture that was installed in the living area. These interventions are not ornamental but dialogical. They are extensions of the building’s conceptual and material ethos. The light strategy is notably precise. Instead of flooding the space, the architects curate a play of illumination that responds to time, season, and orientation. Reflected light from the inner courtyard, filtered sunlight through skylights, and framed views through controlled openings give the interior an almost cloistered character. It is protected yet porous, intimate yet expansive. Caviano House Plans Level 1 | © WDMRA Level 2 | © WDMRA Level 3 | © WDMRA Roof Level | © WDMRA North Elevation | © WDMRA East Elevation | © WDMRA West Elevation | © WDMRA Caviano House Image Gallery About Wespi De Meuron Romeo Architetti Wespi de Meuron Romeo Architetti is a Swiss architecture studio renowned for its restrained, context-driven designs that harmonize contemporary minimalism with traditional materiality. Based in Caviano, the firm focuses on creating timeless spaces through careful spatial composition, tactile surfaces, and a strong dialogue between architecture and landscape. Credits and Additional Notes Engineering: de Giorgi & Partners Building Physics: IFEC Ingegneria SA Green Painting (Staircase): Hanspeter Wespi, Mergoscia Red-Black Painting (Dining Area): Hanspeter Wespi, Mergoscia Red Wall Sculpture (Living Room): Jérôme de Meuron Master Builder: Canonica SA, 6600 Locarno Windows: Morotti GmbH, 6573 Magadino Plasterer: Paolucci SA, 6710 Biasca Joiner: Romeo Buss GmbH, 6415 Arth Site Area: 128 m² Construction Volume: 530 m³ Construction Cost: CHF 750,000 (excl. VAT)

Independent Contractors Cleaning Facades | © Mathias Reding via Unsplash Working as an independent contractor is popular in California thanks to flexibility and high offers, but it carries certain legal burdens. From the legal aspect of determining whether or not you are an independent contractor to the legal aspects of contracts and insurance, knowledge of legalities is vital. Some specific laws have been developed in California that directly affect freelance workers.  As an independent contractor, handyman, painter, electrician, or garage door specialist, it is essential to note the following legal procedures to prevent lawsuits and legal issues that will be costly to your business. Below are crucial legal guidelines that any freelance home service contractor in California should consider: 1. Understand Your Legal Classification Employment law differs greatly in California, and this section will make it easier to distinguish between the statuses of an exempt and non-exempt employee and an independent contractor. In the state, the ABC Test under Assembly Bill 5 (AB5) is used to make the distinction. A freelancer continues to be categorized as an independent contractor after passing all three parts of the examination. An independent contractor hire is someone who requires no instructions or supervision from the hiring company. You must perform work aside from the hiring entity’s regular trade, occupation, or calling. You are required to be habitually carrying on some business of your own on a separate account. Noncompliance exposes the organization to severe penalties, including back taxes, fines, and even lawsuits. It is wise to consult employment law attorneys before entering into contracts or accepting freelance assignments. Employ an experienced attorney who will help you with proper classification, prepare all the necessary documents to show your eligibility, and shield you from any future court cases. 2. Always Use a Clear, Written Contract Victor Meza via Unsplash Victor Meza via Unsplash This is important even if your client is reputable, and drawing up a legal contract is always good practice. Your contract needs to state a review of the services required, fees, terms of payment, performance schedule, release and indemnities, and dispute resolution mechanisms. This becomes critical to self-employed workers such as garage door contractors, as they contract high-risk services such as repair, installation, or replacement that may cause liability issues in case they go wrong. If you do not have a legally binding agreement in practice, things can quickly turn sour between you and your business partner. Developing and maintaining a clear understanding of the partnership from the client’s side is vital because it defines your mutual expectations. It is professional, gains people’s trust, and can be helpful when seeking a lawyer if you are sued. 3. Know Local and State Regulations Lately, California assemblies have been famed for having some stiff regulations. The rules regulating local constructions, compliance with the laws protecting the environment, or implementing safety measures may differ from city to city or even county to county. Workers engaged in in-home services should understand that they are working under both state guidelines and the municipality. Ensure you know what permits are needed for various kinds of work, when safety inspections are necessary, and what zoning regulations must be followed. There are harsh penalties if your work is deemed non-compliant, and ignorance of the rules is not an acceptable excuse. 4. Protect Your Payment Rights California law protects contractors when it comes to payment. If a client refuses to pay for services offered by the contractors, the contractor can recover by filing a mechanic’s lien against the client’s property. However, there are guidelines that need to be followed; a preliminary notice must be served, and the lien must be filed within a certain period. It is important to maintain documentation on all the communication, bills, contracts, and the project’s overall development. Such papers are your legal instruments when you seek to protect your rights to payment by law. Extra Note: Recent changes under the new self-employed laws in California have placed additional emphasis on clear documentation for independent contractors. It is wise to keep abreast with these laws to avoid falling foul of the law and build your defenses in case someone takes your independence to court. In Conclusion Freelancing is increasingly becoming a popular business model among self-employed individuals in California, and it requires more than just expertise in home services to meet every challenge that comes one’s way, legally and mentally. Ironically, in a state where one can wake up one day and find that some business practices are prohibited, it is wise to be vigilant in order to protect both one’s reputation and future earnings. ContractorLegal by ArchEyes Team Leave a comment

Mendes da Rocha House | © Nelson Kon Located in the Butantã neighborhood of São Paulo, the Mendes da Rocha House is a personal and architectural manifesto. Designed and built in 1964 by Paulo Mendes da Rocha as his own residence, the house is more than a domestic dwelling: it directly reflects the architect’s values, both spatially and ideologically. Set within the intellectual climate of post-war Brazil and the rise of Paulista Brutalism, the house articulates a radical position on how architecture can serve as a tool for social engagement, structural clarity, and material honesty. Mendes da Rocha House Technical Information Architects1-5: Paulo Mendes da Rocha Location: Butantã, São Paulo, Brazil Area: 200 m2 | 2,153 Sq. Ft. Project Year: 1964 Photographs: © Nelson Kon, © Leonardo Finotti The house is not a machine for living, but a space for freedom. – Paulo Mendes da Rocha 6 Mendes da Rocha House Photographs Facade | © Nelson Kon Window | © Leonardo Finotti Windows | © Nelson Kon Stairs | © Nelson Kon Stairs | © Nelson Kon Courtyard | © Leonardo Finotti Living Room | © Nelson Kon Interior | © Nelson Kon Dining Room | © Leonardo Finotti Windows | © Nelson Kon Spatial Logic and Material Brutality The project emerged when the São Paulo School architecture, led by figures such as Vilanova Artigas, was challenging modernist dogmas. Mendes da Rocha’s house participates in this critical discourse by rejecting ornament and hierarchy, embracing raw materiality, and proposing a new kind of spatial equality within the domestic realm. The spatial configuration of the house clearly articulates function through structure. Elevated above the ground on pilotis, the residence employs a reinforced concrete slab system that liberates the plan and creates a floating platform for domestic life. This gesture resonates with Le Corbusier’s Five Points of Architecture but is reinterpreted in the socio-political context of Brazil. The floor plan resists conventional compartmentalization. Instead, spaces bleed into each other; kitchen, living, and movable furnishings rather than fixed walls loosely define sleeping areas. This open plan facilitates flexibility and a profound sense of spatial democracy. Every area of the house is equally privileged regarding light, ventilation, and accessibility. Materiality is central to architectural expression. Concrete is left exposed, revealing the imprints of its wooden formwork. There is no attempt to disguise the construction process. Rather, the tectonic language becomes the aesthetic. The decision to use unadorned materials is not merely stylistic; it is a philosophical stance that celebrates the poetics of construction and the integrity of matter. Philosophical and Sociopolitical Undercurrents The house functions as a quiet yet resolute act of resistance against bourgeois domestic traditions. When middle-class Brazilian homes adopted Eurocentric notions of refinement and compartmentalized space, Mendes da Rocha offered a radical alternative: a home stripped of excess, designed for intellectual and communal life. There is an intentional flattening of spatial hierarchy. Bedrooms do not command isolation or prestige; they exist in continuity with communal areas. Circulation is fluid and informal, reflecting the architect’s vision of a democratic society enacted through space. The house becomes a pedagogical tool, suggesting domestic life must not conform to prescriptive norms. Nature is not a backdrop but an active participant in the architectural composition. The elevated platform allows the terrain to remain visually and physically present. Vegetation enters the architectural experience without mediation, blurring the boundary between built and natural environments. Legacy and Influence on Contemporary Practice Today, the Mendes da Rocha House is a canonical reference in Latin American architecture. It exemplifies a paradigm where residential design is not reduced to comfort or aesthetics but is a critical framework for how space can influence behavior and social relations. Its influence is evident in contemporary architectural discourses around minimalism, adaptive reuse, and sustainable construction. The house’s rigorous material economy and spatial openness prefigure current interests in flexible living and reduced ecological footprints. Furthermore, the house encapsulates Mendes da Rocha’s broader architectural ethos, visible in his institutional works such as the Brazilian Museum of Sculpture (MuBE) and the Sé Cathedral station. In each case, the architect deploys massive materials to create spaces that are surprisingly humane and accessible. Mendes da Rocha House Plans Ground Level | © Paulo Mendes da Rocha Floor Plan | © Paulo Mendes da Rocha Section | © Paulo Mendes da Rocha Section | © Paulo Mendes da Rocha Mendes da Rocha House Image Gallery About Paulo Mendes da Rocha Paulo Mendes da Rocha (1928–2021) was a seminal Brazilian architect whose work played a pivotal role in shaping modern architecture in Latin America. Known for his bold use of exposed concrete and structural clarity, he was a leading figure in the Paulista Brutalism movement, often aligning architecture with social and political ideals. His designs, from private residences to monumental public institutions, emphasized material honesty, spatial openness, and civic engagement. Awarded the Pritzker Prize in 2006, Mendes da Rocha left a profound legacy through projects like the Brazilian Museum of Sculpture, the Pinacoteca do Estado, and his own house in São Paulo, which together embody an architecture of resistance, resilience, and democratic values. Credits and Additional Notes Client: Paulo Mendes da Rocha (self-commissioned) Project Type: Private Residence Architectural Style: Paulista Brutalism Structural System: Reinforced concrete frame, slab on pilotis Materials: Exposed board-formed concrete, steel, glass, wood Residential Masterpieces 23 Paulo Mendes Da Rocha by Ada Edita Global Architecture 

Geoffrey Bawa’s House | © Harry Crowder Number 11, Geoffrey Bawa’s residence in Colombo, is not merely a house; it is a spatial autobiography that documents the evolution of one of the most influential figures in post-independence South Asian architecture. Often cited as the father of “Tropical Modernism,” Bawa’s work deftly mediates between modernist principles and the ecological, cultural, and material conditions of Sri Lanka. Geoffrey Bawa’s House Technical Information Architects1-6: Geoffrey Bawa Location: 33rd Lane, Bagatelle Road, Colombo, Sri Lanka Original Structure Built: ca. 1910s (as row houses) Built Area: 400 m² | 4,300 ft² Renovation / Transformation Period: 1959 – 1998 Photographs: © Harry Crowder, © Ashish Shah It was never designed; it just happened. – Geoffrey Bawa 7 Geoffrey Bawa’s House Photographs © Harry Crowder © Ashish Shah © Harry Crowder © Harry Crowder © Harry Crowder © Harry Crowder © Harry Crowder © Harry Crowder © Harry Crowder © Ashish Shah © Ashish Shah © Ashish Shah Interior © Ashish Shah Interior Genesis of Number 11 Situated along Bagatelle Road in a densely built-up residential district, the house is the product of gradual and intuitive expansion. Acquired in 1959, what began as a single terrace house was incrementally extended over 40 years into a labyrinthine composition that merges four adjacent row houses. This incremental process reflects Bawa’s resistance to the fixed and formal architectural gestures favoring adaptive transformation. This ethos finds resonance in the regional realities of resourcefulness and fluidity. In many ways, Number 11 is the most distilled expression of Bawa’s architectural philosophy. It is not a manifesto but a subtle negotiation between form and environment, art and life, privacy and openness. Its creation parallels Sri Lanka’s post-colonial architectural search for identity, and its informality challenges conventional hierarchies of space and function. Spatial Strategy and Programmatic Fluidity Bawa approached the transformation of Number 11 as a continuous design process, an act of architectural layering rather than a singular act of authorship. Each addition or modification, often made in response to changing needs or artistic impulses, is seamlessly woven into the fabric of the existing structure. The result is an intricate spatial sequence that invites movement, pause, and reflection. The plan of Number 11 resists clear demarcations between inside and outside. Instead, it embraces ambiguity and permeability. Courtyards, open-air corridors, and lush gardens interweave with interior volumes to create a series of microclimates within the home. This spatial porosity enables passive cooling and natural ventilation, making the architecture climatically responsive without technological dependence. Circulation throughout the house is intentionally oblique. Views are framed and veiled through layered thresholds, wooden screens, foliage, and pivoting walls, inviting a processional experience. Spatial transitions are not merely functional but atmospheric; one moves from darkness into light, enclosure into openness, in a sequence more akin to choreography than traditional circulation. Programmatically, the house is fluid. The boundaries between domestic, studio, and display functions are deliberately soft. Bawa’s bedroom adjoins a library, leading to a sitting room filled with artworks and artifacts. The domestic realm becomes a testing ground for architectural ideas, art installations, and social engagements. In this way, Number 11 transcends the role of a private residence and becomes a lived archive of architectural experimentation. Material Palette and Construction Logic Bawa’s approach to materiality in Number 11 is grounded in what could be described as tactile modernism. Rather than assert monumentality, the house engages with the sensory and the intimate. Materials are selected not for their grandeur but for their resonance with local traditions and environmental logic. The predominant materials are whitewashed plaster, timber louver panels, polished concrete, and terra-cotta tiles, which form a restrained palette that emphasizes texture, light, and shadow. Each surface is designed to age gracefully, absorbing time as a material in itself. The use of local materials and craftsmanship reflects Bawa’s belief in architecture as a situated act that is inseparable from place. Architectural detailing is subdued but deliberate. Walls are thick and tactile, allowing for deep-set niches and recessed lighting. Openings are modulated to frame specific views of foliage, courtyards, or artworks. Pivots, not hinges, define door movements as an intentional softening of transitions. The interplay of vegetation and structure reinforces the sense of dwelling as something that emerges from, rather than sits upon, the landscape. Perhaps most notably, light is treated as a primary material. Skylights, clerestories, and filtered apertures animate the house throughout the day, casting shifting patterns across the floors and walls. In the absence of ornate decoration, light and shadow furnish the space. Geoffrey Bawa’s House Plans Floor Plans and Section | © Geoffrey Bawa Geoffrey Bawa’s House Image Gallery About Geoffrey Bawa Credits and Additional Notes Client: Geoffrey Bawa Design Team: Geoffrey Bawa (solo work, later supported by his studio staff) Landscape Design: Integrated by Geoffrey Bawa Current Status: Preserved and managed by the Geoffrey Bawa Trust Site Area: Approx. 740 m² (7,965 ft²) (a combined lot of four-row houses) Use: Former private residence; currently open to the public as a house museum  Geoffrey Bawa: The Complete Works, November 17, 2002, by Geoffrey Bawa and David Robson

Heydar Aliyev Center | © Iltun Huseynli via Unsplash For centuries, architecture has been shaped by the physical limitations of traditional materials. Stone, steel, and concrete dictated what was possible, imposing boundaries on form, structure, and imagination. But today, a new material revolution is rewriting the rules. Composite materials, by merging strength, flexibility, and sustainability, are giving architecture a new vocabulary: lighter, stronger, smarter. As composites become essential to a growing number of landmark projects worldwide, they do more than improve performance. They transform what architecture can express. The New Language of Form One of the most profound contributions of composites in architecture is their ability to liberate form. Freed from the rigid geometries of masonry or steel, architects can now design fluid, organic, and expressive structures that were once impossible or prohibitively expensive. Guangzhou Opera House (Zaha Hadid Architects, 2010): Advanced composite panels enabled the opera house’s seamless curves and flowing interiors, forming a building that feels almost carved by water. Heydar Aliyev Center (Zaha Hadid Architects, 2012): Fiber-reinforced composites made it possible to achieve continuous surfaces without visible joints, allowing a bold, sinuous form that merges landscape and architecture. Composites allow materials to bend, twist, and curve without compromising structural integrity, giving architects unprecedented freedom to design with movement, not just mass. Lighter Structures, Greater Possibilities Lightweight composites redefine structural logic by achieving high strength with minimal weight. This unlocks lighter, longer spans, reduces foundation requirements, and accelerates construction. King Abdullah Financial District Metro Station (Saudi Arabia, 2018): Massive composite sandwich panels spanning 27 meters created self-supporting forms, eliminating the need for traditional heavy reinforcement. Pasarela de Almuñécar (Spain, 2011): The world’s longest pedestrian carbon-fiber bridge demonstrates how composites can achieve longer spans with minimal material and visual impact. The lightweight advantage also enhances seismic resilience, reduces shipping and installation costs, and enables modular or prefabricated systems, all critical factors in today’s fast-paced, resource-conscious construction landscape. Strength Redefined Despite their reduced weight, composites offer exceptional strength and durability. Unlike steel, which can corrode, or concrete, which can crack over time, composites resist environmental degradation, UV exposure, and chemical attack. Sainte-Trinité Orthodox Cathedral Domes (Paris, 2017): Composite domes mimicking stone enabled a lightweight, resilient structure that could endure Paris’ changing climate without heavy maintenance. Qatar Integrated Railway Project (2018): FRP façade panels and roofing withstand desert heat, sandstorms, and moisture. Without the deterioration, traditional materials would suffer. By minimizing material fatigue, enhancing shock absorption, and offering exceptional weather resistance, composites create buildings designed for longer lifecycles with lower maintenance needs, which is critical for sustainable design. Smarter Design, Smarter Materials Composites are also evolving into intelligent materials for architecture, unlocking new dimensions in building innovation: Smart composites can embed sensors that monitor stress, vibration, and environmental conditions in real-time, enabling safer, more adaptive structures. Bio-composites, made with renewable fibers and resins, are reducing dependency on fossil-fuel-based materials, aligning architecture with circular economy principles. 3D-printed composites allow the fabrication of intricate, customized forms with almost zero waste, merging computational design with material innovation. Projects like the ETH Zurich’s DFAB House (2019) demonstrate how robotic fabrication and composite innovation can generate ultra-lightweight, high-performance structures that are customized for every project. Composite Innovation in Renovation and Adaptive Reuse SFMOMA | © Beyond My Ken. CC BY-SA 4.0 In addition to new construction, composite materials are playing an increasingly critical role in renovation, rehabilitation, and adaptive reuse projects. Their properties significantly extend the lifespan of aging structures while reducing environmental impact, a key advantage in sustainable development.Composites enable the prefabrication of large, lightweight units that can be quickly installed on-site, minimizing disruption and labor-intensive processes. Their adaptability allows architects to to improve the aesthetics, insulation, and structural performance of existing buildings without overburdening foundations. Examples include: San Francisco Museum of Modern Art – Expansion Façade: Composite panels allowed for an elegant and seamless extension, improving thermal performance while preserving the building’s iconic presence. Statue of Liberty Museum (New York, 2019): Composite materials provided durable and lightweight cladding that could withstand harsh environmental conditions without adding a significant structural load. Villa Bentivoglio: Renovated with carbon-fiber reinforcements, preserving the character of the original residence while enhancing strength against seismic forces. Across residential, commercial, and public infrastructure sectors, composites are redefining what is possible in a renovation, offering cost-effective and sustainable solutions that merge technological innovation with architectural beauty. Learn more about renovation with composites Real-World Applications Transforming Architecture Composite materials are already transforming diverse building typologies: Transport Hubs: High-performance, lightweight roofs like the King Abdullah Station reduce structural mass without sacrificing scale. Cultural Landmarks: Projects like the Guangzhou Opera House show how composites can create iconic, future-forward aesthetics. Façade Innovation: Composite cladding systems such as those used on the EDEM Business School (Spain, 2015) marry insulation performance with custom design. Adaptive Reuse: Lightweight composite facades and roofing allow historic structures to be revitalized without overloading foundations. Across applications, composites offer architects a toolkit for both structural innovation and design storytelling. Conclusion: Embracing the Future of Architecture Architecture has always evolved with its materials. Today, advanced composite solutions represent not just a technical improvement but a conceptual leap, allowing buildings to be lighter, stronger, smarter without compromising beauty or sustainability. By embracing composites, architects can free themselves from the constraints of conventional form, create longer-lasting and more efficient buildings, and lead the shift toward a regenerative, resilient future. The new language of architecture is being written now, and composites are its boldest voice. Discover how composites can transform your next project: www.composites.archi Composite Materials by ArchEyes Team Leave a comment

Koshino House Aerial View | © Shinkenchiku Sha Located in the wooded hills of Ashiya, Hyōgo Prefecture, the Koshino House (1981–1984) is a seminal work in Tadao Ando’s early career, embodying his rigorous commitment to spatial purity, material honesty, and a poetic engagement with nature. Commissioned by renowned fashion designer Hiroko Koshino, this residential project transcends the conventional idea of a house. It functions instead as a meditative composition of volumes, voids, and light. It is in Koshino House that many of Ando’s now-iconic strategies were first synthesized and articulated with clarity and conviction. Koshino House Technical Information Architects1-2: Tadao Ando Architect & Associates Location: Ashiya, Hyōgo Prefecture, Japan Client: Hiroko Koshino (fashion designer) Area: 225 m2 | 2,420 Sq. Ft. Project Year: 1980 – 1984 Photographs: Flickr Users, See Caption Details In architecture, the light is the strongest material. At Koshino House, I wanted to use concrete to create darkness, so that the light could become architecture. – Tadao Ando 6 Koshino House Photographs © Agustin Lanfrit, Flickr User © Kazunori Fujimoto, Flickr User © Kazunori Fujimoto, Flickr User © Kazunori Fujimoto, Flickr User © Kazunori Fujimoto, Flickr User © Chris Schroeer Heiermann, Flickr User © Chris Schroeer Heiermann, Flickr User © Chris Schroeer Heiermann, Flickr User Context and Design Genesis The project emerged from a specific confluence of context, client, and topography. Located on a sloping site densely covered with vegetation, the house had to respond not only to the challenging terrain but also to the client’s desire for seclusion and inspiration. Rather than dominate the land, Ando chose to embed the architecture within it. This decision set the tone for a design that would value restraint, intimacy, and harmony with the landscape. This was a defining moment in Ando’s career: Koshino House represents a pivot from his earlier, more experimental projects toward a refined and disciplined architectural language. While modest in scale, it encapsulates the tectonic and conceptual principles that would become central to his later work, an emphasis on movement, sensory experience, and the phenomenology of space. Spatial Organization and Formal Strategy The house is composed of two elongated, orthogonal concrete volumes set parallel to each other and partially submerged into the hillside. Their configuration is deceptively simple. A narrow, subterranean corridor connects the two volumes, turning the act of circulation into a spatial experience defined by the contrast between dark and light, compression and expansion, enclosure and openness. The first volume contains the primary living spaces, while the second holds the private quarters. The orientation and offset positioning of the volumes create dynamic interstitial spaces, courtyards, and framed views that choreograph a dialogue between interior and exterior. The sectional complexity, an effect of embedding the forms into the slope, allows the building to appear simultaneously grounded and abstract. Circulation throughout the house unfolds deliberately, with Ando carefully curating the procession of spaces. The transitions are neither abrupt nor ornamental but meditative, emphasizing movement as a central design element. This approach recalls traditional Japanese spatial planning, where architecture is experienced through sequential encounters rather than static views. Materiality, Light, and Atmosphere Koshino House is a study in material discipline. Cast-in-place concrete is the sole structural and finishing material, offering both spatial continuity and a minimalist material palette. The walls, formed with meticulous precision, are not merely structural but expressive. Their surface bears the imprint of the wooden formwork, adding texture and subtle warmth to an otherwise cold material. Light is the house’s most dynamic element. Ando sculpts it with architectural precision, introducing it through narrow apertures, clerestories, and deep reveals. The contrast between the heavy concrete and ephemeral light creates a tension that animates the interior spaces. Daylight is modulated throughout the day, casting patterns that shift with the time of year, making the architecture an instrument of temporal awareness. Interior spaces are intentionally restrained, almost ascetic, allowing materials and light to become the primary agents of the atmosphere. The dialogue between solid and void is not purely formal; it is emotional and psychological, evoking silence, introspection, and a sense of refuge. Critical Legacy and Architectural Significance Koshino House has been widely recognized as a foundational project in Tadao Ando’s career. It introduces several strategies that would become hallmarks of his practice: the use of monolithic concrete walls as spatial boundaries, the integration of architecture into the landscape, and the use of light as a generative force in design. The house also serves as a pedagogical tool, a case study of how a modest residential program can yield profound architectural insights. Its restraint in form and materiality stands in contrast to the excesses often associated with domestic architecture. Yet its spatial richness, atmospheric depth, and conceptual clarity continue to resonate with architects across generations. As a project, it not only reflects Ando’s ethos but also articulates a broader cultural sensibility—one rooted in the Japanese tradition of ma (間), the space between things, and the appreciation of emptiness as a potent architectural gesture. Nearly four decades after its completion, the Koshino House remains not only relevant but essential. It invites us to reconsider the fundamentals of architectural practice: how we engage the site, how we shape experience, and how architecture can express both permanence and impermanence through the quiet interplay of material, form, and light. Koshino House Plans Floor Plans | © Tadao Ando Section | © Tadao Ando Elevation | © Tadao Ando Koshino House Image Gallery About Tadao Ando Tadao Ando is a self-taught Japanese architect renowned for his minimalist yet spiritually resonant architecture, characterized by the masterful use of exposed concrete, natural light, and spatial purity. Drawing from both Japanese tradition and modernist principles, his work emphasizes silence, emptiness, and the experiential qualities of space, often integrating architecture harmoniously with nature. Ando’s projects, such as the Church of Light and the Row House in Sumiyoshi, have earned him global acclaim, including the Pritzker Architecture Prize in 1995. Credits and Additional Notes Lead Architect: Tadao Ando Project Team: Tadao Ando Architect & Associates Site Conditions: Steeply sloped, wooded residential area Structural System: Reinforced concrete, in-situ cast Construction Type: Two parallel volumes partially embedded in the hillside, connected by an underground corridor Ando: Complete Works 1975-today by Philip Jodidio and Tadao Ando

Sunner Museum | © Cyan & Orange Images Located in the ecologically rich Wuyi Mountains region of Fujian Province, the Sunner Museum offers a nuanced interpretation of industrial architecture. Commissioned by Fujian Sunner Holding Co., Ltd., one of China’s leading poultry production companies, the museum is more than just a corporate monument. Instead, it represents a spatial manifesto that blurs the line between built form, landscape, and industrial infrastructure. Designed by Atelier Alter Architects, the project challenges prevailing assumptions about factory-adjacent buildings by proposing a typology that is both literally and metaphorically embedded in the terrain. Sunner Museum Technical Information Architects1-10: Atelier Alter Architects Location: Guangze County, Nanping City, Fujian Province, China Client: Fujian Sunner Holding Co., Ltd. Area: 6,800 m2 | 73,195 Sq. Ft. Project Years: 2022-2024 Photographs: © Highlite Images, © Cyan & Orange Images, © Atelier Alter Architects When we say we want to set architecture in motion that means we want our architecture to have a continuous, spontaneous, and dynamic dialogue with the time we live in. We want to find permanence in dynamism. – Atelier Alter Architects Sunner Museum Photographs © Highlite Images © Highlite Images © Highlite Images © Cyan & Orange Images © Atelier Alter Architects © Highlite Images © Cyan & Orange Images © Highlite Images © Highlite Images © Highlite Images © Atelier Alter Architects Reimagining Industrial Typologies: Design Intent and Conceptual Framework At its core, the Sunner Museum responds to a twofold agenda: the need to celebrate decades of agricultural innovation and the desire to craft a space for public engagement and industry dialogue. The site, located within the Sunner Group’s factory complex in Guangze County, is situated at the edge of a dense forest and near the Futun River. Its location, at the threshold between controlled industrial production and the untamed natural topography of the Wuyi Mountains, sets the stage for the architectural narrative. Rather than imposing a discrete object on the land, the design embraces the principle of shanshui (mountain-water) integration. The concept of “recreating the mountain landscape” is not limited to metaphor; it becomes a formal and tectonic strategy. The museum’s tripartite roof structure, composed of gently sloping curves, rises organically from the ground, imitating the undulating silhouette of nearby hills. This gesture transforms the roof into a walkable terrain and positions the building as a continuation of the landscape rather than a disruption. Simultaneously, it foregrounds architecture’s potential to serve both as an infrastructural utility and a civic platform. Sunner Museum Spatial Organization The spatial choreography of the museum is defined by its interlocking roof forms, which function simultaneously as envelope, circulation surface, and public belvedere. Beneath these sculpted planes, the building houses a series of programmatically distinct but spatially connected volumes. Each volume retains its autonomy while remaining part of an integrated circulation system, a condition achieved through thoughtful sectional design and the porous relationships between interior and exterior. A central feature of the spatial organization is the 25-meter-tall vertical atrium, supported by four silo-shaped shear walls. These cylindrical voids reminiscent of grain silos yet reinterpreted with a structural sensibility anchor the plan while allowing for a column-free exhibition hall. Their scale and materiality introduce a monumental quality to the interior, enabling the display of large-scale installations without spatial interruption. Meanwhile, north-facing skylight filters diffused daylight into the core, avoiding the pitfalls of harsh illumination in exhibition settings. This choreography extends to the building’s rooftop, which serves as a public space open to everyone. During the day, it offers panoramic views of the surrounding terrain and industrial complex. At night, it becomes a community platform, illustrating how industrial architecture can transcend its private function and engage with the civic realm. Material Articulation and Environmental Performance The façade system exemplifies a rigorous exploration of material tectonics. Inspired by the folded steel sheets commonly used in retaining walls, the architects employ concrete folded plates to articulate the exterior envelope. These pleated surfaces introduce a dynamic material rhythm while serving multiple performative roles. At lower levels, they act as stable, load-bearing elements. Near the entrance and public zones, they interface with transparent curtain walls, creating an interplay between solidity and permeability. The diagonal geometry of the concrete folds is more than just aesthetic. It supports functional imperatives such as water drainage in Fujian’s humid climate and cleverly conceals mechanical louvers. This synthesis of expressive form and technical necessity reflects a broader architectural ambition: to embed environmental performance within the language of the architecture itself rather than as a set of appended technologies. Further strategies for climatic responsiveness include the extensive use of soil-covered roofing for insulation and steep roof inclines to ensure rapid rainwater discharge. HVAC and lighting systems are integrated into a technical cavity within the roof structure, avoiding visible intrusions while preserving the space’s sculptural integrity. Sunner Museum Plans © Atelier Alter Architects © Atelier Alter Architects © Atelier Alter Architects © Atelier Alter Architects © Atelier Alter Architects © Atelier Alter Architects Sunner Museum Image Gallery About Atelier Alter Architects Atelier Alter Architects is a Beijing-based interdisciplinary design studio founded by Xiaojun Bu and Yingfan Zhang, known for its research-driven approach that combines architecture, urbanism, and landscape design. The firm explores the intersection of form, environment, and cultural identity, often employing bold geometries and spatial experimentation to address contemporary social and ecological challenges. Their work frequently engages with large-scale civic and institutional programs, aiming to create architecture that is both performative and contextually grounded. Credits and Additional Notes Lead Architects: Xiaojun Bu, Yingfan Zhang (Atelier Alter) LDI: Beijing Yanhuang United International Engineering Design Co., Ltd. Structural Engineering: Beijing Institute of Architectural Design Co., Ltd. Landscape Design: LOCUS Associates, Ltd. Façade Engineering: Ping Zhu Lighting Design: Z Design & Planning Exhibition and VI Design: Jiangsu Science Dream Exhibition Technology Co., Ltd. Floor Area: 6,800 sqm Site Area: 11,000 sqm Construction Cost: $21 million (USD)

Muuratsalo Experimental House | © Wakiiii, Flickr User Set on the tranquil island of Muuratsalo, in the heart of Finland’s Lake Päijänne, Alvar Aalto’s Koetalo, translated as “Experimental House,” offers a rare instance of built architectural research. Conceived and constructed between 1952 and 1954, the house was neither a client commission nor a formal institutional study but a deeply personal endeavor by Aalto and his wife, architect Elissa Aalto. The project served as both a summer residence and a working laboratory, a place to test ideas not just through drawings but through lived spatial and material conditions. Muuratsalo Experimental House Technical Information Architects1-4: Alvar Aalto and Elissa Aalto Location: Island of Muuratsalo, Lake Päijänne, Jyväskylä, Finland Area: 250 m2 | 2,690 Sq. Ft. Project Year: 1952 – 1954 Photographs: © Trevor Patt, © Jussi Toivanen, Flickr Users The Muuratsalo Experimental House was meant as a kind of testing ground, where one could try out different materials, structural solutions, and forms. In a sense, it is a house that lives by questions rather than answers. – Alvar Aalto 5 Muuratsalo Experimental House Photographs Aerial View | © Jussi Toivanen, Flickr User Exterior | © Jussi Toivanen, Flickr User Facade | © Jussi Toivanen, Flickr User Patio | © Jussi Toivanen, Flickr User Patio | © Jussi Toivanen, Flickr User Details | © Jussi Toivanen, Flickr User Interior | © Jussi Toivanen, Flickr User Exterior | © Jussi Toivanen, Flickr User Architectural Laboratory and Context The Muuratsalo Experimental House emerges in Aalto’s oeuvre at a time of postwar architectural redefinition. Having gained international prominence through projects such as the Paimio Sanatorium and Villa Mairea, Aalto turned toward smaller-scale, introspective works. Koetalo marks a departure from monumental public buildings, focusing instead on fundamental questions of material behavior, climatic responsiveness, and spatial intimacy. Located on a wooded island accessible only by boat, the site offered isolation conducive to focused experimentation. It also presented the raw elements of stone, water, wind, and vegetation that Aalto sought to engage with architecturally. Far from urban pressures, Koetalo was an ideal location for testing the relationship between constructed forms and the natural environment. Muuratsalo Experimental House Spatial Configuration The house is organized around an inward-facing courtyard, a typological move echoing both the Roman peristyle and the Finnish farmyard. The U-shaped plan frames an open void that mediates between the architecture and the surrounding forest. This central courtyard becomes the spatial and atmospheric core of the project at once protected and porous, an arena for light, shadow, and seasonal transformation. Spatially, the house juxtaposes enclosed, low-ceilinged interior volumes with the expansive openness of the courtyard. The domestic program is secondary to the spatial experiment: a simple living area, bedroom, and sauna arranged to support short summer stays. The absence of hierarchy in the spatial organization reflects the house’s function as a laboratory rather than a traditional home. Circulation flows seamlessly between interior and exterior, dissolving the boundary between architecture and landscape. Material Strategies and Construction as Inquiry Koetalo’s most striking architectural feature lies in its experimental masonry. Over fifty types of bricks, tiles, and jointing techniques are employed in a deliberate patchwork that covers the courtyard walls. This heterogeneity was not aesthetic play but an empirical study; each surface was designed to test weathering, thermal performance, and visual effects under the Nordic climate. The walls became active research panels, allowing Aalto to assess the durability and expressive potential of materials over time. This methodology extended beyond brick. The house explores various roofing systems, wall insulations, and timber constructions. Concrete beams span irregularly shaped openings, while experimental plaster finishes are featured throughout the interiors. The construction process managed without a general contractor, was hands-on and iterative, embodying Aalto’s conviction that architecture should be an evolving craft rather than a fixed doctrine. The careful juxtaposition of rustic, raw brick against smooth wood and exposed aggregate alongside polished surfaces illustrates Aalto’s compositional sensibility. Here, material contrast is not a gesture of style but a reflection of the house’s epistemological ambition: to question, test, and learn from the built form. Theoretical Resonance and Continuing Legacy Koetalo represents one of the purest expressions of Aalto’s architectural philosophy. It manifests a deeply humanistic ethos, where material experimentation is grounded in a sensitivity to nature and place. Rather than relying solely on abstract theory or academic research, Aalto engaged with the physical reality of building, letting the house itself become a teacher. Today, the Experimental House is maintained by the Alvar Aalto Foundation and is open for guided visits during the summer. While modest in scale, its architectural significance is substantial. Koetalo continues to challenge the idea of the house as a static object, proposing instead a dynamic field of experimentation, an architecture that evolves through use, exposure, and reflection. Muuratsalo Experimental House Plans Site Plan | © Alvar Aalto Foundation Floor Plan | © Alvar Aalto Foundation Section | © Alvar Aalto Foundation Muuratsalo Experimental House Image Gallery About Alvar Aalto Alvar Aalto (1898–1976) was a Finnish architect, designer, and theorist widely regarded as a pioneer of modern architecture and humanistic design. Blending functionalism with organic forms, his work emphasized the relationship between architecture, nature, and the human experience. Aalto’s projects, ranging from civic buildings and private residences to furniture and glassware, embody a deep sensitivity to materiality, light, and context, establishing him as one of the most influential figures in 20th-century architecture. Credits and Additional Notes Design Team: Alvar Aalto and Elissa Aalto Client: Alvar Aalto (self-initiated project) Materials Tested: Over 50 different types of bricks, tiles, mortar joints, wood, plaster, and concrete techniques Current Status: Maintained by the Alvar Aalto Foundation; open for guided summer visits Aino + Alvar Aalto: A Life Together by Heikki Aalto-Alanen

Vasconcelos Library | © Roberto Ortiz de Landazuri In Mexico City, near a former railway yard in the Buenavista neighborhood, the Vasconcelos Library is a bold infrastructural intervention, one that reconceives the library typology not merely as a repository of books but as a living, spatial organism. Designed by architect Alberto Kalach and his firm, TAX (Taller de Arquitectura X), the project combines an immense structural logic with a conceptual framework rooted in ecological integration and democratic access to knowledge. Vasconcelos Library Technical Information Architects1-5: Alberto Kalach | Taller de Arquitectura X (TAX) Location: Buenavista, Mexico City, Mexico Area: 38,000 m2 | 409,000 Sq. Ft. Project Year: 2004 – 2006 Photographs: © Trevor Patt, © Roberto Ortiz de Landazuri The library is a botanical and intellectual machine, an attempt to reconnect the city with nature and knowledge through architecture. – Alberto Kalach 6 Vasconcelos Library Photographs © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Trevor Patt © Roberto Ortiz de Landazuri © Roberto Ortiz de Landazuri © Roberto Ortiz de Landazuri Context and Conceptual Foundations The Vasconcelos Library was conceived during the early 2000s as part of a federal initiative to revitalize urban infrastructure and promote public education. Situated in a socially and physically fragmented area of Mexico City, the project was an ambitious attempt to graft a monumental public program into a previously marginal site, transforming the urban fabric through architecture. Kalach approached the design not as an isolated building but as an infrastructural ecosystem, a “botanical machine for learning.” This metaphor encapsulates his ambition to create a spatial system that combines knowledge and vegetation, producing an architecture that operates more like a greenhouse or scaffold than a library. The project embodies his long-standing preoccupation with ecological urbanism, landscape integration, and systemic thinking in architecture. Rather than adopting a classical institutional form, Kalach envisioned the library as a megastructure, drawing on architectural traditions that favor spatial layering, porosity, and public accessibility. The building refrains from monumentalizing literacy as an elite endeavor; instead, it renders knowledge spatially transparent and physically immersive. Vasconcelos Library Spatial Strategy The spatial configuration of the Vasconcelos Library is defined by a longitudinal, cathedral-like volume measuring over 250 meters in length. Within this structural envelope, a series of modular, steel-framed mezzanines float across the central nave, suspended from the superstructure above and below like vertebrae in a spine. These platforms house the book collections, reading areas, and circulation routes, orchestrated in a seemingly chaotic yet highly rational choreography. The central nave functions as both a void and a conduit, visually linking the upper and lower levels and directing movement along the building’s axis. This sectionally complex space dissolves traditional hierarchies between floors, creating a continuous experience of light, structure, and occupation. Circulation paths, composed of walkways, staircases, and ramps, crisscross the interior in a manner that recalls infrastructural logic more than conventional interior design. Movement becomes an architectural event in itself. Key to this experience is the deliberate orchestration of transparency. Bookshelves are configured as open grids, offering porous boundaries that frame views and promote a sense of collective awareness among others within the space. This openness promotes a sense of shared civic purpose while avoiding the enclosed atmosphere often associated with conventional libraries. Materiality and Structure The material expression of the Vasconcelos Library is rooted in raw industrial aesthetics. The primary materials—exposed concrete, galvanized steel, laminated glass, and stone—convey a sense of structural sincerity and permanence. There is no effort to conceal the mechanical or tectonic components of the building; instead, they are celebrated as part of its architectural character. The steel superstructure, from which the book platforms are suspended, performs a dual role as both a load-bearing frame and spatial organizer. The building’s skin and core are minimal, allowing the skeletal logic to dominate both functionally and visually. This exposure aligns with the building’s conceptual underpinning: it is not a finished object but a system in continuous dialogue with its environment. In contrast to its industrial material palette, the building incorporates extensive botanical elements, both inside and out. A garden designed by Kalach and his collaborators surrounds the building, and vegetation infiltrates select interior spaces. This juxtaposition between the machine and the landscape underscores the project’s hybrid identity, neither entirely built nor entirely natural. From an environmental standpoint, the library embraces passive strategies. The central void allows daylight to penetrate deep into the building, reducing reliance on artificial lighting. Cross-ventilation and thermal massing help mitigate interior temperatures, while mechanical systems supplement performance as needed. While not a sustainability showcase by contemporary standards, the building reflects an early effort toward integrated environmental design within a public typology. Critical Reception and Legacy Since its opening in 2006, the Vasconcelos Library has elicited polarized responses within architectural and public discourse. It has been lauded for its spatial daring, intellectual ambition, and infrastructural scale qualities rarely associated with civic buildings in Latin America. For many, it represents a rare moment when a public commission embraced architectural experimentation rather than falling back on bureaucratic conservatism. At the same time, the project has been criticized for its execution. Construction errors and budget overruns plagued the early years, leading to the library’s temporary closure in 2007 for structural repairs and upgrades. These challenges underscored the risks inherent in translating complex architectural visions into public infrastructure. Nevertheless, the building’s impact endures. It continues to function as a significant public amenity and a spatial reference point in the urban landscape. For architects, the Vasconcelos Library offers a compelling case study in designing beyond typological conventions. It raises essential questions about how public buildings can function as infrastructural frameworks, ecological systems, and civic symbols—simultaneously. Vasconcelos Library Plans Floor Plan | © Alberto Kalach, TAX Sections | © Alberto Kalach, TAX © Alberto Kalach, TAX Image Gallery About Alberto Kalach Alberto Kalach is a Mexican architect known for his visionary approach that integrates architecture, ecology, and urbanism. Founder of Taller de Arquitectura X (TAX), his work spans from private residences to large-scale public infrastructure, often emphasizing systemic thinking, raw materiality, and the reintegration of natural landscapes into the urban fabric. Kalach’s projects, such as the Vasconcelos Library and his long-standing proposal for a hydrological recovery of Mexico City, reflect a deep commitment to reimagining the city as a living, ecological organism. Credits and Additional Notes Collaborating Architects: Juan Palomar, Tonatiuh Martínez, Gustavo Lipkau, and Juan Carlos Pérez Client: Secretaría de Educación Pública (Ministry of Public Education), Government of Mexico Structural Engineers: Grupo Mecanismo Landscape Design: Alberto Kalach, in collaboration with Pedro Sánchez Program: National public library including reading rooms, multimedia facilities, administrative areas, garden, and public gathering spaces Alberto Kalach: Work by Alberto Kalach, Miquel Adrià, Carlos Jiménez, Juan Palomar, Fernándo Fernández, Eduardo Vázquez

Casa Gallareta | © Nacho Ballester Amid the dense native forests of Villa La Angostura in Argentine Patagonia, Casa Gallareta by OJA (Organic & Joyful Architecture) presents a sensitive architectural intervention that challenges conventional notions of residential hospitality. Rather than imposing on the pristine landscape, the project embraces the forest’s rhythms, proposing a model where built form and environment exist in symbiosis. Casa Gallareta Technical Information Architects1-2: OJA | Organic & Joyful Architecture Location: Villa La Angostura, Patagonia, Argentina Site Area: 250 m² Completion Year: 2023 Photographs: © Juan Segundo Díaz Dopazo, © Abril Roffo, © Nacho Ballester Our objective was to create an architecture that coexists harmoniously with the forest, blending into the landscape without leaving a mark. – Juan Segundo Díaz Dopazo and María Ayelén Olivieri Martínez Casa Gallareta Photographs © Juan Segundo Díaz Dopazo © Juan Segundo Díaz Dopazo © Abril Roffo © Nacho Ballester © Nacho Ballester © Juan Segundo Díaz Dopazo © Nacho Ballester © Juan Segundo Díaz Dopazo © Juan Segundo Díaz Dopazo © Juan Segundo Díaz Dopazo © Juan Segundo Díaz Dopazo Integrating Architecture with the Native Forest The site for Casa Gallareta lies within a forest of towering Coihues and Arrayanes, set against the steep slopes and tranquil waters of Lake Correntoso. For architect Juan Segundo Díaz Dopazo, who grew up in Patagonia, the region’s untouched beauty held a deep personal significance. Together with María Ayelén Olivieri Martínez, the architects sought to translate this connection into an architectural language that privileged coexistence over conquest. Conceived as a boutique-scale lodging complex (250 sq m), the project features a collection of modular cabins designed to blend into the forest rather than dominate it. Respecting the delicate ecosystem, the cabins were placed in existing clearings, eliminating the need to remove any trees. This approach underscores the architects’ intent to weave human habitation into the landscape’s pre-existing order, achieving what they describe as a “controlled randomness,” a methodical distribution that allows each cabin to retain a unique spatial relationship with its surroundings while maintaining a unified architectural expression. Compactness, Openness, and Sensory Immersion Though compact in footprint, each cabin offers a spatial richness uncommon in small-scale hospitality projects. Organized across split half-levels, the interiors create a subtle topographic variation that both echoes the natural slope of the terrain and enhances the user’s experience of movement and enclosure. A key spatial strategy involves blurring the boundaries between the interior and exterior. Expansive, strategically placed windows frame the surrounding forest, inviting the landscape into the living space while maintaining privacy through the dense Myrtle canopy. Rather than isolating guests from one another, the cabins’ orientations encourage a careful balance between solitude and a loose visual dialogue among the units and communal spaces. The spatial sequence culminates in certain moments of heightened sensory experience, such as the freestanding tub positioned before a panoramic window in the largest cabin. Here, architecture mediates an intimate relationship with the natural cycles, offering the act of bathing as an immersive experience amidst snowfall and the seasonal changes of the forest. Casa Gallareta Materiality and Construction Techniques Materiality in Casa Gallareta functions as both an expressive and a pragmatic response to site conditions. Externally, the cabins are clad in eucalyptus wood treated with the traditional Japanese technique of Shou Sugi Ban. This method involves surface charring to enhance weather resistance, fire protection, and durability. The resulting deep-blackened surfaces serve not only as protection but also as a critical design gesture: a visual backdrop that intensifies the colors of the living forest, greens in summer, and whites in winter. Complementary materials such as Lapacho wood, black metalwork, and exposed concrete lend additional textural variety while maintaining a restrained and earthy palette. Dry construction was employed atop reinforced concrete foundations to navigate the site’s steep, densely vegetated conditions, ensuring minimal disruption to the land during the building process. The interiors contrast sharply with the dark exteriors, clad almost entirely in Guatambú wood, a light, knot-free material chosen for its ability to brighten and enlarge the sense of interior space. Used extensively for paneling and custom-built furniture, the Guatambú creates visual continuity between walls and furnishings, reinforcing a monolithic, minimalist atmosphere that enhances the perception of purity and tranquility. Contemporary Luxury Through Nature-Embedded Architecture Casa Gallareta participates in a broader redefinition of luxury in contemporary architecture. Eschewing opulence and excess, the project proposes a vision of luxury rooted in essential spatial qualities: intimacy with nature, sensory richness, and authenticity of material experience. In the cultural context of Patagonia, a landscape increasingly drawn into global conversations on ecological stewardship, the project stands as a model of site-responsive architecture that respects the primacy of the natural world. Here, architecture is not the protagonist but a careful mediator between human habitation and the pre-existing environmental narrative. Through its modest scale, strategic spatial gestures, and carefully considered material palette, Casa Gallareta challenges architects to reconsider the relationship between buildings and landscapes. It invites a vision of future hospitality projects where minimal intervention yields maximum experiential depth and where architecture, rather than asserting itself, disappears seamlessly into the living world. Casa Gallareta Plans Plans | © OJA Casa Gallareta Image Gallery About OJA (Organic & Joyful Architecture) Juan Segundo Díaz Dopazo and María Ayelén Olivieri Martínez are the founding partners of OJA (Organic & Joyful Architecture), a young architecture studio based in Patagonia, Argentina. Their practice is rooted in a deep respect for natural landscapes, combining sustainable construction techniques with a sensitivity to place. Specializing in residential and hospitality projects, they explore how architecture can foster emotional connections through minimal intervention and immersive spatial experiences. Credits and Additional Notes Architects: Arq. María Ayelén Olivieri Martínez, Arq. Juan Segundo Díaz Dopazo Primary Materials: Eucalyptus wood (Shou Sugi Ban technique), Lapacho wood, Glass, Black metalwork, Exposed concrete, Guatambú wood (interiors)

CORA by IAAC | © Adrià Goula Tucked into the dense landscape of Barcelona’s Collserola Natural Park, the Valldaura Labs Campus of the Institute for Advanced Architecture of Catalonia (IAAC) continues its experimental trajectory with the development of CORA, the Cathedral of Robotic Artisans. Conceived as a workshop for a 6-axis KUKA industrial robot, CORA embodies a critical reflection on architecture’s evolving relationship with technology, materiality, and landscape. CORA Technical Information Design Team1-8: IAAC & Valldaura Labs Location: Parc de Collserola, Valldaura Labs Campus, Barcelona, Spain Site Area: 135-hectare campus  Client: Institute for Advanced Architecture of Catalonia (IAAC), Valldaura Labs Project Year: 2023 – 2025 Photographs: © Adrià Goula CORA is a tribute to both craftsmanship and technology, establishing a dialogue between historic architecture and contemporary fabrication. – IAAC Team CORA Photographs © Adrià Goula © Adrià Goula © Adrià Goula © Adrià Goula © Adrià Goula © Adrià Goula © Adrià Goula © Adrià Goula Spatial Qualities: Dialogue Between Existing and New Structures The project posed a complex challenge: to retrofit a 19th-century brick stable into a functional, contemporary fabrication space while preserving its historical integrity. Within a four-month timeframe, an international cohort of MAEBB (Master in Advanced Architecture and Biocities) students designed and built a hybrid structure that simultaneously honors traditional craftsmanship and embraces advanced digital fabrication. At the heart of the project lies a tension between the old and the new, the solid and the porous, the static and the adaptive. The design retains the original brick walls, reinforcing them structurally while removing the decayed roof to introduce a new timber framework. This act of surgical preservation frames the contemporary intervention as both a response and a counterpoint to the pre-existing architecture. Internally, the space is organized around the operational needs of the industrial robot. An open-span layout ensures unobstructed movement, while carefully positioned skylights and glazed openings allow natural light to penetrate the interior without compromising environmental control. Above the robot, a prominent skylight creates a dramatic shaft of light that recalls the sacred spatial strategies of ecclesiastical architecture, reinforcing the project’s metaphor of a “cathedral” for contemporary artisanship. The spatial atmosphere is quiet and refined, a composition of filtered daylight, exposed timber, and restored masonry that balances technological precision with human engagement. Materiality and Construction: Advanced Timber Engineering Timber serves as the project’s primary material, chosen for its environmental performance, structural adaptability, and symbolic resonance with the surrounding landscape. A self-supporting arborescent structure, made from solid wood and Cross-Laminated Timber (CLT), defines the new roof and internal framework. Seven branching columns, reminiscent of tree trunks, hold aloft a Voronoi-patterned canopy, a formal language derived from nature but realized through digital craftsmanship. Fabrication processes combined traditional joinery techniques, such as half-lap and mortise-and-tenon, with Computer Numerical Control (CNC) machining to achieve precision and structural integrity. Limitations in milling depth required innovative solutions, including multi-layered joint assemblies, each laminated to form a seamless mass. The external envelope consists of CLT panels milled with a subtle Voronoi pattern, creating a facade that responds dynamically to light and shadow while maintaining a respectful dialogue with the historic brick context. Internally, the panels were left raw, preserving the tactile honesty of the wood. Above, the project’s green roof system layers include waterproof membranes, geotextiles, and a humus substrate to support an assemblage of local Mediterranean species, such as honeysuckle, lavender, and creeping sedum, reinforcing both the environmental ambitions of the project and its deep integration with the site ecology. CORA in the Landscape of Architectural Innovation CORA is more than a technical achievement. It is a built inquiry into the evolving definition of craftsmanship in an era increasingly mediated by automation. By housing a robotic artisan within a structure that is itself a product of both human hands and digital fabrication, the project provocatively blurs the distinctions between the maker and the made. Within the educational framework of IAAC’s MAEBB program, CORA extends the lineage of prior experimental constructions, such as VOXEL, FLORA, and the Solar Greenhouse, each challenging conventional notions of ecological design and construction methodologies. Contextually, the project offers a sensitive response to its site, maintaining the integrity of the Collserola Natural Park while advancing a model of bio-digital architecture rooted in a circular bioeconomy. Through its material palette, fabrication techniques, and spatial sensibility, CORA quietly asserts that future architecture need not abandon tradition to innovate. Rather, it must reweave it with new technological threads. CORA Plans Axonometric View | © IAAC Details | © IAAC CORA Image Gallery Credits and Additional Notes Direction: Vicente Guallart, Daniel Ibañez, Michael Salka Executive Director, Valldaura Labs: Laia Pifarré Project Management: Esin Aydemir Design Team: Students of the Master in Advanced Ecological Buildings and Biocities (MAEBB) 2023/24: Alexander Tamazov, Toni Javor, Emma Rodriguez Berghmans, Neeshi Doshi, Lamprini Makarona, Diana Ruzanska, Alfred Ziad Aramouni, Anushreya Kondapi, Juan Sebastián Batallas Cueva, Marianna Santos Fujii, Varun Sreenath, André Arruda Navarro, Mustafa Teksoy, Oliver Needham, Alireza Shayan, Alkiviadis Avarkiotis, Maya Shoavi, Sharvari Sharath, Sveta Sathyanadhan, Vanessa Marie Alvarado Barrios, Helen Girma, Karla Velarde Sandoval, Kristina Schüssler. Expert Staff: Bruno Ganem, Marielena Papandreou, Lorenzo Salinas, Viorel Cazacu Advisors: Miquel Rodriguez, Elena Orte, Guillermo Sevillano, Ignasi Caus, David Valldeoriola, Silvia Burés, Toni Arola, Ionut Cosenco, Carles Enrich, Firas Safieddine, Arturo de la Maza Sponsors: Tallfusta, Alberch, Montpart Support: Parc de Collserola, Ajuntament de Cerdanyola del Vallès

Eco Museum | © Roberto Ortiz de Landazuri, ArchEyes Mathias Goeritz (1915–1990), the German-born Mexican artist, sculptor, and architect, was a leading voice advocating for an architecture grounded not merely in function or aesthetics but in emotional experience. His manifesto for “Emotional Architecture” urged designers to seek spaces that could provoke introspection, awe, and spiritual engagement. Eco Museum Technical Information Architects1-2: Mathias Goeritz Location: Sullivan Street 43, Colonia San Rafael, Mexico City, Mexico Client / Patron: Daniel Mont (art collector and entrepreneur) Area: 1,500 m2 | 16,145 Sq. Ft. Project Year: 1952 – 1954 Photographs: © Roberto Ortiz de Landazuri, ArchEyes I do not believe in functional architecture, but in emotional architecture. I want to create spaces that provoke an emotional reaction in the visitor. – Mathias Goeritz 3 Eco Museum Photographs © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes © Roberto Ortiz de Landazuri, ArchEyes Form, Materiality, and Spatial Strategies The Eco Museum (El Eco), conceived in 1953 and inaugurated in 1954, is one of Goeritz’s most radical architectural works. More than a museum, El Eco was envisioned as a gesamtkunstwerk, a total work of art where architecture, sculpture, and experience would blend into a unified emotional field. Commissioned by Daniel Mont, a visionary patron of the arts, the project aimed to create an alternative to the increasingly rigid norms of modernist exhibition spaces. In an era when Mexico was redefining its cultural identity through architecture and the arts, the Eco Museum emerged as a deeply experimental, almost subversive proposal. Rejecting the neutral, modular spaces characteristic of the International Style, Goeritz envisioned the Eco Museum as an emotional journey. Its formal composition consists of an orchestrated sequence of compressed corridors, intimate patios, and dramatic voids. The layout fosters constant shifts in scale and orientation, evoking sensations of tension, wonder, and release. Materiality plays a critical role in reinforcing this psychological terrain. The building’s surfaces, rough stucco walls, exposed brick, and poured concrete eschew ornament in favor of rawness. Light and shadow become dynamic protagonists within these surfaces, transforming the perception of space throughout the day. Unlike the uniform lighting conditions of conventional galleries, El Eco celebrates unpredictability, welcoming the interplay of natural phenomena with architecture. Spatially, Goeritz employed a calculated use of restriction and expansion. Narrow passages suddenly open onto wider courtyards; low ceilings give way to soaring volumes. Visitors are not passive viewers but participants whose bodily movements are constantly negotiated and challenged. In place of clarity, Goeritz offered an architecture of ambiguity, spaces that must be felt as much as seen. The design was profoundly shaped by Goeritz’s European influences, particularly Expressionism and the Bauhaus ethos of synthesis between arts. Yet El Eco is unmistakably rooted in Mexican sensibilities: its introspective courtyards, material textures, and ritualistic spatial progressions resonate with the architecture of pre-Hispanic ceremonial centers. Cultural and Urban Context: Mexico City in the 1950s The Eco Museum was conceived during a transformative period for Mexico City. Post-revolutionary Mexico sought to project a modern identity through monumental public works and cultural institutions. Architects like Luis Barragán and Mario Pani embodied different facets of this project: Barragán with his poetic modernism and Pani with his rationalist urban planning. Within this landscape, Goeritz carved a distinct path, offering a counterproposal to functionalist orthodoxy. Unlike many civic buildings of the time that asserted their presence in the urban grid, El Eco turns inward. Its fortress-like exterior, devoid of windows to the street, shields a private world within, a conscious resistance to the city’s burgeoning chaos. In doing so, it creates an autonomous zone where the art of architecture and the architecture of art intertwine. The museum also intersected with socio-political ambitions. It presented a rare space for avant-garde artistic expression at a time when nationalism heavily influenced cultural production. Goeritz’s vision stood apart: he sought universality through emotion rather than through iconography. Eco Museum Contemporary Relevance El Eco’s influence extends far beyond its modest physical scale. As one of the earliest museums to prioritize the visitor’s emotional and spatial experience over the display of objects, it anticipated shifts in museography and exhibition design that would only become mainstream decades later. Architects working within the phenomenological tradition, such as Peter Zumthor and Tadao Ando, share a lineage with Goeritz’s prioritization of atmosphere and sensory engagement. The museum’s life has not been without challenges. Neglect and subsequent alterations threatened the integrity of Goeritz’s vision. However, recent restoration efforts, especially since the museum was revived by the Universidad Nacional Autónoma de México (UNAM) in the early 2000s, have sought to preserve its original ethos. Careful attention has been paid to maintaining the tactile materiality and the nuanced play of light and space that define El Eco. Eco Museum Plans Floor Plans | © Mathias Goeritz Eco Museum Image Gallery About Mathias Goeritz Mathias Goeritz (1915–1990) was a German-born Mexican artist, sculptor, and architect known for pioneering the concept of “Emotional Architecture,” advocating for spaces that evoke spiritual and emotional responses rather than serving purely functional purposes. Blending European avant-garde influences with Mexican cultural sensibilities, Goeritz’s work, including iconic projects such as the Eco-Museum and the Torres de Satélite with Luis Barragan, bridged art, and architecture to create unified experiential environments. Credits and Additional Notes Lead Designer: Mathias Goeritz Collaborators: Jesús Reyes Ferreira (conceptual art advisor), German Cueto (sculptural works) Mathias Goeritz: Modernist Art and Architecture in Cold War Mexico by Jennifer Josten

Weissenhof Apartment Building | © Xiquinho Silva, Flickr User In 1927, Stuttgart became the stage for one of the most influential exhibitions in architectural history: the Weissenhof Estate (Weissenhofsiedlung), organized by the Deutscher Werkbund. Conceived as a living laboratory for modern architecture, it assembled some of the most progressive architects of the time, including Ludwig Mies van der Rohe, Walter Gropius, and Le Corbusier, among others. The goal was clear: to explore prototypes for a new kind of housing in an increasingly industrialized society. Weissenhof Apartment Building Technical Information Architects1-3: Le Corbusier and Pierre Jeanneret Location: Stuttgart, Germany (Weissenhofsiedlung) Area: 1,200 m2 | 12,918 Sq. Ft. Project Year: 1926 – 1927 Photographs: Flickr Users, See Caption Details We must create mass-production housing as we create mass-production automobiles. – Le Corbusier, circa 1927 4 Weissenhof Apartment Building Photographs Historic Photograph © Klaus, Flickr User © Xiquinho Silva, Flickr User © Xiquinho Silva, Flickr User © Xiquinho Silva, Flickr User © Martin Lambie, Flickr User © Xiquinho Silva, Flickr User © Hans Jan Durr, Flickr User © Andrew Campion, Flickr User Architectural Concept and Design Principles Le Corbusier, working closely with his cousin Pierre Jeanneret, was tasked with designing two buildings: a single-family house and an apartment block. His contributions to the Weissenhof Estate crystallized many of his emerging theories on urbanism and domestic architecture. At the heart of his vision was the belief that architecture must respond to the needs of modern life through rational, standardized, and efficient solutions. The Weissenhof Apartment Building is more than a product of its time; it is a pivotal moment where theory was translated into built form. Its legacy endures not only through the direct influence on subsequent housing models but also as a critical statement on the potential of architecture to reshape urban living. Formally, the building presents a strikingly pure composition: a rectilinear white volume lifted above the ground on slender pilotis. This gesture not only liberates the ground plane for communal circulation but also elevates the domestic spaces, emphasizing a sense of lightness and detachment from the earth. The design rigorously applies Le Corbusier’s “Five Points of Architecture,” formulated during this period and first fully tested at Weissenhof before being famously refined in later works such as the Villa Savoye (1928–1931): Pilotis: The structural grid of columns replaces load-bearing walls, enabling an open ground level and freeing the interior plan. Free Plan: The absence of structural walls within the interior allows flexible spatial arrangements, adapting to various living needs. Free Façade: With structural loads carried by the internal frame, the façade becomes an independent skin, articulated through horizontal ribbon windows and clean surfaces. Ribbon Windows: Continuous horizontal bands of glazing bring abundant daylight into the apartments and reinforce the building’s linearity. Roof Garden: A flat roof doubles as a communal open space, compensating for the green area consumed by the footprint. Programmatically, the apartment block was designed as a prototype for collective housing, offering a variety of unit types to accommodate different household structures. Spaces are compact yet generous, characterized by open-plan living areas, optimized circulation, and abundant natural light. The modularity hints at the potential for mass production, a theme that Le Corbusier would continue to explore throughout his career. Materially, the building featured a reinforced concrete frame with infill walls of lightweight masonry finished with white stucco. Prefabrication techniques were tested, though limited by the technological constraints of the time. This experimental spirit underscores the building’s role not as a polished product but as an evolving laboratory for architectural innovation. Critical Analysis and Architectural Legacy The Weissenhof Apartment Building is a daring experiment, both a success and a provocation. In achieving unprecedented flexibility and formal purity, it proposed a radical departure from traditional domestic architecture. Yet it also encountered technical difficulties: flat roofs leaked, and some construction methods proved challenging to realize with the available craftsmanship. Beyond its technical realities, the project holds profound urban implications. Le Corbusier’s vision was not limited to individual buildings but extended to the city’s fabric itself. The Weissenhof block prefigures his later explorations in high-density housing, such as the Unité d’Habitation in Marseille, where collective life, modular design, and communal amenities are synthesized on a much larger scale. The influence of the Weissenhof Apartment Building can be traced through mid-century modernism and into contemporary architectural discourse on housing. It demonstrated that standardized construction, rational planning, and aesthetic clarity could coexist with human needs, challenging preconceived notions of domesticity and setting new paradigms for urban living. Nearly a century after its construction, the Weissenhof Apartment Building continues to offer valuable lessons. In an era increasingly concerned with sustainability, density, and adaptability, its core ideas—flexibility, efficient use of space, and the integration of architecture with its urban context—remain strikingly relevant. Preservation efforts following the heavy damage of World War II and later restoration projects have sought to maintain the integrity of Le Corbusier’s vision. Today, the Weissenhof Estate is recognized as a critical milestone in architectural history, and its candidacy for UNESCO World Heritage status underscores its enduring significance. Weissenhof Apartment Building Plans Floor Plans | © FLC, Le Corbusier Axonometric View | © FLC, Le Corbusier Weissenhof Apartment Building Image Gallery About Le Corbusier Le Corbusier (1887–1965) was a Swiss-French architect, urban planner, and theorist who became one of the most influential figures of modern architecture. Advocating for rationalism, functionalism, and new construction technologies, he developed revolutionary ideas such as the “Five Points of Architecture” and visionary urban concepts like the “Ville Radieuse.” His built works, writings, and theoretical projects profoundly shaped the development of 20th-century architecture and continue to inform contemporary architectural discourse. Credits and Additional Notes Client: Deutscher Werkbund (German Association of Craftsmen) Design Team: Le Corbusier, Pierre Jeanneret (architects); local contractors executed under supervision Site Area: Part of the broader Weissenhof Estate (17 buildings by 17 architects; specific building footprint approximately 200–250 m²) Curtis, William J.R. Le Corbusier: Ideas and Forms. Phaidon Press, 1996. Benton, Tim. The Villas of Le Corbusier 1920–1930. Yale University Press, 1987. Cohen, Jean-Louis. Le Corbusier: An Atlas of Modern Landscapes. The Museum of Modern Art, 2013.

Eliot Noyes House | © Michael Biondo Eliot Noyes occupies a significant place in the canon of American modernism, not merely for his architectural contributions but also for his broader influence as an industrial designer and curator. A graduate of Harvard’s Graduate School of Design under Walter Gropius, Noyes was an integral figure in the group informally known as the “Harvard Five,” alongside Marcel Breuer, Philip Johnson, Landis Gores, and John Johansen. Eliot Noyes House Technical Information Architects1-6: Eliot Noyes Location: New Canaan, Connecticut, United States Area: 297 m2 | 3,200 Sq. Ft. Completion Year: 1954 Photographs: © Michael Biondo, Flickr User: See Caption Details We wanted a house that would be intimate with the landscape, open to the woods, and organized around a protected outdoor space. – Eliot Noyes 7 Eliot Noyes House Photographs © Michael Biondo © Michael Biondo © Michael Biondo © Michael Biondo © Michael Biondo © Michael Biondo © Michael Biondo Design Principles and Architectural Strategies In the postwar period, New Canaan, Connecticut, became an unlikely epicenter for modern architectural experimentation. Here, young architects found the freedom to challenge prevailing domestic typologies, exploring ideas of openness, integration with nature, and technological innovation. Within this rich architectural landscape, home to seminal works such as Philip Johnson’s Glass House and the contemporary Grace Farms project by SANAA, Noyes designed his family residence. Completed in 1954, the Noyes House II (his second home built for himself) is a manifesto of his architectural vision: a synthesis of modernist ideals and pragmatic domesticity deeply rooted in the natural setting of New Canaan. At the heart of the Noyes House is a central courtyard, a spatial device that organizes the dwelling into two distinct, linear volumes. One houses the public living spaces, the kitchen, dining room, and living room, while the other contains the private bedrooms. This arrangement reflects a clear zoning logic, striking a balance between functional clarity and experiential richness. Material selection and construction methods are equally deliberate. A steel frame system enables large spans and an open-plan configuration, while local fieldstone walls anchor the structure to the site. Cedar siding and expansive glass panels complete the palette, creating a dialogue between the house and its surroundings. The material expression is neither ornamental nor didactic; instead, it reinforces the house’s conceptual clarity. Perhaps most significant is the way the house engages with its landscape. Sited within a wooded plot, the building’s low-slung, horizontal form contrasts yet harmonizes with the verticality of the trees. The courtyard serves as an extension of the living spaces, blurring the boundary between the interior and exterior. Windows are positioned not only for views but also to modulate light and frame discrete moments in the landscape. This approach suggests an early sensitivity to environmental responsiveness long before it became a disciplinary imperative. Eliot Noyes House Influence and Adaptation The Noyes House introduced several important innovations that would resonate throughout American residential architecture. Its modular organization and economy of form demonstrated modernism at once rational and humane, rejecting the monumental in favor of the intimate and livable. The house anticipated many strategies now associated with sustainable design. Its careful siting, passive solar orientation, and material honesty prefigured later environmental concerns, even if not articulated in those terms explicitly. In this way, the Noyes House can be seen as part of a lineage that challenges the caricature of mid-century modernism as cold or mechanistic. Over time, the preservation of houses like Noyes’ has become an essential conversation in architectural circles. As materials age and lifestyles change, tensions arise between preserving historical integrity and adapting to contemporary needs. The Noyes House has undergone careful restoration efforts that aim to maintain its essential character while making necessary updates to its infrastructure and performance. Such work highlights the broader challenges faced in protecting modern architecture, which often lacks the patina of age that more traditional historic structures possess. Lessons for Contemporary Practice The Eliot Noyes House offers enduring lessons for architects today. It demonstrates that modernism, when approached thoughtfully, need not be dogmatic or alienating. Instead, it can be deeply attuned to human experience, environmental context, and material truth. At a moment when architecture grapples with new environmental imperatives and shifting cultural landscapes, Noyes’ synthesis of rational structure, spatial generosity, and ecological sensitivity remains strikingly relevant. His work reminds us that innovation does not necessarily demand spectacle; instead, it may be found in the quiet resolution of complex demands into forms that feel both inevitable and alive. Eliot Noyes House Plans Floor Plan | © Eliot Noyes Eliot Noyes House Image Gallery About Eliot Noyes Eliot Noyes (1910–1977) was an American architect, industrial designer, and curator who played a pivotal role in shaping mid-century modernism in the United States. A graduate of Harvard’s Graduate School of Design under Walter Gropius, Noyes was a key member of the “Harvard Five,” a group of architects who transformed New Canaan, Connecticut, into a hub of modern residential architecture. Beyond his architectural work, he was influential in corporate design, leading groundbreaking programs for IBM and Mobil. A commitment to rational form, integration with landscape, and the humanization of modernist ideals characterizes Noyes’ work. Credits and Additional Notes Site Area: Approx. 6 acres (24,280 m²) Built Area: Approximately 3,200 square feet (297 m²) Client: Eliot Noyes and his family Construction System: Steel frame with fieldstone and cedar cladding; Large expanses of glass with aluminum framing Key Features: Central open-air courtyard, Two parallel linear volumes (public/private zoning), Extensive indoor-outdoor integration, Passive solar orientation and natural ventilation strategies Blake, Peter. The Master Builders: Le Corbusier, Mies van der Rohe, Frank Lloyd Wright. New York: Alfred A. Knopf, 1960. The Harvard Five in New Canaan: Midcentury Modern Houses by Marcel Breuer, Landis Gores, John Johansen, Philip Johnson, Eliot Noyes, and Others by William D. Earls

Żorro Housing | © Adam Then In the evolving landscape of post-socialist urban Poland, where prefabricated housing blocks remain stark reminders of utilitarianism, Żorro stands out not through flamboyance but through precise architectural recalibration. Designed by Franta Group, the recently completed residential building transforms a conventional typology into a spatial prototype that allows for living well, affordably, and in context. Zorro Housing Technical Information Architects1-9: Franta Group Location: ul. Handlowa, Żory, Poland Area: 5,720 m2 | 61,570 Sq. Ft. Completion Year: 2023 Photographs: © Adam Then Żorro was inspired by the basic principle of creating architecture, which is to improve the existing functional, aesthetic, and spatial standards found in a given place and context for future residents. – Franta Group Architects Zorro Housing Photographs © Adam Then © Adam Then © Adam Then © Adam Then © Adam Then © Adam Then © Adam Then © Adam Then © Adam Then Żorro Housing Urban Context Żorro emerges from a critical engagement with its immediate environment: a neighborhood characterized by standardized prefabricated housing stock. Rather than rejecting this built fabric, Franta Group builds upon it, morphing the typical “housing block” into something both familiar and radically improved. This gesture is not about iconography or spectacle, despite the name suggesting otherwise. Instead, Żorro operates on the principle of quiet intervention subtly yet decisively, offering a model of residential architecture that redefines quality from within the constraints of form, regulation, and cost. The project proposes an alternate future for cities like Żory, often overlooked in architectural discourse, by embracing their limitations as fertile ground for innovation. Spatial Strategy: Rethinking the Domestic Envelope At the core of Żorro’s architectural innovation is its treatment of outdoor space. The project dispenses with the token balcony, a standard fixture in Polish apartment buildings, and replaces it with expansive terraces that function as full-fledged extensions of the home. These “summer living rooms” and “summer gardens” are not ancillary amenities but foundational to the architectural experience, increasing each unit’s usable area by 30–50%. This reconceptualization of the threshold between inside and outside marks a shift in how we define domestic boundaries. These terraces, proportioned like rooms, accommodate a spectrum of seasonal uses from private retreats to communal gardens—transforming the act of dwelling into one that is outward-looking, environmentally attuned, and spatially generous. Materiality, Form, and Environmental Calibration The building’s stark black façade is more than an aesthetic statement; it is an active component in the project’s environmental logic. Through the deliberate proportioning of overhangs and terrace depths, the design moderates solar gain throughout the seasons. In the summer, when solar angles are high, the façade remains shaded during peak hours, which reduces overheating. In winter, the lower sun penetrates deep into the terraces, contributing to passive heat gain—an intelligent, low-tech solution to climatic responsiveness. Material choices further underscore the design’s ethos. By omitting expensive cladding and decorative finishes, resources were reallocated toward spatial quality and environmental performance. The resulting aesthetic, pared down, robust, and precise, supports an architecture that is not about surface but substance. With construction costs averaging 6,800–7,500 PLN/m² (approximately € 1,600–€ 1,760), Żorro positions itself within the realm of affordable housing. Yet its architectural ambition challenges the normative expectations for this typology. It demonstrates that spatial generosity, environmental responsiveness, and dignified design are not the exclusive territory of metropolitan projects or elite clients. Zorro Housing Plans Site Plan | © Franta Group Floor Plan | © Franta Group Floor Plan | © Franta Group Section | © Franta Group Elevation | © Franta Group Zorro Housing Image Gallery About Franta Group Franta Group is a Polish architectural studio known for its socially engaged and context-sensitive designs, with a particular focus on affordable housing and urban regeneration. Led by architect Tomasz Franta, the firm blends pragmatic spatial strategies with environmental responsiveness to create buildings that challenge conventional typologies while remaining accessible and grounded in local realities. Credits and Additional Notes Client: Blockhouse Number of Apartments: 51 Number of Overground Storeys: 9 Number of Underground Storeys: 1 Building Height: 27.77 m Building Dimensions (External Outline): 21.07 m x 29 m Usable Area: 4,688.48 m² Building Area: 610.16 m² Building Volume: 12,137.55 m³

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