Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph Luis Barragan’s work is often celebrated for its profound dialogue between form, memory, and landscape. In the Drinking Fountain of La Arboleda, Barragán channels these core principles into a singular architectural gesture. Situated at the culmination of the Paseo de los Gigantes, this fountain transcends utilitarian function to become a space of contemplation and poetic reflection. Drinking Fountain of La Arboleda Technical Information Architects1-2: Luis Barragán Location: Avenida Paseo de los Gigantes, Las Arboledas, Mexico Height: 14.6 meters Width: 10.4 meters Project Years: 1960s Plans by: Enrique Delgado Camara In Las Arboledas I had the pleasure of building a large rectangular pond among eucalyptus trees; however, while doing so, I thought of Persian gardens, I also thought of De Chirico, I also thought that water is a mirror, and I liked that it reflected the branches of the trees. You know, popular architecture has always impressed me because it is pure truth and because the spaces that occur in plazas, in porticos, in courtyards, are always given with generosity. – Luis Barragán Drinking Fountain of La Arboleda Photographs Drinking Fountain of La Arboleda (Bebedero) | 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph 1970s Photograph Spatial Composition and Geometric Manipulation The project extends Barragán’s broader explorations in Las Arboledas and Los Clubes, developments marked by an intimate relationship with nature and a restrained formal language. Here, water becomes material and metaphor, shaping a spatial experience that is as much about the mind as the body. The Drinking Fountain of La Arboleda is defined by the dynamic interplay of two elements: a towering white wall and a long, linear water trough. The wall, rising to a height of 14.6 meters, asserts its presence in the landscape as a vertical marker. It competes with, yet does not overshadow, the surrounding eucalyptus trees. The water trough, measuring 44 meters in length, 2.55 meters in width, and 0.67 meters in height, extends along the path in a measured horizontal counterpoint. This juxtaposition of vertical and horizontal geometries establishes a composition of duality. The white wall commands attention from afar, while the dark basin of water, offset to the side, quietly draws in the viewer’s gaze. The deliberate misalignment of these two forms prevents a static symmetry, generating a subtle sense of movement and tension within the space. Barragán’s manipulation of circulation further reinforces this dynamic quality. Rather than a direct approach, entry to the plaza is orchestrated through a series of turns. These indirect paths obscure the view and gradually reveal the fountain, heightening the sense of arrival and emphasizing the experiential choreography of the approach. Materiality and Sensory Qualities Material choices are critical in the fountain’s ability to evoke stillness and dynamism. The white stucco of the wall acts as a canvas for the interplay of light and shadow, particularly as the sun filters through the towering eucalyptus canopy. This shifting luminosity imbues the space with a living quality, constantly animated by the rhythms of the day. The basin of the fountain is constructed from dark anthracite, lending the water a reflective depth that absorbs and mirrors the surrounding environment. The edge of the water, defined by precisely cut, sharp-edged walls, creates an illusion of the water as a freestanding volume. This interplay of light, shadow, and reflection intensifies the perception of depth, dissolving the boundary between container and contained. The gentle sound of water flowing over the basin’s edge adds a sonic dimension to the experience. It serves as a subtle counterpoint to the plaza’s otherwise hushed atmosphere, enhancing the sensory richness without disrupting the meditative calm. Drinking Fountain of La Arboleda Cultural Resonance In this project, Barragán evokes a memory of rural Mexico that resonates with personal nostalgia and collective cultural imagery. The trough recalls the water basins of his childhood, echoing the hacienda landscapes and the enduring significance of water in Mexican life. Yet, by abstracting these elements into minimalist forms, he situates them within a modern architectural discourse that transcends mere historicism. Barragán’s insistence on the evocative power of space is evident in every aspect of the Drinking Fountain. It is a site of transition, marking the end of the linear paseo while simultaneously inviting introspection and pause. The project’s restrained materiality and precise spatial articulation distill Barragán’s belief in architecture as a vehicle for personal reflection and cultural continuity. His 1980 Pritzker Prize acceptance speech, in which he described his enduring fascination with water and the memories of fountains and acequias, underscores this deep personal connection. The Drinking Fountain of La Arboleda can be read as an architectural meditation on that theme. This work bridges the abstraction of modernism with the rich, elemental forces of the Mexican landscape. Drinking Fountain of La Arboleda Plans Floor Plan | © Enrique Delgado Camara Axonometric View | © Enrique Delgado Camara Drinking Fountain of La Arboleda Image Gallery About Luis Barragán Luis Barragán (1902–1988) was a Mexican architect renowned for his masterful integration of light, color, and landscape into architecture. His work blends modernist abstraction with deeply rooted Mexican traditions, crafting spaces that evoke memory, contemplation, and poetic resonance. Credits and Additional Notes Water Trough (Bebedero) Length: 44 meters Water Trough (Bebedero) Width: 2.55 meters Water Trough (Bebedero) Height: 0.67 meters Material: Anthracite-colored stone (dark tone to enhance reflections) Delgado Cámara, Enrique. La Geometría del Agua: Mecanismos Arquitectónicos de Manipulación Espacial. Enrique Delgado Cámara, 2024.  Ambasz, Emilio. The Architecture of Luis Barragán. Museum of Modern Art, New York, 1976.

Submitted by WA Contents Seriema House is shaped around massive, black Portuguese stones for contemplation in Brazil Brazil Architecture News - Jun 03, 2025 - 04:23   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Brazilian architecture practice TETRO Architecture has built a house that is shaped around massive, black Portuguese stones for for reading, contemplation, rest, and sharing moments with friends in Brumadinho - Minas Gerais, Brazil. Named Seriema House, the 350-square-metre house is nestled in a tranquil setting on the outskirts of Belo Horizonte. Seriema House won the WA Awards 50th Cycle in the Architecture/Realised category.To reach it, visitors must traverse a mountain range, marking a transition from the bustling city to a peaceful environment. This journey allows guests to leave behind the urban noise and immerse themselves in nature."The client's requirement was to create a place for pause—a space for reading, contemplation, rest, and sharing moments with friends," said TETRO Architecture. "The client desired an environment that fosters meeting and introspection, where architecture would engage in a dialogue with poetry," the firm added.The location of the house presents two contrasting views. On one side, there is a broad and open view of the mountains; on the other, a dense forest filled with trees. The house is beautifully integrated into this balance of expansive landscape and shaded refuge. Seriemas, local birds known to the region, roam freely around the property and inspired the name of the residence.The conceptual foundation of the project focuses on the harmonious integration of architecture with nature. The house is designed as a transitional space that bridges the vast mountain views with the contemplative atmosphere of the forest. The architecture embodies a sense of poetry through its form, particularly highlighted by a winding wall that both separates and connects different spatial experiences.The main structure of the house is constructed from reinforced concrete, utilizing black Portuguese stones and white stone flooring as the primary materials. A winding wall divides the space and is adorned with the black stones, creating a striking visual and tactile contrast against the white stone floor. This use of natural stone emphasizes the house's connection to the surrounding landscape, showcasing its organic integration with the environment and highlighting its poetic essence.The house is masterfully organized into two distinct zones, elegantly separated by a sweeping, curving wall. On one side lies the welcoming space, a vibrant and open environment bursting with energy. Here, sounds of laughter, music, and movement fill the air, accompanied by breathtaking panoramic views of the majestic mountains. This area encompasses an integrated living room, dining room, and kitchen, all meticulously designed to foster social interaction and encourage deep contemplation of the stunning landscape.Conversely, on the other side resides the retreat—an intimate sanctuary that is serene, shaded, and profoundly introspective. This tranquil space gazes out onto the lush, dense forest, serving as a haven for relaxation and reading, and featuring the exquisite main suite. The thoughtful spatial planning creates a harmonious balance between openness and intimacy, beautifully reflecting the duality of the surrounding nature and the human experience within it.Conceptual floor planTetro is an architecture studio located in Belo Horizonte, Brazil, and operates on a global scale. It is composed of architects Carlos Maia, Débora Mendes, and Igor Macedo. The firm’s approach to professional practice focuses on a thorough examination of the site’s conditions and the client's needs, striving to create unique and irreplicable solutions for each project.TETRO Architecture previously won the WA Awards 10+5+X with Café House and Casa Açucena in Brazil.Project factsProject name: Seriema HouseArchitects: TETRO ArchitectureLocation: Brumadinho - Minas Gerais, Brazil. Lead architects: Carlos Maia, Debora Mendes, and Igor MacedoContributors: Bruno Bontempo, Bianca Carvalho, Bruna Maciel, Carolina Amaral, Saulo Saraiva, Sabrina FreitasCompletion year: 2024Structure: Cálculo ConcretoHydraulic; Electric: CA engenhariaLighting Design: IluminarConstruction: TechnoAll images © Luisa Lage.Drawing © TETRO Architecture.> via TETRO Architecture

The Photography Seoul Museum of Art (PhotoSeMA) officially opened its doors in May 2025, marking a significant milestone as South Korea’s first public institution solely dedicated to the art of photography. Situated in the Dobong District of northeastern Seoul, this architectural marvel is the result of a collaboration between Austrian firm Jadric Architektur and Korean studio 1990uao Architects. The museum’s dynamic, twisting facade not only serves as a visual landmark but also symbolizes the fluidity and transformative nature of photography itself. Spanning six levels, four above ground and two below, the museum encompasses a total area of 7,048 square meters. Its design emphasizes the interplay between light and space, with broad concrete surfaces and filtered lighting creating an environment conducive to introspection and artistic appreciation. Designers: Jadric Architektur and 1990uao Architects Interior spaces are thoughtfully punctuated by voids and light wells, allowing natural light to shape the visitor experience throughout the day. The building’s exterior features a twisting monolithic shape that integrates seamlessly with the surrounding public space, inviting visitors to engage with the museum both inside and out. This design choice reflects the architects’ intention to create a “walk-in object” that fosters community interaction and cultural engagement. PhotoSeMA’s opening is marked by two inaugural exhibitions that delve into the history and evolution of Korean photography. The Radiance: Beginnings of Korean Art Photography showcases seminal works by artists such as Jung Haechang, Lim Suk Je, Lee Hyungrok, Cho Hyundu, and Park Youngsook. Drawing from a collection of over 20,000 works and archival materials dating from the 1920s to the 1990s, the exhibition offers a comprehensive look at the medium’s development in Korea. Meanwhile, Storage Story features contemporary artists Dongsin Seo, Won Seoung Won, Jihyun Jung, Joo Yongseong, Melmel Chung, and Oh Jooyoung. This exhibition explores the museum itself as a subject, examining themes of classification, memory, and the evolving role of cultural institutions in society. As part of the Seoul Museum of Art (SeMA) network, PhotoSeMA extends the institution’s reach and reinforces its commitment to diverse artistic expressions. The museum not only provides a dedicated space for photographic art but also contributes to the cultural revitalization of the Dobong District, aligning with the city’s broader efforts to establish a “cultural mile” in the area. With its innovative design and focused curatorial approach, the Photography Seoul Museum of Art stands as a testament to the dynamic intersection of architecture and photography, offering visitors a unique space to explore and appreciate the visual narratives that shape our world. The post South Korea’s first public museum for photography now open first appeared on Yanko Design.

The Valhalla DLC for God of War: Ragnarok was more than an epilogue; it was a creative pivot that fused the series' core combat with roguelike progression and introspective storytelling. What began as an experimental postscript became a defining part of the game’s legacy. It gave players randomized encounters, branching upgrades, and emotional growth for Kratos—all for free.

Perched quietly in the mountains north of Kyoto, Le Picabier is a micro tea room that redefines the notion of solitude and ritual in architecture. Designed by Studio 2m26 in collaboration with French practice Onomiau, this diminutive pavilion—intended for a single guest—offers an exquisite blend of tradition, material honesty, and site-specific design. Commissioned by Villa Kujoyama, the project stands as a poetic response to its environment, inviting reflection on both nature and the act of tea itself. The structure’s distinctive chimney-like silhouette, clad in charred cedar shingles, instantly sets it apart from conventional tea houses. The use of yakisugi, the Japanese technique of burning wood for preservation, not only gives Le Picabier its striking black exterior but also grounds the building firmly in the local tradition of craftsmanship. This method enhances both the texture and longevity of the pavilion, while the deep, tactile surfaces evoke the beauty found in imperfection and transience—core themes of Japanese aesthetics. Designer: 2m26 x Onomiau Inside, Le Picabier is a study in mindful minimalism. Natural light filters through the narrow space, shifting throughout the day to create an ever-changing play of shadow and texture. A single lantern suspended above the guest casts flickering candlelight, marking the subtle passage of time and further heightening the sense of introspection. The black tatami mat flooring, crafted by Mitsuru Yokoyama, and sparse furnishings encourage a meditative focus on the ritual at hand, with every detail supporting an atmosphere of quiet contemplation. The tea room’s vertical emphasis is both visual and experiential. The tall chimney serves as the pavilion’s focal point, drawing the gaze upward and reinforcing a sense of aspiration and spiritual retreat. The integrated fire pit, essential for boiling water, becomes the heart of the space—its warmth and glow connecting the guest to elemental forces. This combination of verticality and warmth transforms the small structure into a sanctuary, where silence and simplicity become luxuries in themselves. Le Picabier’s design is deeply informed by the legacy of Sen no Rikyū, the 16th-century tea master who revolutionized the Japanese tea ceremony by embracing shadow, silence, and the beauty of imperfection. Yet, the project is unmistakably contemporary, merging traditional Japanese elements with a European sensibility brought by Onomiau. Its compact footprint and careful use of materials make it an exemplary case of micro-architecture, where constraints become sources of creativity and meaning. In a world increasingly dominated by noise and distraction, Le Picabier offers a rare kind of architectural experience—one that prioritizes solitude, sensory awareness, and connection to place. By distilling the tea house to its essence, Studio 2m26 and Onomiau have crafted more than a shelter; they have created a space for personal ritual and reflection. It’s a timely reminder that even the smallest buildings can inspire profound encounters between people, objects, and the natural world. The post Kyoto’s Solo Tea Room Blends Japanese Tradition With Contemporary Micro-Architecture first appeared on Yanko Design.

Analogous color schemes, composed of colors adjacent to each other on the color wheel, naturally produce harmonious and visually appealing images. These palettes offer photographers a gentle yet compelling approach to color, creating soothing, cohesive photographs that effortlessly draw viewers into a serene visual experience. Understanding Analogous Colors Analogous colors share common undertones and naturally complement each other, creating visual comfort and unity. Common examples include: Warm Analogous Schemes: Red, orange, and yellow hues evoke warmth, energy, and positivity. Cool Analogous Schemes: Green, blue, and violet hues convey calmness, tranquility, and introspection. Emotional Impact of Analogous Colors Each analogous color palette carries unique emotional associations. Selecting colors intentionally allows photographers to reinforce specific moods: Warm palettes promote excitement, vitality, and optimism, ideal for lifestyle or dynamic portrait photography. Cool palettes emphasize relaxation, peace, and contemplation, perfect for landscapes, seascapes, or reflective narratives. Techniques for Successful Analogous Compositions Creating powerful analogous compositions requires mindful planning and execution: Dominant and Supporting Colors: Choose a primary color to dominate your composition, using adjacent hues to provide depth and visual interest. Balancing Tonal Values: Incorporate a variety of tones within your analogous palette—from dark to light—to maintain visual balance and ensure clear differentiation between elements. Lighting to Enhance Color Harmony Lighting profoundly affects the appearance and interaction of colors within analogous schemes: Natural Light: Soft, natural daylight enhances color cohesion, bringing out subtle tonal variations and supporting visual harmony. Studio Lighting: Controlled lighting setups enable photographers to precisely manage color intensity, highlighting specific hues to strengthen composition and mood. Composition Tips for Analogous Schemes Intentional composition enhances the natural beauty and harmony of analogous color photography: Simplify Your Scene: Removing unnecessary elements ensures the analogous palette remains clear, focused, and impactful. Layering and Depth: Thoughtfully layering colors within your composition adds depth and encourages viewer engagement, inviting exploration of visual details. Refine Through Subtle Post-Processing Analogous color photography often benefits from nuanced post-processing: Adjust subtle differences in hue, saturation, and luminance to fine-tune harmony and enhance emotional resonance. Consider gentle contrast adjustments to highlight variations without disrupting overall visual tranquility. Analogous color schemes offer photographers a unique opportunity to create naturally harmonious and emotionally resonant images. By thoughtfully selecting your palette, carefully managing composition and lighting, and subtly refining in post-processing, you can produce photographs characterized by visual ease, depth, and emotional clarity. Embrace the subtle power of analogous colors and elevate your photographic storytelling with visually cohesive, harmonious compositions. Extended reading: Using Color to Strengthen Your Photographic Narratives The post Creating Harmony with Analogous Color Schemes appeared first on 500px.

Peace Garden at UNESCO | © INFGM Located within the headquarters of UNESCO in Paris, the Peace Garden by Isamu Noguchi emerges not merely as a landscape installation but as a profound meditation on postwar diplomacy and cultural synthesis. Commissioned in the mid-1950s, the garden symbolizes the United Nations’ commitment to peace through mutual understanding and cultural dialogue. Peace Garden at UNESCO Technical Information Artist1-2: Isamu Noguchi Location: 7 Place de Fontenoy, 75352 Paris, France Client: Marcel Breuer / UNESCO Area: 2,400 m2 | 25,800 Sq. Ft. Project Year: 1958 Photographs: © INFGM and Flick Users, See Caption Details It should be a quiet, moving place. – Isamu Noguchi 3 Peace Garden at UNESCO Photographs © INFGM © INFGM © INFGM © INFGM © INFGM © INFGM © bbonthebrink, Flickr User © Patrice Todisco © bbonthebrink, Flickr User © bbonthebrink, Flickr User © Dalbera, Flckr user © Dalbera, Flckr user Park View Park View Context and Commission Noguchi, a Japanese-American sculptor and designer, was a poignant choice for the task. His biography embodies a convergence of East and West, as well as a lifelong engagement with public space as a vehicle for social commentary. By the time of his UNESCO commission, Noguchi had already engaged with landscape-scale sculptures, memorials, and playgrounds. The Peace Garden offered an opportunity to distill these threads into a singular work situated at the crossroads of global diplomacy. His selection was shaped by the broader architectural ethos of the UNESCO campus, designed by an international team including Marcel Breuer, Pier Luigi Nervi, and Bernard Zehrfuss. The ensemble called for a complementary but ideologically rich intervention, a space that could resonate as much with symbolic gravitas as with formal clarity. This garden was Noguchi’s first realized landscape design, and its execution was made possible through a personal introduction from Marcel Breuer, the chief architect of the UNESCO headquarters. Breuer not only facilitated the commission but also supported Noguchi’s experimental vision, which would challenge prevailing notions of diplomatic landscaping. Notably, the garden was completed in 1958 and spans approximately 2,400 square meters. It was constructed by renowned Kyoto-based master gardener Sano Toemon, marking a cross-cultural collaboration between modernist sculpture and traditional Japanese craftsmanship. Design Philosophy and Symbolic Intent Noguchi approached the Peace Garden as both sculptor and spatial thinker. He resisted creating a traditional memorial or a didactic allegory of peace. Instead, he crafted a contemplative void, a space that, through its absence of overt narrative, invited personal reflection and multiple interpretations. Drawing on the vocabulary of Japanese rock gardens and Zen traditions, Noguchi created a space of abstract expression that nonetheless maintained universal accessibility. The garden is composed of roughly hewn granite stones, a central water basin, and minimal vegetation. Each element is carefully positioned, creating an orchestrated tension between natural materiality and deliberate composition. This spatial language evokes notions of impermanence, balance, and introspection. The garden does not dictate how peace should be understood; rather, it sets a stage for experiencing peace as a spatial and emotional condition. In Noguchi’s words, the garden was to be “a quiet, moving place” rather than a monument. While inspired by Japanese garden typologies, particularly the stroll garden (池泉回遊式), Noguchi chose not to replicate tradition. Instead, he abstracted and reinterpreted elements such as Mt. Horai rock formations, stepping stones, and a crouching basin. These forms subtly allude to symbolic motifs without prescribing a singular reading. Noguchi negotiated directly with the Japanese government to secure donations of ten tons of stone and plant materials including camellias, maples, cherry trees, and bamboo. This act itself underscored the garden’s role as a diplomatic gesture, embedding it with botanical references to Japanese identity while maintaining a universal design language. Material and Spatial Composition Set at the base of the UNESCO building, the Peace Garden establishes a counterpoint to the architectural massing surrounding it. Its recessed layout forms a kind of spatial cloister, shielding visitors from the city’s rhythm and inviting a slower, more inward pace. The materials, chiefly unpolished granite, gravel, and water, speak to both permanence and mutability. The granite stones, irregular yet intentional in placement, recall tectonic forms and ancient spiritual markers. The central water feature introduces subtle movement and sound, enhancing the sensory richness of the space. The garden’s compositional core is its sculptural use of stone, each placement a spatial decision echoing both tectonic memory and sculptural intentionality. Noguchi collaborated on-site with Sano Toemon, whose craftsmanship adapted in real-time to the artist’s rapidly evolving vision. According to Sano, it was only after intense on-site dialogue and shared experience that he could fully comprehend and execute Noguchi’s aesthetic strategy, a testament to the garden’s improvisational and relational genesis. Spatially, the garden is organized not around pathways but around moments. There is no linear procession or axial symmetry; instead, it offers a field of relationships. Voids and solids, shadows and reflections, horizontality and vertical interruptions all work together to create a space that must be experienced slowly and from multiple vantage points. The absence of overt hierarchy in the layout allows users to construct their own narratives. It is a non-prescriptive space in which silence, texture, and light become the principal mediums of meaning. Peace Garden at UNESCO Plans Floor Plan | © Isamu Noguchi Floor Plan | © Isamu Noguchi Peace Garden at UNESCO Image Gallery About Isamu Noguchi Isamu Noguchi (1904–1988) was a Japanese-American sculptor, landscape architect, and designer renowned for his fusion of Eastern and Western aesthetics. Trained under Constantin Brâncuși and deeply influenced by Japanese traditions, Noguchi’s work spanned sculpture, furniture, stage sets, and public spaces. His practice was rooted in a belief that art should be integrated into everyday life, often blurring the boundaries between art, architecture, and landscape. Notable for his minimal yet emotionally resonant forms, Noguchi’s legacy includes iconic works such as the Noguchi Table, the UNESCO Peace Garden in Paris, and the Isamu Noguchi Garden Museum in New York. Credits and Additional Notes Style: Stroll Garden, Contemporary Japanese Garden Main Contractor: Sano Toemon, in collaboration with Uetō Zōen Listening to Stone: The Art and Life of Isamu Noguchi by Hayden Herrera Torres, Ana Maria. Isamu Noguchi: Studies in Space. Tokyo: Marumo Publishing, 2000. pp. 96–109. Sasaki, Yōji. “What Isamu Noguchi Left Behind.” Japan Landscape, no. 16, Process Architecture, 1990, p. 87. Treib, Marc. Noguchi in Paris: The UNESCO Garden. San Francisco: William Stout Publishers and UNESCO Publishing, 2004. Overseas Japanese Gardens Database. “UNESCO Garden.” Accessed May 2025.

Casa SA207 | © Diego Vázquez Mellado Casa SA207 by Vázquez Mellado is situated in the historic city of Querétaro, Mexico, on a narrow site measuring 8.70 meters in width and extending 37 meters in depth. The lot’s proportions posed a particular challenge, which the architects addressed by drawing inspiration from the traditional courtyard houses in Querétaro’s historic center. In these historic residences, the courtyard, or patio, serves as a passive climate moderator and a spatial and social nucleus. Casa SA207 revisits this typology through a contemporary lens, offering a nuanced response to privacy, density, and domesticity in the urban fabric. Casa SA207 Technical Information Architects1-3: Vázquez Mellado Location: Querétaro, Mexico Area: 362.47 m2 | 3,900 Sq. Ft. Completion Year: 2025 Photographs: © Diego Vázquez Mellado The patio is not just a spatial element but the heart of the home. It welcomes, shelters, and connects, offering a sense of peace and belonging within the density of the city. – Diego Vázquez Mellado Casa SA207 Photographs © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado © Diego Vázquez Mellado Spatial Organization and Domestic Hierarchies The project’s street-facing façade is entirely closed off, with no visible windows or apertures. This gesture reinforces privacy and anonymity within the city while turning the house inward. At the rear of the property, the architects introduced a direct connection to a neighboring public park, anchoring the residence within both private and communal realms. The courtyard, centrally within the linear plan, acts as a fulcrum that mediates light, views, and circulation. It is both the spatial heart and the conceptual axis of the home. The house is organized into a two-level scheme, with the ground floor dedicated to shared family life and the upper floor reserved for private functions. The spatial strategy intentionally encourages daily activity and interaction on the ground level. The living and dining rooms are placed at the far end of the house, adjacent to the public park. These areas are balanced by a kitchen and TV room positioned toward the front of the lot. Both rooms are oriented toward the central courtyard, promoting visual connectivity and natural ventilation. On the upper level, bedrooms and a modest study are distributed linearly. These spaces are compact by design, reinforcing their function as retreats for rest and contemplation rather than prolonged daytime activity. The reduced footprint of the upper floor emphasizes the hierarchy of domestic life envisioned by the architects: a house where familial engagement and collective routines unfold at ground level and where privacy is quiet and unobtrusive. The courtyard acts as the project’s spatial and psychological anchor. Its tall enclosing walls and dense vegetation cultivate a sense of introspection, calm, and disconnection from the surrounding city. It is not merely a source of daylight or ventilation but a place of stillness, where time slows, and attention turns inward. Materiality and Constructive Logic The project is defined materially by the use of clay brick, chosen for its durability, thermal properties, and ability to age gracefully over time. This decision reflects a clear commitment to low-maintenance living and constructive honesty. The brick’s modularity also provides flexibility for future adaptations without disrupting the architectural language of the house. One of the project’s defining features is the 6-meter-high wall that borders the courtyard. This vertical surface acts as a visual barrier while allowing the interior spaces to remain open to the patio without compromising privacy. The wall also contributes to a sense of enclosure and sanctuary within the house, allowing residents to draw their curtains or leave them open without concern for external views. Throughout the project, the material palette is restrained, composed primarily of exposed brick, wood, and concrete. This simplicity reinforces the architectural clarity of the design and allows spatial relationships to take precedence over decorative elements. The detailing is modest and measured, aligning with the overall ethos of the project. Reflections on Typology and Contemporary Living Casa SA207 thoughtfully explores the courtyard as an enduring architectural typology. By foregrounding the patio not just as a design feature but as the organizing principle of the entire house, the architects offer a model for contemporary living that prioritizes inwardness, serenity, and slow rhythms. The house precisely negotiates the tension between urban density and domestic refuge, creating a spatial narrative grounded in tradition and responsive to present-day needs. The project demonstrates how compact urban living does not necessitate compromise in spatial quality. Through careful program, form, and material orchestration, Casa SA207 invites reconsidering how architecture can shape the conditions for a more deliberate and connected way of living. In its restraint, the house resists spectacle and offers a quiet, rigorous architecture rooted in site, culture, and human experience. Casa SA207 Plans Ground Level | © Vázquez Mellado Upper Level | © Vázquez Mellado Roof Level | © Vázquez Mellado Section | © Vázquez Mellado Elevation | © Vázquez Mellado Casa SA207 Image Gallery About Vázquez Mellado Vázquez Mellado is a Mexican architectural design studio based in Querétaro. They are known for their thoughtful reinterpretation of traditional typologies through contemporary forms and materials. Led by Jorge and Diego Vázquez Mellado, the firm explores spatial intimacy, privacy, and material honesty across residential and cultural projects. Credits and Additional Notes Lead Architects: Jorge Vázquez Mellado, Diego Vázquez Mellado Collaborators: Elvia Torres, Adelfo Pérez, Norma Velázco, Jorge Uribe Landscape Design: Matorral Estudio

Cabin in Woods | © Egemen Karakaya Set on the Kozak Plateau near Pergamon in western Turkey, Cabin in Woods by Ediz Demirel Works presents a compelling investigation into the relationship between architecture, landscape, and inhabitation. Modest in scale but conceptually rigorous, the 36-square-meter structure explores dualities in materiality, spatial experience, and construction technique. Its design resists conventional tropes of vernacular mimicry, opting instead for conscious contrast. This architectural gesture neither disappears into the land nor dominates it but negotiates a dynamic tension between embeddedness and autonomy. Cabin in Woods Technical Information Architects1-2: Ediz Demirel Works Location: Kozak Plateau, Pergamon, Izmir, Turkey Area: 36 m2 | 387 Sq. Ft. Completion Year: 2025 Photographs: © Egemen Karakaya The identity of the structure is shaped by the interplay of two opposing tectonic approaches in terms of materials, construction techniques, production methods, and the contrast between locality and foreignness. – Ediz Demirel  Cabin in Woods Photographs © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya © Egemen Karakaya Design Intent and Conceptual Framework The cabin occupies a terrace wall from a former vineyard, utilizing the dry stone retaining wall as a literal and conceptual foundation. This gesture roots the project within the existing agricultural topography, establishing a minimal intervention approach. Yet from this grounded base, the cabin rises as an artificial insertion. Its steel frame and corten cladding introduce a formal and material vocabulary foreign to the rural surroundings, underscoring a deliberate dialectic between context and object. At the heart of the project is a sunken conversation pit, an introspective space that anchors the plan and serves as the primary social node. This recessed area draws the inhabitant downward into the landscape, offering a tactile and spatial contrast to the protective shell above. The lowered core reframes domesticity in spatial terms, allowing for a gathering space that privileges horizontality, intimacy, and thermal mass. Around this core, other functional programs such as wet areas, storage, and circulation are deployed as appendages. Above, a mezzanine floor is delicately inserted within the steel shell, creating zones for sleeping and working without compromising the spatial clarity of the core below. Spatial Organization and Experiential Strategy Despite its compact footprint, the cabin achieves a high degree of spatial complexity. This is accomplished not through planimetric manipulation but through sectional richness and the careful calibration of views, light, and thresholds. A singular horizontal aperture cuts through the shell, framing a panoramic view of the forested hills. This gesture provides more than visual access; it actively orchestrates a dialogue between the interior and the broader ecological context. The facade, punctuated with small cantilevered openings, introduces sculptural moments that protrude into the landscape. These elements operate simultaneously as light sources, thermal breaks, and spatial cues. They animate the exterior envelope while mediating the inhabitant’s sensory experience from within. The strategy reveals an architectural sensibility attuned to the nuances of perception, perspective, and phenomenology. The sunken core, in particular, reinforces this experiential ambition. It is not merely a spatial curiosity but a site of temporal deceleration, a hearth-like void where fire, conversation, and reflection converge. In this sense, the project subtly reinvigorates domestic rituals through spatial articulation, encouraging modes of living that prioritize gathering and grounding over visual spectacle. Material Strategy and Construction Logic The architectural language of Cabin in Woods is structured around a deliberate contrast between local, irregular materials and prefabricated, controlled systems. The foundation, comprising a reinforced concrete slab cast directly into the existing dry stone terrace, extends the material logic of the landscape. This decision grounds the structure physically and symbolically, linking it to the region’s vernacular heritage. Conversely, the corten steel cladding and the structural steel frame are fabricated off-site and assembled locally. This bifurcation in construction methods aligns with the project’s conceptual division. The base engages the earth and honors the irregularity of place, while the shell expresses a technological detachment and formal precision. With its evolving patina and atmospheric depth, the use of corten adds a layer of temporal expression to the architectural language. It ages, oxidizes, and marks time, introducing a poetic dimension to the otherwise industrial envelope. Such a contrast is not merely aesthetic. It reflects a broader interrogation of architectural identity—how buildings can simultaneously belong, estrange, settle, and provoke. The tectonic opposition between ground and shell becomes a vehicle for this inquiry, inviting reflection on how architecture positions itself in relation to site and memory. Contextual and Critical Significance Beyond its immediate programmatic function as a short-term rental, Cabin in Woods engages with urgent disciplinary questions. How should contemporary architecture respond to rural contexts without defaulting to nostalgia? How can compact dwellings foster depth of experience without resorting to over-programming? And how might architecture embrace contradiction as a generative force rather than a problem to be resolved? Ediz Demirel’s response is measured yet assertive. Rather than dissolving into the landscape, the cabin asserts its autonomy while acknowledging the terrain. The project frames its site not as a passive backdrop but as an active participant in the architectural narrative. Its minimal footprint, precise detailing, and tectonic clarity demonstrate how small-scale interventions can yield disproportionately rich spatial and conceptual outcomes. Cabin in Woods Plans Floor Plan | © Ediz Demirel Works Section | © Ediz Demirel Works Elevations | © Ediz Demirel Works Details | © Ediz Demirel Works © Ediz Demirel Works Cabin in Woods Image Gallery About Ediz Demirel Works Ediz Demirel Works (EDWorks) is an Istanbul-based architectural studio founded in 2022 by Ediz Demirel. The practice focuses on small to medium-scale projects integrating design, construction, and development. EDWorks emphasizes material experimentation, site-specific strategies, and balancing traditional craftsmanship and contemporary tectonics. Notable projects include Cabin in Woods and Pergamon House in the Izmir region. The studio’s approach reflects a commitment to architectural clarity and contextual sensitivity. Credits and Additional Notes Design Architect: Ediz Demirel Site Architects: Ediz Demirel, Tuna Ökten