Casa Sofia | © Fernando Guerra / FG+SG Located in the historic heart of Lagos, Portugal, Casa Sofia by Mário Martins Atelier is a thoughtful exercise in urban integration and contemporary reinterpretation. Occupying a site once held by a modest two-story house, the project is situated on the corner of a block facing the Church of St Sebastião. With its commanding presence, this national monument set a formidable challenge for the architects: introducing a new residence that respects the weight of history while offering a clear, contemporary expression. Casa Sofia Technical Information Architects1-4: Mário Martins Atelier Location: Lagos, Portugal Project Completion Years: 2023 Photographs: © Fernando Guerra / FG+SG It is therefore important to design a building to fit into and complete the block. A house that is quiet and solid, with rhythmic metrics, whose new design brings an identity, with the weight and scent of the times, to a city that has existed for many centuries. – Mário Martins Atelier Casa Sofia Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG Spatial Organization and Circulation The design’s ambition is anchored in reconciling modern residential needs with the dense urban fabric that defines the walled city. Rather than imposing a bold or disruptive form, the project embraces the existing rhythms and textures of the surrounding architecture. The result is a building that both defers to and elevates the neighborhood’s character. Its restrained profile and carefully modulated facade echo the massing and articulation of the original house while introducing an identity that is clearly of its time. At the core of Casa Sofia’s spatial organization is a deliberate hierarchy of spaces that transitions seamlessly between public, semi-public, and private domains. Entry from the street occurs through a modest set of steps leading to an exterior atrium. This threshold mediates the relationship between the public realm and the interior, grounding the house in its urban context. Once inside, an open hall reveals the vertical flow of the building, dominated by a staircase that appears to float, linking the house’s various levels while maintaining visual continuity throughout. The ground floor houses three bedrooms, each with an ensuite bathroom, radiating from the central hall. This level also contains a small basement for technical support, reinforcing the discreet layering of functional and domestic spaces. Midway up the staircase, the house opens onto a garage, a laundry room, and an intimate courtyard. These areas, essential for daily life, are seamlessly integrated into the overall composition, contributing to a spatial richness that is both pragmatic and sensorial. On the first floor, an open-plan arrangement accommodates the main living spaces. Around a central void, the living and dining areas, kitchen, and master suite are arranged to encourage visual interplay and shared light. This configuration enhances the spatial porosity, ensuring that despite the density of the historic center, the house retains a sense of openness and fluidity. Above, a recessed roof level recedes from the street, culminating in a panoramic terrace with a swimming pool. Here, the building dissolves into the sky, offering expansive views and light-filled leisure spaces that contrast with the more enclosed lower floors. Materiality and Craftsmanship Materiality plays a decisive role in mediating the building’s relationship with its context. White-painted plaster, a familiar element in the region, is punctuated by deep limestone moldings. These details create a play of light and shadow that emphasizes the facade’s verticality and rhythm. The generous thickness of the walls, carried over from the site’s earlier construction, lends a sense of solidity and permanence to the house, recalling the tactile traditions of the Algarve’s architecture. The interior and exterior detailing is characterized by an economy of means, where each material is selected for its ability to reinforce the house’s quiet presence. Local materials and craftsmanship ground the project in its immediate context while responding to environmental imperatives. High thermal comfort is achieved through careful orientation and passive design strategies, complemented by the integration of solar control and water conservation measures. These considerations underscore the project’s commitment to sustainability without resorting to superficial gestures. Broader Urban and Cultural Implications Beyond its immediate function as a family home, Casa Sofia engages in a broader dialogue with its urban and cultural surroundings. The project exemplifies a measured response to the question of how to build within a historical setting without resorting to nostalgia or pastiche. It demonstrates that contemporary architecture can find resonance within heritage contexts by prioritizing the values of continuity, scale, and material authenticity. In its measured dialogue with the Church of St Sebastião and the centuries-old urban landscape of Lagos, Casa Sofia illustrates the potential for architecture to enrich the experience of place through quiet, rigorous interventions. It is a project that reaffirms architecture’s capacity to negotiate between past and present, crafting spaces that are at once deeply contextual and unambiguously of their moment. Casa Sofia Plans Sketch | © Mário Martins Atelier Ground Level | © Mário Martins Atelier Level 1 | © Mário Martins Atelier Level 2 | © Mário Martins Atelier Roof Plan | © Mário Martins Atelier Section | © Mário Martins Atelier Casa Sofia Image Gallery About Mário Martins Atelier Mário Martins Atelier is a Portuguese architecture and urbanism practice founded in 2000 by architect Mário Martins, who holds a degree from the Faculty of Architecture at the Technical University of Lisbon (1988). Headquartered in Lagos with a secondary office in Lisbon, the firm operates with a dedicated multidisciplinary team. The office has developed a broad spectrum of work, from single-family homes and collective housing to public buildings and urban regeneration, distinguished by technical precision, contextual sensitivity, and sustainable strategies. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Rita Rocha, Sónia Fialho, Susana Caetano, Susana Jóia, Ana Graça Engineering: Nuno Grave Engenharia Building: Marques Antunes Engenharia Lda

Here's what we looked at this week:When marketing trumps product design: A digital camera with fake analog controls becomes a crowdfunding smash. This ATMO drone from Caltech smoothly transitions from flight to four-wheeling. In Germany, in-curb EV chargers have been rolled out in a pilot program. They're 99% reliable.This unique recessed handrail feature, designed by Adjaye Associates.Industrial design firm No Picnic makes even telecommunications gear look good.The Archibald, by industrial designer Leo Salzedo, is a convoluted towel radiator made from a single steel tube.Whirlpool's retrofittable, rotating lower-level dishwasher rack improves accessibility.Industrial designer Nik Bentel's Loopy Chair, inspired by bike racks.Sky View's smart design feature makes transparent stargazing tents practical.Architect turned product designer develops the Kara Pod, a countertop air-to-water device that also makes coffee.Engineer Patrick Schlott fixes old payphones, re-installs them in public places and provides free calls.Japanese specialty woodworking tools: A Knot Remover kit.Far cheaper, pellet-based industrial 3D printing from Pollen AM.Square's new handheld reader, created in collaboration with industrial design firm Huge Design.Peter Donder's mysterious and beautiful robotic chicken feet.The Macaron, Mavimatt's quirky furniture piece with a hidden table surface.This heavy-duty steel media cart is by Modern Industrial Furniture, founded by a tech worker turned furniture designer.Hyundai's incredible WIA autonomous robot parking valets.Industrial design case study: Y Studios designs a laptop privacy shield.

Max Towers / Max DudlerSave this picture!© Stefan MüllerResidential Architecture, Residential•Aesch, Switzerland Architects: Max Dudler Area Area of this architecture project Area:  26500 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Stefan MüllerMore SpecsLess Specs Save this picture! Text description provided by the architects. The two Max Towers are the centerpiece of the residential and commercial quarter Aere, taking shape in the former industrial district of Stöcklin, which spreads between Reinach and Aesch south of Basel. The tower volumes, roughly 40 meters high, are striking for the continuous balconies that surround each level over a recessed ground floor. The girdle of balconies merges the urban flair of high-rise living with the qualities of generous garden space associated with a family house.Save this picture!Save this picture!Save this picture!The tectonic arrangement is completed on the outside by a mantle of solid columns with cornices integrated into monolithic ceilings. The inner façade behind these constitutes a second skin, benefiting from greater liberty as it steps forward and back to generate an efficient footprint. This meandering balcony zone enlivens the relationship between indoors and outdoors while serving as a filter and as a layer of flexible space.Save this picture!Save this picture!The entrance hallways in Tower 2 create an arrival zone and link the public space outside with the central garden that forms an open yet shielded hub for the new quarter.Save this picture! Project gallerySee allShow less Project locationAddress:Aesch, SwitzerlandLocation to be used only as a reference. It could indicate city/country but not exact address.About this officeMax DudlerOffice••• MaterialsMaterials and TagsPublished on June 06, 2025Cite: "Max Towers / Max Dudler" 06 Jun 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030845/max-towers-max-dudler&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

Saudi Arabia is currently building the largest urban park in the world. At six square miles the King Salman Park, which should be completed around 2026, will be five times the size of New York's Central Park. The Visitor's Centre was erected last year. Designed by Adjaye Associates, the firm headed by Ghanaian-British architect Sir David Adjaye, the structure features rammed-earth walls precisely placed to create passive cooling. What really caught my eye is this handrail detail that I've never seen before:I poked around and found a couple other examples of recessed handrails (they're pretty rare). This is at Bloomberg's Hong Kong office, designed by Neri & Hu: And this is at a private residence in Toronto, designed by PLANT Architect Inc.: I prefer Adjaye's design over the other two. There's something decidedly unfriendly about the right angle corner the latter two designs present you with.

Standard modular construction was given a softened appearance with the addition of residential wood truss roofs and the introduction of shorter modules in select locations to create courtyards. Photo by doublespace photography PROJECT Durham Modular Transitional Housing, Beaverton, Ontario ARCHITECT Montgomery Sisam Architects Inc. In cities, homelessness can be painfully visible, in the form of encampments or people sleeping rough. But in rural areas, people experiencing homelessness are often hidden away. It’s this largely invisible but clearly present need that led to the construction of Beaverton Heights, a 47-unit transitional housing residence about 100 kilometres from Toronto that serves the northern part of the Regional Municipality of Durham. The region had run a pilot project for transitional housing in Durham during the Covid pandemic, out of a summer camp property—so when provincial and federal funding became available for modular, rapidly delivered transitional housing, they were quick to apply. Montgomery Sisam Architects is no stranger to modular supportive housing, or to the site, for that matter. 15 years ago, they designed Lakeview Manor, a 200-bed long-term care facility for the region, on an adjoining parcel of land. At the time that they took on Beaverton Heights, they had completed two modular supportive housing projects for the City of Toronto. (They have since completed four more.)  The initial Toronto projects were done on a massively compressed timeline—a mere eight months from design to the move-in date for the first, and nine months for the second. “So we knew that’s as tight as you can crunch it—and that’s with all the stars aligned,” says Montgomery Sisam principal Daniel Ling.  As transitional housing, the Beaverton facility is designed to help residents overcome their barriers to housing. To achieve this, the program not only includes residential units, but communal spaces, including a double-height dining room and lounge that occupy the western half of the project. This part of the complex can also be used independently, such as for community activities and health supports. To create the needed volume, Montgomery Sisam decided to prefabricate the community structure in steel: the entire west half of the project was constructed and assembled in a factory to ensure that it would fit together as intended, then disassembled and reassembled on site. The double-height community space includes a reading room, terrace, administrative areas, and communal dining room served by a full commercial kitchen. The building can also be used for community-wide functions, such as medical clinics. A cluster of columns marks the area where the dining area’s eight steel modular units join together. Photo by Tom Ridout For both the steel community structure and its wood residential counterpart, the prefabrication process was extensive, and included the in-factory installation of plumbing, electrical and mechanical systems, interior and exterior finishes, and even furnishings in each module. “Basically, just remove the plastic from the mattress and take the microwave from the box that’s already in the unit,” says Jacek Sochacki, manager of facilities design, construction, and asset management at the works department of the Regional Municipality of Durham. Within the building, the most extensive on-site work was in the hallways, where the modules met: building systems needed to connect up, and flooring and finishes needed to be completed over the joints after the modules were installed. One of the most surprising aspects of the project is how un-modular it looks. Montgomery Sisam’s previous experience with modular construction allowed them to find leeway in the process—small tweaks that would change the look of the project, without affecting the construction cost. The long site allowed the architects to use a single module as a glazed hallway, connecting the two buildings, and creating generous courtyards on its two sides. In two other areas, shorter modules are specified to transform the massing of the building. The resulting cut-outs serve as an entry forecourt and as a dining terrace. Instead of flat roofs, the team used residential trusses—“the same wood trusses you would see in subdivisions,” says Ling—to create sloped roof forms. From the outside, the windows of the residential units are slightly recessed behind a frame of wood cladding, adding further dimension to the façade.  Photo by doublespace photography Since it was a design-build process, all of these decisions were vetted through the builder for their cost effectiveness. “It wasn’t hard to convince them, we’re going to use some shorter modules—you are going to build less there,” recalls Ling. “These are things that actually don’t cost a lot of money.” The resulting massing is intentionally lower towards the front of the property, where the community space faces residential neighbours, and doubles to four storeys towards the back. As you approach the project, the courtyards and cut-outs give it the appearance of smaller discrete masses, rather than a single volume. Topping the project is the region’s largest solar panel array, which provides 35 to 40 percent of the all-electric building’s energy needs. Modular construction aided in airtightness and performance—in its first months of operation, it delivered an EUI of 102 kWh/m2/year.   Balancing between independence and community was an important principle for the program, and for the design. To this end, each studio is designed to function as a self-sufficient dwelling, with its own kitchen, full washroom, and heat pump with independent temperature control. Small spatial nudges—like daylight at both ends of corridors, seating nooks with built-in benches throughout the project, and generous common rooms—aim to coax residents outside of their units. The property is bracketed by the dining area at the front, and an outdoor basketball court at the rear. A long storage shed holds some of the facility’s mechanical equipment along with bikes—an easy way to get into town for residents who may not have cars.  Located between the residences and the community building, a semi-private courtyard offers a quiet place for clients to rest or socialize with others. Photo by doublespace photography The building looks so good that, had the finishes be chosen for luxury rather than durability, it could easily pass as a family resort. But is that too nice? Often, government-funded buildings—especially for a stigmatized program such as transitional housing—come under criticism if they appear to be too fancy.  I put this to Sochacki, who replies: “There’s this misnomer that if the building looks good or unique, it costs a lot of money. I think we proved that it doesn’t.” Apart from a wood surround for the fireplace, the components of the building are utilitarian and basic, he says. “It’s just like: how do you make the most out of common materials? It costs us exactly the same, but we’re doing things that are actually nice.” Screenshot That niceness is not just a perk, but essential to the core purpose of helping people experiencing homelessness to make their way back into society. “Making it nice is important,” says Sochacki. “Nice lighting, nice windows, nice places to sit, nice spaces that people enjoy being at—because that’s what’s going to make the difference.”  “If you build a place that people just want to spend all their time in their room and they don’t come out, that’s not going to help them with transitioning back to a sustainable, permanent housing lifestyle,” he adds. “You’ve got to create a place where they feel welcome and that they want to spend time in—they want to meet other people and they want to get the support, because there’s a place and space for it, and it’s successful for them to get the support.” A terrace adjoins the reading lounge and dining area, inviting outdoor barbecues and gatherings in warm weather. The cut-out was created by using a shorter module in this section of the building, minimizing the impact to construction costs and logistics. Photo by Tom Ridout CLIENT Regional Municipality of Durham | ARCHITECT TEAM Daniel Ling (FRAIC), Enda McDonagh, Kevin Hutchinson, Sonja Storey-Fleming, Mateusz Nowacki, Zheng Li, Grace Chang, Jake Pauls Wolf, Mustafa Munawar, Paul Kurti, William Tink, Victoria Ngai, Kavitha Jayakrishnan, Max Veneracion, Megan Lowes | STRUCTURAL/MECHANICAL/ELECTRICAL Design Works Engineering | LANDSCAPE Baker Turner | INTERIORS Montgomery Sisam Architects | CONTRACTOR NRB Modular Solutions | CIVIL Design Works Engineering | CODE Vortex Fire | FOOD SERVICES Kaizen Foodservice Planning & Design | ENERGY MODELlING Design Work Engineering | SPECIFICATIONS DGS Consulting Services | AREA 3,550 m2 | COMPLETION October 2024 ENERGY USE INTENSITY (operational) 101.98 kWh/m2/year   As appeared in the June 2025 issue of Canadian Architect magazine  The post Invisible Need, Visible Care: Beaverton Heights, Beaverton, Ontario appeared first on Canadian Architect.

Here's an adjective, used to describe materials, that you may not have heard of: "Rate-sensitive." It refers to when a material responds to the speed of a force applied to it. As an example, concrete is not rate-sensitive: If you walk into a concrete barrier or drive into it at 80 miles an hour, it remains the same hardness. In contrast, water is rate-sensitive. You can gently push your hand down through the surface of a lake. But if you slap downwards with all your might, the water turns hard and resists.This magical property has been engineered into a proprietary material by Delta Three Oscar, a British manufacturer of ballistic protection gear. The material, D3O, contains a secret sauce of polymers suspended in a lubricating medium. Wrapped in foam that has been specially engineered for comfort on the human head, D30 is what the company's Halo 3 Ballistic Helmet Liner is made out of. The resultant product exceeds the U.S. Army's AR/PD 10-02 blunt impact requirements by 33%, and its shape is designed to accommodate a variety of communications headsets. At just 80g (2.8 oz), the company bills it as "the world's lightest, most comfortable ballistic helmet liner." It features 12 integrated airflow channels for ventilation, and the material contacting the head is anti-microbial and moisture-wicking. It's also been designed to be easy for soldiers to install these in the field. The head-contacting side features type on it, which both labels the three different parts and allows the soldier to determine the pieces are oriented correctly (i.e. the type should be read so that none of it appears upside-down). These notches help the soldier align the pieces correctly from side-to-side. The helmet-facing side is lined with hook-and-loop fabric that adheres it to the helmet interior. Embossed letters indicate which of the three pieces you're holding. Two corners on the front and rear pieces are recessed so that they don't interfere with the helmet's harness bolts. (Absent this feature, the liner would try to push away from the helmet at these points.) The Halo liners have been integrated into the U.S. Army's new Integrated Head Protection System (IHPS) helmets, which are replacing the two-decades-old Advanced Combat Helmet (ACH) and Enhanced Combat Helmet (ECH) over the next three years.Fun fact: The cost of the Riddell SpeedFlex helmets worn by many players in the NFL, where the average salary is $3.2 million, costs roughly the same as an IHPS helmet worn by a PFC in the 82nd Airborne, average salary $27,119. About $450 a pop.

Skullcandy isn’t a name that usually comes to mind when you think of premium headphones. The Utah-based company has primarily made its name in the budget space, selling more on low prices and loud, sports-heavy marketing than the promise of excellent sound quality. With the new Method 360 ANC, the audio maker is trying to change that by latching onto another brand entirely. Skullcandy proudly boasts that its latest wireless earbuds feature “sound by Bose,” which is to say that Bose has supplied the acoustic tuning, ear tips and overall shape of the device. In fact, the new buds look quite similar to Bose’s QuietComfort Ultra Earbuds from afar. But that upscale pair retails for $299 and the Method 360 ANC only costs $130 (or as low as $100 at third-party stores of this writing). So has Skullcandy managed to capture the best of Bose at a more affordable price? Kind of. Design and features The Method 360 ANC is indeed roughly as comfortable as the QuietComfort Ultra. Each earpiece is slightly heavier and more plastic-y — and Bose’s pair was already on the bulky side — but the soft ear gels and stability fins help them fit snug without creating too much pressure. I had no issues with them coming loose over several weeks of testing. The earbuds have an IPX4 water-resistance rating — not the best, but enough to survive most people’s workouts. The larger frame creates more space for the side touch panels, and all the controls do work reliably, which isn’t a given in the $100 range. These earbuds also come with most of the features you’d want from a modern pair. There are active noise cancellation (ANC) and ambient sound modes. Battery life is fine at eight to 11-ish hours, depending on ANC usage. They can dependably connect to two devices simultaneously, and they work with Google’s Fast Pair tech on Android devices. They support wear detection, too, and there are three different sets of ear gels and fins in the box. Any settings tweaks I’ve made in Skullcandy’s Skull-iQ app have taken effect quickly, and in general the software is easy to navigate. The only major omissions here are the lack of wireless charging and a short one-year warranty. The Method 360 ANC is almost identical to Bose's QuietComfort Ultra Earbuds in terms of design. For this review, we mainly compared the new Skullcandy buds against the QC Ultras and Anker's Soundcore Space A40, the top pick in our budget earbuds buying guide. Jeff Dunn for Engadget Sound quality Once you start listening to the Method 360 ANC, though, you start to see why it’s priced under $150. The default sound signature is extremely V-shaped: The bass is massive, the treble is bright and everything in between is recessed. Bass lovers should appreciate this with hip-hop, dance music and many pop songs. A track like Kendrick Lamar’s “DNA” becomes particularly easy to rock to: The low-end is deep and impactful, while a giant spike around the upper midrange keeps the vocals clear throughout. In general, the Method 360 ANC is a step up from the Anker Soundcore Space A40, the longtime top pick in our guide to the best earbuds under $100. That pair is far more muffled in the treble, whereas the Skullcandy pair’s crisper, more extended highs tend to make songs feel less closed-off. That said, it’s very easy to see how this kind of signature could get fatiguing over time. It’s consistently intense, and the recessed mids cause it to lose details in moderately intricate compositions. An indie rock track like Hop Along’s “The Knock” is a bit of a mess, as the bassline and crunchy rhythm guitar overwhelm the lead guitar riffs and rob the raspy vocals of air. With America’s “Ventura Highway,” the folksy acoustic guitar comes through clearly, but the overemphasized treble makes “ess” sounds a touch too sharp. The QuietComfort Ultra doesn’t exactly sound neutral, but it always comes off as more balanced by comparison. Skullcandy has also omitted support for higher-quality Bluetooth codecs, so it only supports the basic SBC and AAC. All of this is still better-than-average for bassheads shopping in this price range — just don’t expect it to compete very far beyond that. Thankfully, you can rein in some of the default profile’s excesses with a custom EQ in Skullcandy’s app. The charging case is on the larger side, to put it mildly, and uses a sliding mechanism to open and close. Jeff Dunn for Engadget ANC, ambient sound, call quality and one funky case Skullcandy’s ANC is perfectly respectable for $130, and it’s great you can customize the intensity of the noise-canceling effect via the app. But it’s not on the level of the QuietComfort Ultra Earbuds or even the step-down QuietComfort Earbuds. It cuts out a fair chunk of the bassy rumble of an NYC subway train, but higher-pitched screeches and stop announcements are very much audible with music playing at moderate volumes. The “Stay Aware” (ambient sound) mode, meanwhile, is passable but nothing more; it’s one of those deals where you need to keep the volume somewhat low to ensure you can hear yourself clearly. Call quality isn’t great, either: The mic does well to limit background noise, but it struggles with wind and makes your voice sound noticeably thin and processed. My testing partner said it made me sound like I was in an elevator. My biggest complaint, however, is with the ginormous tube of a case. It’s comically large next to pairs like the QuietComfort Ultra or Space A40, so much so that I have to question just how spacious Skullcandy thinks most people’s pockets are. There is a built-in clip that lets you hook the case to a bag or belt loop, but as a resident of New York City, I will never be comfortable sauntering around with anything of value dangling on my person. Actually snapping the earbuds back into the case is cumbersome as well: You have to slide the case open, then flip the earpieces upside down and insert them on opposite sides. I can understand wanting to make something unique, but this is an instance where boring would’ve been better. The Method 360 ANC's case has a built-in clip for attaching to bags or belt loops. Jeff Dunn for Engadget Wrap-up The Method 360 ANC has its problems, but most of them aren’t too surprising for a relatively affordable pair of wireless earbuds (oversized case aside). Don’t be fooled into thinking the Bose branding means you’re getting a Bose-level product — the real-deal QuietComfort Earbuds are better if you’re willing to pay more. But this is still a tier above most budget pairs we’ve tested. It has nearly all the features we’re looking for (unlike, say, the Beats Solo Buds), it’s comfortable and the sound signature will hit right if you’re hungry for bass. At its normal $130, it’s well worth considering for bassheads who can go one rung above the bargain bin. For $100 or less, it’s a great value. Just make room for that case.This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/skullcandy-method-360-anc-review-a-cheaper-version-of-boses-best-earbuds-with-a-few-key-sacrifices-130047025.html?src=rss

The bucolic splendor of Waitsfield, Vermont, is the obvious muse behind one of the ski town’s recent new builds. A getaway for a family of skiers and art collectors roosting between New York and Providence, the project by Carter Design draws inspiration from the many barns punctuating the idyllic landscape. “It was a literal, modern barn raising,” says cofounder Cy Carter. “We wanted to use a lot of wood and a lot of warmth so that you felt held as you looked out over all these views.”White oak reigns in the main room, where cabinets flank a central wood stove set against a wall of red Heath tiles that echo the house’s oxblood doors. The oak finish also complements the subtle stain of wide-plank floors that span all but the mudroom, where speckled terrazzo defends against all of Vermont’s five seasons. “It’s winter, mud season, spring, summer, and fall,” Carter explains.The bucolic Waitsfield house, which was designed by Desai Chia Architecture, reinterprets forms of the many regional numerous barns with shou sugi ban siding. The fecund design by Wagner Hodgson Landscape Architecture highlights the handiwork of Norris Landscaping & Nursery. Locally sourced leather soapstone countertops were chosen for durability in the adjacent kitchen, imbuing an organic accent to cabinetry as well as the scenery framed by glass doors along the opposite wall. “The soapstone has an undertone of blue-ish green, so we felt good about exploring that and just bringing in little bits of color,” Carter adds. “You have this big giant kitchen on [one] side and then you have all of Vermont on the other.”With skylights and expansive vistas comes abundant daylight, necessitating a gentler lighting scheme after sunset. To compose intimacy, recessed lights were substituted with a medley of lamps, sconces, and a sleek but unassuming chandelier in the dining area that lets the painterly surroundings remain the daytime focal point. As the moon rises, rippling shades descend with a layer of architectural texture. “It keeps the windows from being just these big giant black voids,” Carter says.

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.