Villa 144 / Lin3rd ArchitectsSave this picture!© Parham TaghioffHouses•Bushehr, Iran Architects: Lin3rd Architects Area Area of this architecture project Area:  313 m² Year Completion year of this architecture project Year:  2025 Photographs Photographs:Parham TaghioffMore SpecsLess Specs Save this picture! Text description provided by the architects. Dwelling emerges through a presentful, dynamic, and constructive dialogue between the subject and the place. Villa 144 is situated near Bushehr, a city in southwestern Iran along the Persian Gulf, characterized by a hot and humid climate. The residential architecture of old Bushehr, shaped mainly during the 18th and 19th centuries, features unique traits such as narrow, labyrinthine alleyways, making it one of the most expressive and unconventional narrations of Iran's traditional residential architecture.Save this picture!The villa's structure comprises three white cubes that interlock at varying levels, defining both interior and exterior spaces. At the intersection of these cubes lies the main entrance, which acts as a pivotal boundary between the primary living area, bedrooms, and the western and eastern courtyards. The arrangement of sliding and overlapping cubes evokes a sense of lightness and suspension, subtly echoing a defining spatial quality of Bushehr's historic homes. Along the path to the entrance, the main living room cube appears to float above a reflecting pool clad in turquoise glazed Iranian tiles. In the region's intense heat, the presence and sound of water offer a soft, sensory counterpoint and create a moment of gentle release.Save this picture!Save this picture!Save this picture!Save this picture!The main living room is the most transparent and outward-facing space, visually and functionally linked to the villa's four courtyards. In the living room, the focal point is not a television but an antique Heriz rug —a masterpiece of Persian weaving—displayed as a framed artwork on the wall. Similarly, the kitchen's window seat, adorned with handwoven Zanjan rugs, reflects a deliberate practice to reveal Persian carpets in settings that amplify their symbolic, aesthetic, and spatial resonance. A 3.3-meter-long corridor connects the main entrance to the living room and kitchen. The walls of this corridor are built from coral stones sourced from the shores of Bushehr—once the principal construction material in the region's historic buildings—while its ceiling and floor are clad in raw iron sheets.Save this picture!Save this picture!The villa's landscape has been designed to offer multiple pathways, allowing visitors to explore the garden in various intended and unintended ways. These routes provide deeper engagement and a more profound understanding of both the garden and the villa. The garden is a collection of native and nostalgic trees of Bushehr, including different varieties of bougainvillea (the most beloved tree in Bushehr), several types of the Ficus family, six rescued mature eucalyptus trees, and the majestic silk tree—the most striking tree of Bushehr. Throughout the design process, we excavated prominent archetypes of Persian—and more specifically, Bushehri—architecture, distilled their functional essence, and reconfigured them to align with contemporary lifestyle.Save this picture!In traditional Bushehri architecture, there are no cul-de-sacs. Instead, users move through a network of narrow alleys—reminiscent of Borges' labyrinths—allowing for layered, narrative-based spatial experiences. In the design of Villa 144, inspired by this ethos and with the aim of deepening subject-place interaction, the structure has been intentionally freed from spatial dead ends. The result is a layout that invites a more intuitive, intertwined, and multi-narrative engagement with place.Save this picture! Project gallerySee allShow less About this officeLin3rd ArchitectsOffice••• Published on May 16, 2025Cite: "Villa 144 / Lin3rd Architects " 16 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030148/villa-144-lin3rd-architects&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

As Brian Chesky tells it, the reinvention of Airbnb started with the coup at OpenAI. On November 17, 2023, the board of OpenAI fired company CEO Sam Altman. His friend Chesky leapt into action—publicly defending his pal on X, getting on the phone with Microsoft’s CEO, and throwing himself into the thick of Altman’s battle to retake OpenAI. Five days later Altman prevailed, and Chesky—“I was so jacked up,” he says—turned his buzzing mind to his own company, Airbnb.Thanksgiving weekend was beginning. The Chesky extended family had already held their turkey get-together a week earlier, and the Airbnb CEO had no holiday plan. He was completely alone in his sprawling San Francisco apartment except for Sophie, his golden retriever.Still wired out of his mind from the cathartic corporate rescue, Chesky began to write. He wanted to bust the company he’d cofounded out of its pigeonhole of short-term home rentals. Amazon, he was fond of pointing out, was first an online bookstore before it became the everything store. Chesky had long believed that Airbnb should expand in a similar way. But things kept getting in the way—dealing with safety issues, fighting regulation, coping with the existential crisis of a global pandemic. The company was in danger of being tagged with the word that ambitious entrepreneurs dread like the plague: mature.Now Chesky was emboldened to lay out his vision. Home rentals are simply a service, so why stop there? Airbnb could be the platform for booking all sorts of services. While other apps cover specific sectors—food delivery, home maintenance, car rides—Chesky figured that Airbnb’s experience in attractively displaying homes, vetting hosts, and responding to crises could make it more trustworthy than competitors and therefore the go-to option for virtually anything.In a frantic typing spree at the dining room table, on the couch, the bed, and at times in his office, Chesky specced out how he would redesign the Airbnb app. Its users—now at 2 billion—would open up the app not only at vacation time but whenever they needed to find a portrait photographer, a personal trainer, or someone to cook their meals. Chesky reasoned that Airbnb would need to significantly strengthen its identity verification. He even thought he could get people to use the app as a credential, something as respected as a government-issued ID. If he could transform Airbnb into a storefront for real-world services, Chesky thought, he’d catapult his company from a nearly $10-billion-a-year business into one that boasted membership in tech’s pantheon.Over the next few days, Chesky spilled these thoughts into an Evernote document. “I was basically going from room to room just pouring out this stream-of-consciousness manifesto, like Jack Kerouac writing On the Road,” he says, referring to the frenetically produced single roll of teletype paper that catalyzed the beat movement. “I dusted off all my ideas from 2012 to 2016,” Chesky tells me. “I basically said, ‘We’re not just a vacation app—we’re going to be a platform, a community.’” By Friday he had around 10,000 words, “incomprehensible to anyone but me.” He began to refine it, and by the time the weekend was over, Chesky had distilled his document down to 1,500 words.PHOTOGRAPH: GABRIELA HASBUNAfter the holiday, Chesky gathered his leadership team into a conference room. He handed the team copies of his memo à la Jeff Bezos and waited as his direct reports took it in. “Usually when I share ideas, people aren’t bought in,” he says. “But this time, there wasn’t a lot of feedback. People were really excited. And two years later, that document will now be executed with an exacting detail to what I wrote.”This month, Airbnb will launch the first stage of its more than $200 million reinvention: a panoply of more than 10,000 vendors peddling a swath of services in 260 cities in 30 countries. It is also revitalizing an unsuccessful experiment the company began in 2016: offering bespoke local activities, or what it calls “experiences.” The next stage, launch date unspecified, involves making your profile on Airbnb so robust that it’s “almost like a passport,” as Chesky puts it. After that comes a deep immersion into AI: Inspired by his relationship with Altman, Chesky hopes to build the ultimate agent, a super-concierge who starts off handling customer service and eventually knows you well enough to plan your travel and maybe the rest of your life.“Brian’s been badly underrated as a tech CEO,” Altman says of his friend. “He's not usually mentioned in the same breath as Larry Page or Bill Gates, but I think he is on a path to build as big of a company.”That’s a stretch—Airbnb is nowhere near the size of those oligarchic powers. But Chesky was feeling the need for big changes; While impressive, Airbnb’s growth rate doesn’t suggest that the company will soon reach the trillion-dollar heights of Google and Microsoft. “I’m 43 and at a crossroads, where I can either be almost done or just getting started,” he tells me. “There's a scenario where I'm basically done. Airbnb is very profitable. We've kind of, mostly, nailed vacation rentals. But we can do more.”In early April, I visited Chesky at the company’s lavish San Francisco headquarters. The relaunch was five weeks away. The second floor—where signs warn employees not to bring visitors—had become a sprawling eyes-only command center. The walls were covered with dozens of large poster boards, each one featuring a city, that read as if a group of McKinsey consultants had tackled a fourth-grade geography assignment. Austin, Texas, was written up as “a funky come-as-you-are kind of place” with a handful of “first principles,” one of which was “Outlaw of Texas,” with pointers to food trucks and vintage markets. Another so-called principle was “Live and Alive,” referring to music venues and bat watching; a third was “Dam Lakes,” referring to various water sports. Other blindingly obvious notations included barbeque, tacos, and the two-step. The Paris poster painted a “revolutionary” city marked by slow living and enduring culture.Chesky strode up and greeted me enthusiastically. Dressed in a slim T-shirt that exposed his swole physique, he bounced on his heels with a jittery energy that reminded me of the first time I met him, in January 2009. He had just joined Y Combinator’s famous program for startups, and he and his classmates were at a party at the home of YC cofounder Paul Graham. (Graham told me then that he thought Airbnb’s business plan was crazy but was impressed by their determination.) I mentioned to Chesky that I was headed to Washington, DC, for Barack Obama’s inauguration, and he and his cofounders immediately tried to convince me to use their service to sleep on someone’s couch. I declined, but somehow over the next 15 years they managed to sell the idea to 2 billion people, including me, and now the company has a market cap worth more than Marriott.Chesky ushers me into a conference room to get a preview of the new Airbnb app. His engineers and designers have rebuilt the app from scratch, and he waves around a stick of lip balm as a talisman as he talks me through the redesign. Also in the room is his product marketing head, Jud Coplan, while his vice president of design, Teo Connor, Zooms in from London. While customers likely think of Airbnb as a travel company, its leaders view the operation as an achievement in design. Which makes sense; both Chesky and his cofounder Joe Gebbia were students at the Rhode Island School of Design.Airbnb's new user interface featuring experiences and services.COURTESY OF AIRBNBChesky explains that historically, people used Airbnb only once or twice a year, so its design had to be exceptionally simple. Now the company is retooling for more frequent access. Open the app, and you see a trio of icons that act as gateways to the expanded functions. Within minutes Chesky and his lieutenants are applauding the cheery, retro style of the icons—a house for traditional rentals, a hotel bell for services, and a Jules Verne-ish hot-air balloon representing activities. “We really thought deeply about the metaphor—what was the right visual to express an experience?” says Connor. Once they decided on the balloon, they drilled into how much fire should belch from the basket. The icons were drawn by a former Apple designer whose name Chesky would not divulge. “He’s a bit of a secret weapon,” he says.A less-secret weapon is Chesky’s collaboration with the iconic, also ex-Apple, industrial designer Jony Ive. Chesky’s north star, it should be said, is Apple. “Steve Jobs, to me, is like Michelangelo or da Vinci,” he says. Despite never meeting Jobs, “I feel like I know him deeply, professionally, in a way that few people ever did, in a way that you only possibly could by starting a tech company as a creative person and going on a rocket ship,” Chesky says. By hiring Ive’s LoveFrom company and working with Jobs’ key collaborator, Chesky gets a taste of the famous Jobs/Ive dynamic. Ive himself doesn’t make that comparison, but he does praise Chesky’s design chops. “There are certain tactical things where I hope that sometimes I'm of use to Brian, just as as a fellow designer,” Ive says. “But the majority of our work has been around ideas and the way we frame problems and understand opportunities.”Another key part of the app is the profile page. “You need trust,” Chesky says—meaning a verifiable identity. Airbnb has been vetting the new vendors, which it calls “service hosts.” For months, Chesky says, an army of background researchers has been scrutinizing the résumés, licenses, and recommendations of chefs, photographers, manicurists, masseuses, hair stylists, makeup artists, personal trainers, and aestheticians who provide spa treatments such as facials and microdermabrasions. They’re all being professionally photographed.Airbnb's new guest profile interface.COURTESY OF AIRBNBFor the next phase—turning Airbnb’s user profiles into a primary internet ID—Connor and her team have engaged in some far-out experimentation. She rattles off a list of technologies they’ve been exploring, including biometrics, holograms, and the reactive inks used to deter counterfeiting on official ID cards. But it’s far from easy to become a private identity utility (hello, Facebook), and even Chesky notes that getting governments to accept an Airbnb credential to verify identity is “a stretch goal.”Now that a whole slew of people will have new reasons to chat with each other and coordinate plans, Airbnb has also enhanced its messaging functions. Fellow travelers who share experiences can form communities, stay in touch, even share videos and photos. “I don’t know if I want to call it a social network, because of the stigma associated with it,” says Ari Balogh, Airbnb’s CTO. So they employ a fuzzier term. “We think of it as a connection platform,” he says. “You’re going to see us build a lot more stuff on top of it, although we’re not an advertising system, thank goodness.” (My own observation is that any for-profit company that can host advertising will, but whatever.)This brings us to the services—the heart and soul of this reinvention. Those now on offer seem designed to augment an Airbnb stay with all the stuff that drives up your bill at a luxury resort, like a DIY White Lotus. It will be interesting to see how the company handles the inevitable cases of food poisoning or bad haircuts (and skeezy customers), but Airbnb can draw on its 17 years of experience with dirty sheets, all-night discos on the ground floor, or a host who is literally terrorizing you. Eventually, Chesky says, Airbnb will offer “hundreds” of services, perhaps as far-ranging as plumbing, cleaning, car repair, guitar lessons, and tutoring, and then take its 15 percent fee.Crafted cuts by Bryan, Chicago, IllinoisCOURTESY OF AIRBNB; LYNDON FRENCHTrain with Steve Jordan, Trainer to the Stars, Los Angeles, CaliforniaCOURTESY OF AIRBNB; JACKIE BEALEThe other key feature of the company’s reinvention, of course, is Experiences. If the idea sounds familiar, that’s because Airbnb launched a service by that name almost a decade ago, with pretty much the same pitch: special activities for travelers, like architects leading tours of buildings or chefs showing people how to fold dumplings.It flopped, although Airbnb never formally pulled the plug. Chesky’s excuses include tactical errors: After a big initial splash, the company didn’t follow up with more marketing, and it didn’t establish a strong flow of new experiences. But the big reason, he says, was that it was too early. Now the company has five times as many customers and an ecosystem to support the effort. “It was like our Newton,” says Chesky, referring to Apple’s handheld device that predated the iPhone. (Another Apple reference, for those keeping score.)Chesky’s crew has arranged for more than 22,000 experiences in 650 cities, including a smattering of so-called “originals,” with people at the top of their field—star athletes, Michelin chefs, famous celebrities. In the pipeline is Conan O’Brien selling a perch behind a mic in his podcast studio. (Don’t expect it to air.) Taking a lesson from his earlier flop, Chesky has planned a steady cadence of these short-term promotional stunts, which, of course, is what the Conan experience ultimately is. “We’re going to have thousands of originals and maybe one day hundreds of thousands—a regular drumbeat of some of the biggest iconic celebrities,” Chesky says.He shows me how someone could take a trip to, say, Mexico City and book experiences instantly. “Fun fact—I’ve always dreamed of being a professional wrestler in Mexico. I want to be a luchador!” he tells me, then immediately regrets it. Regardless: In an Airbnb experience, he says, you can meet a real luchador, get in the ring with him, and learn some moves. Can you keep the mask?“Probably,” says Chesky. In any case, you’d share the photos with others in your group. (But don’t call it a social network.)Megan Thee Stallion in Los Angeles, CaliforniaCOURTESY OF AIRBNB; ADRIENNE RAQUELHorseback riding through four hidden temples of the Inkas, Cusco, PeruCOURTESY OF AIRBNB; PAZ OLIVARES-DROGUETTAirbnb’s planned transformation tracks with another reinvention: that of its leader.Chesky had originally taken the title of CEO over his two pretty-much equal cofounders because his personality was more forward facing—it wasn’t even formalized until 2010. But then, in 2011, the company had its first real crisis when a host publicly shared a horror story about how an Airbnb guest from deep, deep hell pillaged and trashed her home. What wasn’t stolen—the customer broke into a locked closet to grab a passport, cash, and heirloom jewelry—was ravaged and burned in the fireplace. “The death-like smell from the bathroom was frightening,” wrote the host. The story threatened to destroy the cheerful person-to-person vibe the company had cultivated. It didn’t help that Airbnb’s initial response was clueless and weak.Chesky stepped up to become the face of the company and instituted overdue safety protocols. Over the next few years, Chesky cemented his alpha status. In 2018 his cofounder Joe Gebbia stepped down from daily duties, though he still sits on the board. (Recently Gebbia has been in the news for his very public participation in DOGE’s remaking of the US government. When asked about it at a Q and A session with employees, Chesky said that Gebbia was free to have his own opinions, but they are not the company’s. Chesky did not attend Trump’s inauguration.) The third cofounder, Nathan Blecharczyk, is still with the company, though it’s notable that as I sat in meetings with over a dozen executives, the only time his name came up was when I mentioned it.Chesky was totally in charge during the pandemic, when Airbnb lost 80 percent of its business in eight weeks. He laid off a quarter of the staff. Now that bookings surpass pre-2020 levels, he thinks the company is stronger. And he learned a big lesson: “The pandemic was the turning point of the company,” he says. “My first principle became ‘Don’t apologize for how you want to run your company.’ Most of all you should not apologize for being in the details. The number one thing people want to do is keep you out of the details.”When Chesky shared some of these views at a Y Combinator event in 2024, Paul Graham was inspired to write an essay called “Founder Mode.” Graham used Chesky’s story to argue that only the person who created a company knows what is best, and the worst mistake is to listen to management types who haven’t built their own. The essay struck a nerve; people were stopping Chesky on the street and yelling “Founder mode!” Someone dropped off a baseball hat for him with those words; it now sits on a shelf in his conference room.Chesky, meanwhile, has been deep in the details, especially on this reinvention, itself kind of a classic founder move. “I did review work before the pandemic, but people kind of hated it. There were negative associations to a CEO reviewing everything; it’s considered micromanaging.” Also, his idol Steve Jobs was famous—infamous?—for his unsparing criticism. Chesky contends that once he went all-in on dishing out criticism, with no sheepishness, people seemed happier. But even if they weren’t, he’d do it anyway. Curious to see how this worked, I arranged to attend a Chesky review.Gathered in a conference room, the design and engineering teams presented near-final app tweaks affecting how hosts set up their services. Chesky seemed fairly pleased with what he was seeing—so much so that he apologized to me afterward that I didn’t get to see him go animal with his underlings. Nonetheless, even during this lovefest of a product review, Chesky babbled a constant stream of minor corrections. The cursor is oddly centered … Those visual cues are a little confusing … We need a subtle drop shadow here … The next line doesn’t seem centered vertically … That address input is pretty awkward … That button looks oddly short, is it supposed to be that short? … That shimmer, do we think we need it? Get rid of it … That top module doesn’t make sense … We need to rewrite all the copy on this page … I think we need a better empty state … That title’s not clear …The group shuffles out satisfied and a bit stunned that they got away so easy. But when I meet Chesky a day later to sum things up, he tells me that I’d just missed a spicier product review. Then he gets serious, explaining what the reinvention means to him. “I felt a little bit like the vacation rental guy,” he says. “Like we as a company are a little underestimated.” He brings up Apple again, saying that both companies embody the idea that a business relationship can generate emotion. “My ambition is kind of like the ambition of an artist and designer,” he says.At that point Chesky gets a little woo. “Magic, in hindsight, is not technology,” he says as he reflects on Apple’s wizardry. What he’s realized is that magic lies in forging connections with those who offer you a bed, a microdermabrasion, a sparring match in a lucha libre ring. “The magic that is timeless is, like, the stuff you remember at the end of your life.”He lets that sit for a minute. Then he puts a cap on that insight, sounding less like a CEO than a life coach. “I’ve never had a dream with a device in it,” he says. Leave it to the subconscious to highlight what matters. That said, his day dreams certainly involve a new kind of device. In his off hours he’s helping with a secret project headed by his friends Altman and Ive to create a device that Altman says is the next step beyond computers. (“This is not theoretical memo-swapping,” Altman tells me. “We’re hard at work on it, prototyping.”)But that’s somewhere off in the future. In the realm of products that actually exist in the world, Chesky will have to face competition from dozens of domain leaders including Yelp, Instacart, DoorDash, Ticketmaster, Hotels.com, Tinder, OpenTable, and Craigslist, to name but a few. You can probably add Apple, Meta, and Microsoft, since Chesky wants Airbnb to be a universal credential and what certainly looks like a social network. Even Steve Jobs might have blinked at taking on that crowd all at once.Images styled by Jillian Knox.Featuring: Liv Skinner, Liv Well and Francesca Lopez, Zinnia Wildflower BakehouseLet us know what you think about this article. Submit a letter to the editor at mail@wired.com or comment below.

13 May, 2025 We asked a range of designers to share their most deeply-held design belief, and their responses ranged from designing feelings to embracing mistakes. Every designer has deeply held beliefs that shape the way they think, and the way they work. We asked a range of designers what is their absolute non-negotiable when it comes to their profession, and they provided an enjoyably eclectic set of answers. Pete Hawkins – “Print it out, mock it up” Design hills can be lonely places. And truthfully, I’ve made sacrifices, this is a service industry after all. But my “hill” is more of a range. At the summit is, ‘Unique, relevant ideas, executed with artistry.” It’s the guiding principle, the DNA of every project, shaped by everything I’ve learned from colleagues to role models who’ve inspired me. But let’s face it, that sentiment isn’t rare. So I’ll stake my flag a little lower. In the foundational foothills of composition, colour and typography lies the forgotten Mount Piomiu which stands for, “Print it out, mock it up.” A modest peak, often overlooked, but vital. And I’ll defend this one with conviction! Pete Hawkins is creative director of Chase Design Group. Leon-Anthony Smith – “Make it work, then make it shine” Most users just want to get something done. If someone can move from A to B without swearing, squinting, or solving a puzzle, that’s good design. The impact isn’t in big reveals or clever flourishes – it’s in the boring stuff actually working. Set the bar at clarity first. Respect people’s time, reduce noise, and make the path obvious. Then, if there’s room, add the charm. Stop designing for awards. Design for real people doing real things, that’s what actually impresses. Leon-Anthony Smith is head of design at Atomic. Brigid McMullen – “Walk away if the trust isn’t there” Powerful brand strategy is profound. Brand definition captured in a matter of words, not pages. No fluff. No filler. Distilled to its very core. Meaningful. Creatively loaded. When it lands, everything else flows. When it doesn’t, it’s literally just blah. And essential to any significant brand programme is client and designer’s genuine openness to ideas, challenges, & uncomfortable conversations. Brave organisations are open-minded with their agency. Their trust deserves care, so our job is to guide, not bulldoze. Transformation demands collective curiosity, cut-and-thrust debate, plus a willingness to be wrong in pursuit of what’s right. Great brand design isn’t born from ego or tunnel vision but intellectual rigour, honesty and the courage to walk away if trust isn’t there. Sacred cows? Off the table. Preconceptions? Questioned. Every. Time.Brigid McMullen is founder and managing director of The Workroom. Tassia Swulinska – ”Make mistakes and embrace the chaos” I like making mistakes on purpose. I’ve always believed that creativity needs space to be messy. Something designed within an inch of its life risks becoming sterile – overworked and lifeless. The approach may seem chaotic from a distance, but that chaos weaves together spontaneous connections and unexpected moments. You have to short-circuit the rational brain to tap into instinct. Design it, kill it, remix it, then place it in a random space to give it new meaning. Let it break and glitch, then refine it. I think there’s something vital in the mess. Creativity isn’t a clean process because we are not robots – it’s intuitive, looping, non-linear. Embrace the mistakes and trust that your gut and taste will get you to the sweet spot. That’s a beautiful, chaotic design hill I’d happily lay to rest on, and watch the flowers grow across my perfectly typeset gravestone. Tassia Swulinska is design director at DixonBaxi. Bobby Burrage – “Always strive for simplicity” “Get rid of everything that doesn’t need to be there.” I find myself saying this a lot as a creative director. This isn’t an indulgent pursuit of pretentious minimalism – it’s about revealing what truly matters: the idea. What’s the design hill I would die on? Fighting against decoration, embellishment and the all-too-common over-designing that weakens brand impact. As creatives, we’re tempted to include multiple thoughts, references and elements in our work. The real skill is knowing how much to leave in versus remove. Deciding on what’s important and what’s just noise is a battle. This requires confidence and conviction – there’s a fine line between a clever twist and a forced concept. In branding, clarity cuts through noise. The most powerful message is often the simplest one. Simple is complicated!Bobby Burrage is creative director of The Click. Sarah Fairhurst – “Design should make life better” As designers, we could and should pub-rant every design detail. Vertical type? Only runs from top to bottom. Drop shadows? Should be illegal. Faux neon? Incomparable to the real thing. For none of these would I “die on a design hill.” Deep down I’m motivated by the belief that design should make life better, on purpose. Be transformational and uplifting! We don’t need more vanilla-coloured so-so, or so-what. We all need design for a better, lighter life – be that easier, more colourful, engaging, simpler or smilier. Design is a powerful weapon, and I’m fighting for more smiles. Sarah Fairhurst is creative director at Dalziel & Pow. Richard Taylor – “Don’t get caught up in the craft” My first love affair with design was born from something that fell off the back of a car. I was 16, and the Porsche 911 Carrera badge had fallen off and landed on the road. It was the most beautiful curvaceous type I’d ever seen. That badge was Blu Tacked to my bedroom wall for years. Skip forward to today, and I use design as a tool to achieve a commercial objective; to bring brands closer to the people they serve and drive transformational growth. As an industry, we often get caught up in the craft and can lose sight of the idea. But ideas and design are like yin and yang. Form and function. They need to be good bedfellows to truly move people, to break us humans out of our ritualistic buying habits. Whilst my passion for beautifully crafted typography will never wane, design thinking is what motivates me. And it should you. Richard Taylor is founder and CEO of Brandon Consultants. Lucy McKenzie – “Aesthetics are felt, not seen” The design hill I’d die on is that aesthetics are felt, not seen. Design isn’t just visual – it’s sensorial. Form, shape, and colour don’t just communicate; they provoke, they influence how we interact with the world and feel. These elements can spark something deeper and more innate – they evoke the senses and emotional responses that live in our subconscious, bypassing what’s rational. Like David Lynch builds feeling before story, design should evoke something intrinsic to the human condition before igniting a meaning that is something deep and relatable within us that we can all connect to. Working on a haircare brand, we weren’t just designing for function — we were designing for feeling. A sensorial experience demonstrating how the product smelled, flowed from the bottle, and felt on the scalp and hand. This mattered just as much as how it performed. Ultimately, design is not just about what a product does or enables us to do or how it fits within the cultural zeitgeist, but how it makes you feel. The design I believe in goes beyond what is in vogue, to something visceral and human, to something that is memorable and lasting. Lucy McKenzie is associate director of forpeople. Lee Roberts – “Fight the good fight for the guest experience” Although it is imperative that design is efficient and functional, the absolute priority has to be the user experience. At Zebra, we work extensively in the hospitality sector and there is often pressure to compromise on customer space for the operational aspect of a facility. Sometimes this is unavoidable, however I will always fight for the guest to ensure their overall experience is not diminished. The customer journey, from order to seating should always be exemplary – we strive to never have a bad seat in the house! Lee Roberts is creative director at Zebra Projects. Industries in this article What to read next

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