Local practice Child Studio has designed a house in a mews courtyard in London that mixes mid-century modern furniture with custom-made pieces in a nod to fashion designer Yves Saint Laurent’s home.
Child Studio designed the home, which was created for a hotelier and restauranteur, as a space for dining, entertaining and hosting parties.
It centres around a spacious lounge that was informed by the grand salon in fashion designer Saint Laurent’s Paris home.
Informed by the way Saint Laurent’s residence displayed his collection of artworks, the Mayfair home is a cornucopia of furniture pieces by iconic mid-century modern designers.
“We worked closely with the client to create a space that reflected his personality and interests, encompassing art, design, literature and travel,” Child Studio founders Che Huang and Alexy Kos told Dezeen.
“This approach made us think of Saint Laurent’s salon – an eclectic interior where design objects and art pieces from different eras and parts of the world are assembled together, forming a highly personal environment.”
A large open space in the residence, with narrow full-length skylights on each side, was given a vintage feel through the addition of wooden library walls.
These divide it into a lounge area as well as spaces for dining and studying.
“We were interested in finding an authentic design language for this project, balancing the art deco references with the 1960s and 70s modernism,” the studio added.
Among the furniture and lighting used for the residence are Japanese paper lamps by industrial designer Ingo Maurer and the “Pernilla” lounge chair by Swedish designer Bruno Mathsson, which have been juxtaposed with furniture designed by the designers themselves.
“We paired vintage Scandinavian furniture by Bruno Mathsson and Kristian Vedel with playful lights by Ingo Maurer and Alfred Cochrane,” Huang and Kos said.
“The cabinetry and tables were designed by Child Studio to unify the interior and accommodate all functional requirements.”
The lounge also contains a fully functional, half-moon-shaped fireplace created by the studio, with a decorative shape that matches two ornate urns and a pair of art-deco-style floor lamps.
“We designed the adulating fireplace to bring a sense of scale and permanence to the space,” the designers said.
“The plaster finish seamlessly blends in with the surroundings,” they added.
“The fireplace is placed below the skylight, and the soft shifts of sunlight throughout the day contribute to the tranquil atmosphere.”
In the dining area, dark-wood shelving holding glassware, books and vases surrounds a circular wooden table with dining chairs by French architect Charlotte Perriand.
“The material palette of this room draws inspiration from the modernist Villa Muller by Adolf Loos,” the designers said.
“The combination of dark mahogany wood, patterned marble and green upholstery feels so chic, yet warm and unpretentious.”
A kitchenette next to the dining area was separated from the space by a glass-brick partition designed to filter the daylight.
Behind the library shelves, Child Studio created a wood-panneled study for the homeowner. The studio aimed to use natural materials throughout the project.
“We enjoy working with natural materials, such as solid wood, stone and plaster,” Huang and Kos said.
“Child Studio often designs custom furniture pieces for projects, and we find that these simple and timeless materials are incredibly versatile and ideal for creating bespoke hand-crafted objects.”
Child Studio used an “understated” colour palette for the residence to create a warm, relaxing environment that it hopes will continue to evolve.
“Our goal was to design an interior that will continue evolving over time as the owners add new art pieces and bring heirlooms from their travels,” the studio said.
Also in Mayfair, architecture studio Laplace renovated The Audley pub and filled it with art and MWAI designed an apartment as if it were a hotel suite.
The photography is by Felix Speller and Child Studio.
Rain Harvest Home – is located within Reserva el Peñón, a landscape-driven development which has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve, two hours from Mexico City. The Reserve framed our thinking around sustainability generally, and rainwater harvesting specifically. It pushed us to think at a larger level where the whole Reserve became the site, and the home was one piece of that. We also thought about how we could explore the larger issues of water conservation in Mexico, with this being an example of how to harvest rainwater on a small scale that could then apply to other projects. That became a driver in a powerful way. It was an idea that evolved over the course of the design process, and as the client became increasingly interested in cultivating a healthy, holistic lifestyle where they could live in harmony with the land.
Architizer chatted with Robert Hutchison from Robert Hutchison Architecture, and Javier Sanchez from JSa Arquitectura, to learn more about this project.
Architizer: What inspired the initial concept for your design?
Robert Hutchison & Javier Sanchez: The brief was simple: the clients wanted a small cabin to enjoy the mountainous site. Valle de Bravo has a dry season and a rainy season, and the sun plays a trick every day in both of those seasons. You can enjoy the sun, but you have to be careful with it. Here, you need to have spaces that are open and covered; enclosed and covered; and outside and uncovered. You need all three qualities, so we needed to make that happen within the three structures.
At the start, the project had a simple, classic program: 2 bedrooms, a bathroom, and a kitchen. When we were on site, we started developing the idea of splitting up the program into separate buildings. It started with wanting to separate the function of bathing, which led to the idea of the bathhouse. And then the separate studio emerged from that.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
Rain Harvest Home offers a model for designing regeneratively with water. The home is 100% water autonomous and, in times of surplus, it is water positive and feeds excess water back into the community’s larger reservoir system. Not only does the design help restore the microclimate of the site, but it stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources. At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses. More than any other element, conserving and improving the quality of water as a precious resource has the potential to dramatically improve the health and sustainability of built environments in Mexico, and beyond.
What was the greatest design challenge you faced during the project, and how did you navigate it?
Integrating the rainwater system was an initial design challenge, and continues to be an everyday challenge. Now, the rain harvesting system and on-site reservoir are a learning laboratory where the clients are continually learning about how the system performs. Understanding that the water and food systems on site are part of a living process that fluctuates depending on changing natural conditions, the client continues to experiment in ways to optimize the system through seasonal calibrations and refinements. Nothing is as objective as science would make it seem because things are always changing over time depending on how much it rains, and when. The house has to live with that, and it’s a constant learning experience for us as designers. It’s about integrating design into the cycle of water and of life.
How did the context of your project — environmental, social or cultural — influence your design?
The site is relatively flat, but sits within a mountainous environment. All around are cliffs and steep slopes, but our site rests in a small plateau vegetated with continuous, single-story-high shrubs and brush. Because of these site conditions, we wanted to make the buildings disappear within the vegetation. This is why we designed a series of three low pavilions that nestle into the landscape and are dispersed across the site. We wanted a strong connection between each building and the landscape. Often as architects, we think about how spaces are created between buildings, but this was about letting the landscape be that interstitial space. The landscape becomes the connection between the buildings, just as it delineates the spaces between them. When you move through the site, there’s an experience of the buildings constantly disappearing and reappearing. It’s a process of discovery.
How important was sustainability as a design criteria as you worked on this project?
Within La Reserva, each home is required to incorporate rain harvesting, with most of it coming from the individual home’s rainwater harvesting system and a small portion coming from the reserve’s reservoirs. We wanted to try and raise the bar and see if we could harvest 100% of our water from our individual site, rather than depend on external sources. This was important because there is a major water shortage in Mexico City, which is absurd because it rains a lot, but we don’t harvest that rainwater. Instead, we pump water in and out from the valley. As designers, we need to talk about those issues within our designs and experiment with new possibilities. Sometimes when you have a built example, it’s easier to understand new possibilities, particularly around rainwater harvesting.
MicroPolis – is a proposal for a new housing typology of micro-homes in metropolitan centers such as New York City. It can be installed in already built, empty urban spaces. The staggering of the units creates a push-and-pull relation, generating balconies for most units. Large public outdoor terraces provide social and co-working spaces and safe places for children to play. Installing these complexes in wealthier neighborhoods and business districts improves living standards for communities of color, immigrant groups, and low- to middle-income families.
Architizer chatted with Esther Sperber, Principal at Studio ST Architects to learn more about this project.
Architizer: What inspired the initial concept for your design?
Esther Sperber: MicroPolis is a response to a February 2020 court case that revoked the building permit for the top 20 floors of a Manhattan luxury condominium because it used gerrymandering-style tax lot assembly tactics to justify the request for a very tall building. We suggested that we should not waste these already built floors but rather use them for affordable housing. The aim is to present creative, inclusive and positive design solutions to the urban affordable housing crisis, which has been exacerbated by the COVID-19 pandemic. The prevalence of unoccupied and unusable space presents an opportunity to rethink affordable housing throughout the city.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
The project is contextual and addresses New York City’s critical issues such as the housing crisis, diversity and inclusion, and lowering the carbon footprint in the construction industry. MicroPolis could help alleviate the affordable housing shortage, which we have a moral obligation to address. The design creates innovative, sustainable and affordable micro-homes within vacant floors of luxury buildings in metropolitan city centers. Cities have always embraced people from all kinds of diverse backgrounds, but the pandemic revealed that the city is more divided than we would like to acknowledge. MicroPolis celebrates NYC’s diversity by increasing equity and valuing the range of people needed to make the city thrive. Adding affordable housing units throughout the city’s higher-end neighborhoods aims to make NYC more integrated, resilient and equitable.
What was the greatest design challenge you faced during the project, and how did you navigate it?
We realize there will likely be resistance to this proposal. Few privileged communities welcome low- and middle- income developments in their neighborhoods, let alone their own apartment buildings. But if we have learned anything during the COVID-19 pandemic, it is that our society is deeply intertwined. The communities that suffered most from the pandemic are those that we depend on most to keep our city running. The same resistance to this project is reason enough to take this typology seriously. It is time to stop averting our gaze from those who are less fortunate economically and invite them to be our neighbors.
How did the context of your project — environmental, social or cultural — influence your design?
NYC’s real estate exposes the city’s socio-economic inequities. Manhattan’s luxury residential market seems to be rebounding. However, at the same time, the Department of Housing & Preservation, which is responsible for maintaining affordable housing, experienced a 40% cut during the pandemic, resulting in the loss of 21,000 affordable housing units. Our unique modular system, which aims to create greater social equity, consists of prefabricated, energy-efficient and cost-effective micro-homes, which can be installed in already built empty urban spaces. The proposal demonstrates how to creatively house key workers and other tenants in need by maximizing space on mid-level floors of currently unoccupied luxury condos, which some developers have designated as mechanical voids in an attempt to increase the height of luxury buildings and gain maximum value for coveted upper floor apartments.
How important was sustainability as a design criteria as you worked on this project?
The issue of sustainability was one of the main driving factors of MicroPolis’ design. Reusing built spaces has environmental advantages: it conserves materials and resources, lowers carbon footprint, and brings old, energy-inefficient buildings up to the current code. Carefully selected building materials and cladding ensure thermal insulation to lower energy use and costs for these micro-homes. MicroPolis is also uniquely designed to enable staggered balconies to provide some sun exposure and shade coverage during extreme weather conditions.
What key lesson did you learn in the process of conceiving the project?
The housing crisis in New York City, or any city for that matter, is a complex issue. With some of the world’s wealthiest residents, New York City is also home to thousands who do not have a clean, warm or dry place to sleep. The city is struggling to address its housing shortage for lower-income individuals and families, and to provide shelter to its 60,000-plus homeless. At the same time, New York City has a record number of empty, unsold, new luxury apartments. Unused space, particularly in tall luxury residential towers, can be reconfigured to accommodate more units dedicated to affordable housing within the existing floor area.
How do you believe this project represents you or your firm as a whole?
My firm, Studio ST Architects, strives to focus on sustainable, innovative and responsible design. Our firm combines unique expertise in architecture and psychology to design inspiring buildings and renovate spaces that transform human experiences, build deep and inclusive community connections, and create a sense of health and well-being. MicroPolis directly addresses these pillars of our practice.
How has being the recipient of an A+Award evoked positive responses from others?
It gave us an opportunity to think and explore issues around the multi-family residential typology, particularly within dense urban centers. This also helped us reach a larger audience to raise an issue we are passionate about, which led to more discussions with our clients and collaborators about responsible, compassionate design that addresses not only people’s basic need for housing, but also human connection.
How do you imagine this project influencing your work in the future?
Studio ST Architects has significant experience in apartment interior renovations and religious buildings, but we are excited to do more work in the multi-family residential sector. Our recently completed Jones Street multi-family apartment building holds a similar spirit of ambition to connect people and address the need for housing within Jersey City. Jones Street creates individual homes and a sense of community for the families and young professionals that live in this growing Jersey City community. It targets the swathe of families and young professionals looking for New York-style buildings just across the Hudson River. We hope to continue tackling the housing crisis by taking on more multi-family housing projects.
For more on MicroPolis, please visit the in-depth project page on Architizer.
49 Greene Street – a 6-story building in NYC’s historic SoHo district, is an extant example of the mixed iron-and-masonry construction of the post-Civil War era. The client’s brief was to restore the building’s masonry façade and cast-iron storefront, and to convert the interiors into four high-end residential units. To do this, we drew inspiration from the makers and artist ls that once occupied this previously manufacturing building to create units that embrace modern concept of ‘loft living’, in which open, non-programmed flexible spaces meet highly crafted, millworked moments, adding warmth throughout with the use of woods, marbles, and ironwork.
Architizer chatted with Jordan Rogove, Co-Founder and Principal of DXA studio, to learn more about this project.
Architizer: What inspired the initial concept for your design?
Jordan Rogove: We wanted to speak to the various movements that helped form SoHo’s unique character and charm. Much like the artists who were attracted to the neighborhood’s empty lofts in the 1960’s, we too were drawn to the building’s high ceilings, abundant light, and expansive floor plates. For this reason, we are committed to leaving the spaces as open, fluid, and customizable as possible.
However, we were acutely aware that we were designing a home, so introducing a residential scale was important to make the otherwise large space comfortable and inviting. To achieve this, we lowered the ceiling in select rooms and introduced a high level of craft and tactility – our way of communicating with the by-gone manufacturing era of SoHo.
Throughout these rooms, we created a material theme of oak wood paneling, blackened steel, fluted glazing and various marbles. These materials are not only visually exquisite, but very in their tactile qualities, which we believe to be crucial adding warmth and comfort to a home.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
The kitchen and den–the hearth of the home–are the showpieces of each unit, as they are not only beautiful and practical, but speak to each other in their materiality and detailing.
In the kitchen, the appliances, storage, and secondary scullery kitchen are all seamlessly hidden behind white oak paneling with beautifully crafted integrated pulls. This paneling wraps onto the ceiling to cleverly integrate recessed lighting and HVAC diffusers. The island is crafted out of a single slab of Fior di Pesco marble, known for its ability to add calm and serenity to a space, while the upper cabinetry is clad in blackened steel and fluted glass.
This millwork detailing continues into the den, where white oak paneling and a built-in desktop can be closed off from the main living spaces by large blackened steel and fluted glass doors. Alternatively, these doors can perfectly tuck away into the oak millwork to allow flexible space programming.
Many of these materials can be found throughout the unit, creating an overarching theme. For instance, the blackened steel of the den’s custom doors is mirrored in the steel frames of the bathroom vanities, the plumbing fixtures, and even the column cladding.
What was the greatest design challenge you faced during the project, and how did you navigate it?
Renovating a manufacturing building from the 1800’s was an exciting challenge, both in terms of design and coordination. On the design side, we believe that as architects, it is our duty to celebrate the area’s rich history in an authentic yet contemporary manner. This is why we wanted to keep the open nature of these spaces as much as possible. It is also why we used wood and iron in a way that is reminiscent of previous eras, while using contemporary detailing to bring these materials to the present day.
On the coordination side, working with existing buildings in NYC is always a challenge. As precisely as we survey all historic projects, we often encounter surprises during construction that require us to tweak our design on the fly–and 49 Greene was no exception. Furthermore, we had to design an entirely new roof structure, as the existing roof was significantly sloped, which meant giving the 200-year old structure upgrades to account for modern building technologies.
What is your favorite detail in the project and why?
Although it is one of the smallest rooms in each unit, we think the powder room really packs a punch. The vanity and sink are entirely made out of Fior di Bosco marble, which marries well with the ebony black wood veneer panels to create a dark yet calming atmosphere.
In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?
The nature of this project required us to closely collaborate with millworkers, iron workers, and various craftspeople to get the detailing down. We worked with Canova on all of the millwork, Manhattan Steel Door Co. on the large den doors, and with Sage Construction on the stonework and other general detailing. We had many pencil sessions and back-and-forth shop drawing reviews to better understand how to achieve the level of craftsmanship that we envisioned–and we really refined our knowledge of interior detailing along the way.
There isn’t much an architect loves more than clean lines, seamless details and high quality materials, but successfully combining all three is an endless challenge. As many of their clients seek increasingly streamlined spaces in which to live and work, designers are being tasked with perfecting the art of Minimalism — and it’s only made possible in collaboration with manufacturers that appreciate the complex technical considerations behind this goal.
Led by Isabel & Jan Karcher, door furniture business Karcher Design embraces this challenge. This innovative German company designs and manufactures door hardware with incredible rigor, constantly considering how its products will fit with the wider context of a project. Their latest lever set, entitled “Mission Invisible”, takes their vision of minimalism to another level, reducing the door handle to its purest form and providing architects with the perfect solution to their clients’ needs. The product topped the jury vote in the 2022 A+Product Awards.
Architizer spoke with Karcher to learn more about the inspiration behind Mission Invisible, how its design was developed, and the company’s plans for the future.
Congratulations on winning a 2022 A+Award! What does winning this accolade mean to you and your brand?
As a leading manufacturer of door and window levers in the European market, this award and the recognition it brings will help us bring even more of our modern but timeless style to America and expand our market there.
What inspired the design of your product?
Drawing on our European roots, we are always developing designs that are a little smaller, a little more sleek, a little more elegant. Mission Invisible is the pinnacle of minimalism, reducing the lever set to its bare essentials without compromising on quality. This trend can be seen everywhere in modern design, and we wanted to offer architects a product range which can blend seamlessly into their minimalist design concepts.
Tell us about the manufacturing process — What are the key stages involved and how do these help ensure a high quality end product?
Our company motto “Edles aus Stahl” is a bit of a German play on words – Edelstahl, meaning stainless steel, directly translates as Nobel Steel. We recognized decades ago the value of using high quality materials — where brass and aluminum are cheap and easy to manufacture, stainless steel is more durable and adds that extra hint of quality and luxury.
Because of this, our Mission Invisible set (and many of our other lever sets) is made entirely of high quality stainless steel. Through precision investment casting and CNC machining processes, we ensure that our parts fit together every time and with as little play as possible. Combined with our European mortise locks, we ensure a long lasting, good-looking door opening experience.
What detail of your product was most challenging to design, and why? How did you resolve it?
The standard door preparation for a lever set is a 2 1/8” diameter hole which is bored through the door. A standard lever set is designed to make use of this space. Now, imagine you have only a 1” diameter hole in the door, but you have to fit the same technology into less than half the space. Everything has to be thinner and smaller, but it can’t be more fragile.
The secret was to develop a lever rose which wasn’t fixed onto the door, but one which integrated itself into the door itself. The stainless steel rose has an array of flexible hooks which balance out any misalignment between the latch and the door. Once the handle is inserted into the rose, these hooks are pressed into the wood of the door and provide an incredibly stable base for the lever set. A small, but precision-cast, nylon bearing sits between the lever and the rose, ensuring a long life and silent operation.
What makes your product unique and of great value to specifying architects?
First and foremost, its minimalistic design and clean look is unique. Mission Invisible is also compatible with various different designs and finishes, so there are many possible applications. Then there is the size: Compare a standard lever rose (2 5/8” diameter and 7/16” thick) with the Mission Invisible mini-rose (1 3/16” diameter and 1/8” thick!).
Architects don’t have to accommodate the size of a Mission Invisible lever set; it blends into its surroundings. Combine this with a range of durable, powder coated finishes and lever designs specifically made for the Minimalist look, and you have a product which fits in anywhere. You don’t have to stand out to make a statement!
What has the reception to your product been like from architects/clients/consumers?
Architects have said that Mission Invisible opens up new ways to unify the look of a door within a room. They love how it combines with invisible hinges for a complete look, and is very easy to install. The overall reception from both architects and their clients has been very positive.
How do you see the product evolving in future?
Developing an even smaller system isn’t really realistic, but if the minimalist trend in architecture continues, we might develop more products which compliment seamless transitions between design components. We’re also slowly introducing our range of European products to the USA. These are a great compromise for those who want something a bit more elegant, but aren’t quite into the full minimalist aesthetic.
To find out more about Karcher and Mission Invisible, visit their website, and reach out to one of their experts to learn how to implement the product in your next project.
Architizer’s A+Awards Best Firm categories allow design firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm”. Start an A+Firm Award Application today.
Architecture is shaped by form, transparency and light. Today, glass is one of the key materials specified to control what we experience inside a building, from views and daylight to heating and cooling. Glass has been used for thousands of years, holding both practical uses and cultural meaning. A major turning point came with the advent of the float glass process, invented by Sir Alastair Pilkington in 1952, which used a molten tin bath to produce a continuous ribbon of glass. Now, architects are working with manufacturers to rethink conventional building envelopes and construction techniques.
Bendheim is one of the world’s foremost resources for specialty architectural glass. Founded in New York City in 1927, the family-owned company offers in-stock and custom glass varieties for interior and exterior building applications. In the early 1980s, Bendheim began its Architectural Glass division with new tempering and lamination processes to transform hundreds of decorative glass varieties into safety architectural glass products. Bendheim now maintains production facilities in New Jersey and a Design Lab in New York City. The following projects showcase Bendheim’s products in architecture across the United States, from residential to cultural projects.
Devon Energy Center
By Pickard Chilton, Oklahoma City, OK, United States
The Devon Energy Center was designed to create a focal point for the company and the city by integrating civic-scaled spaces. The headquarters consolidates Devon’s Oklahoma City-based workforce into a single facility. Rising fifty floors, the tower’s unique three-sided footprint allows it to be viewed from all of greater Oklahoma City. The curtain wall is composed of state-of-the-art continuous floor-to-ceiling glazing and a highly articulated mullion system.
Defining an urban edge between business and arts districts, the auditorium is a prominent, multi-use venue designed to support private and public events. Bendheim was brought on with double-glazed, solar channel glass to create feature exterior walls with angle cuts at the entrance. The SF-60 framing system was utilized for setting the glass.
Shaw Center for the Arts
By Schwartz/Silver Architects, Baton Rouge, LA, United States
Made to house Louisiana State University’s Museum of Art, this project also included studio art facilities, a regional performing arts facility with a 320 seat main stage, a hundred-seat black box theater, and a dance recital theater. An historic older building, the “Auto Hotel,” houses classrooms, offices, curatorial spaces, and a gallery for the LSU School of Art. The innovative Bendheim channel glass rainscreen creates a highly recognizable façade, while protecting the building and the works of art it houses from the elements.
The façade features approximately 40,000 square feet of the channel glass. Most of the flanges face outward, adding texture to the building. There are 2-inch gaps between the channels, and the glass rainscreen sits approximately 6 inches off a layer of waterproof aluminum. The resulting varied texture emulates the shimmering surface of the nearby Mississippi River. The unique flange-outward design adds visual complexity, while preventing wind and rain from accessing the metal panels behind the channel glass.
Swiss Embassy Residence
By Rüssli Architects AG, Washington, DC, United States
Looking out with a view to the Washington Monument, this residence was made as a multifunctional microcosm of living and working space as well as rooms for official receptions and for the staff. The strictly geometrical structure of the Swiss Embassy is a cross-shaped volume on a massive, rectangular base. The outer sides of the cross, which are part of the base too, and the the resulting exterior spaces are allocated to adjacent areas.
Bendheim’s U-profile channel glass, contrasting with slate-trimmed grey concrete, produces a crisp, clean effect in this cross-shaped design. The complex features 10,000 square feet of tempered, low-iron, sandblasted, solar textured channel glass. The Swiss Embassy residence operates at high levels of efficiency, consuming half as much energy as a typical building structure. The project also conforms to the LEED Silver green building standard.
Institute of Contemporary Art
By Diller Scofidio + Renfro, Boston, MA, United States
The ICA was the first museum to be built in Boston in 100 years. The 65,000 square foot building includes temporary and permanent galleries, a 330 seat multi-purpose theater, a restaurant, bookstore, education/workshop facilities, and administrative offices. The site is bound on two sides by the Harbor Walk, a 47-mile public walkway at the water¹s edge reclaimed from Boston’s industrial past. The ICA offers the city some of its ground floor footprint in exchange for rights to cantilever over city property with a 18,000-square-foot gallery illuminated by an uninterrupted skylight.
A 504 Rough Cast channel glass façade envelopes the upper level of the Institute of Contemporary Art on three sides. The glass rainscreen is functional, protecting the building from harmful moisture damage, as well as being aesthetically pleasing. The glass is illuminated from the top, allowing the entire upper level to glow at night and to act as a beacon over the harbor.
C-Glass House
By deegan day design, Marin County, CA, United States
The C-Glass House is an elegant retreat in northern California. Set on a spectacular site, the residence opens to a panoramic view of Tomales Bay and the open ocean, while bracing against winds from multiple directions. C-Glass House brokers between the Leica-like precision of high modern glass houses and the cinematic wireframe of the Case Study generation. The home was also inspired by artists’ explorations of glazed enclosures as much as it is to the precedents of Johnson and Mies.
The C-Glass House opens up to a panoramic vista but also modulates and reflects back on architecture’s evolving role in the American landscape. Affixed in Bendheim’s SF-60 framing system, solar textured channel glass defines the house’s exterior, creates privacy, and diffuses the strong Californian sunlight. Captured at the top and bottom, the tempered channel glass spans the height of the house, seamlessly turning corners without the need for extra metal supports.
Visual Arts Building, University of Iowa
By Steven Holl Architects and BNIM, Iowa City, IA, United States
SHA and BNIM designed the new Visual Arts Building for the University of Iowa’s School of Art and Art History. It provides 126,000 square feet of loft-like space for all visual arts media, from ancient metal-smithing techniques to the most advanced virtual reality technologies. The building replaces an original arts building from 1936, which was heavily damaged during the 2008 flood of the University of Iowa campus. Seven vertical “centers of light” are carved out of the building’s volume filling the interior with natural light and ventilation.
Channel glass by Bendheim soars at 20 foot heights throughout the project. The combination of Bendheim’s 504 Rough Cast™ channel glass texture with translucent insulation inserts delivers ideal daylight, as if filtered through a translucent cloud. With no glare requiring shades or other window treatments to block it, classrooms, studios, and lounge spaces are flooded with natural light that appears to have no direct source. The idea was to create evenly dispersed light that would make the best possible atmosphere in which to work and create.
Architizer’s A+Awards Best Firm categories allow design firms of all sizes to showcase their practice and vie for the title of “World’s Best Architecture Firm”. Start an A+Firm Award Application today.
Ergon Agora East – The challenge was to re-interpret the common supermarket experience, by introducing a new vocabulary of materials and forms. An additional challenge was to intervene in an existing, old industrial shell and create a new, modern and of high-quality space.
Architizer chatted with Tasos Georgantzis, Managing Director at Urban Soul Project, to learn more about this project.
Architizer: What inspired the initial concept for your design?
Tasos Georgantzis: ERGON already has a visual identity in terms of spatial design so we had in our hands a range of elements to shape Agora’s identity. This identity is based on greek materiality, tradition, architecture colours and forms. This identity is always the starting point in every ERGON project. Specifically in this case, we were inspired by our own experience in markets, both open and closed. We wanted to design a space that combines different uses, for different hours and different age groups.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
ERGON Agora East is innovative for two reasons: not only it proposes a new way to design a supermarket but also proposes a way to re-use an existing industrial shell. Regarding the second point, the changes made to the building were subtle but significant: the roof was opened in order for the daylight to enter the building, and also with the opening of the southwest side the building becomes integrated with its environment. ERGON Agora’s design is minimal, respects the existing structure and creates a new narration using old materials.
What was the greatest design challenge you faced during the project, and how did you navigate it?
The greatest challenge in ERGON Agora East design process was the request to fit in one space different uses, define a hierarchy among them and achieve to keep them connected, not separated. ERGON Agora East is at the same time a super market, a winery, a restaurant, a bakery and a garden.
Tomo – is a restaurant in White Center, just south of Seattle, WA. The client named the restaurant after his grandmother, Tomoko, and the Japanese word “tomodachi”, meaning ‘friend’. Embracing these warm roots, wood became the centerpiece of the space. Nearly every piece of the interior was created locally, bringing down the carbon footprint of the project, and amplifying the local economic impact. The 80’ wooden light fixture, pendant lighting, bench seating, chairs, bar stools, tabletops, slatted wall panels and shake cladding were custom designed and fabricated by our team just five miles away.
Architizer chatted with Seth Grizzle, Founder & Creative Director at Graypants, Inc., to learn more about this project.
Architizer: What inspired the initial concept for your design?
Seth Grizzle: Our initial concept was inspired by the idea of a space to enjoy great food without the trappings or stiffness of traditional fine dining. We wanted to create a lot of warmth, so wood is a centerpiece of the space: Referencing shou sugi ban, much of the interior wood has been stained a deep ebony, while oak shingles arranged like scales clad a wall running the length of the space, and contrast the strict geometry of the vertical ash slats that wrap the opposing walls.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
I think what stands out about Tomo is that nearly every piece of the interior was created locally, bringing down the carbon footprint of the project, and amplifying the upfront, local economic impact of the project. The 80’ light fixture, pendant lighting, bench seating, chairs, bar stools, tabletops, slatted wall panels and shake cladding were custom designed and fabricated by our team just five miles away. As well, nearly all of the lighting is directly integrated into the architectural elements–the wall panels, the bench seating, the bar shelves– the lighting is felt but not seen.
What was the greatest design challenge you faced during the project, and how did you navigate it?
The space is narrow and deep, posing a risk of feeling cold, tight and confining. Code restrictions meant fixed walls, plumbing and bathrooms. With these lines already drawn in the space, we worked with softening elements; wood, integrated light, a neutral pallette to create a dining experience that is refined but not extravagant, and elevated by light.
How did the context of your project — environmental, social or cultural — influence your design?
The context highly influenced the project. The client chose Tomo’s neighborhood, White Center, very deliberately as it has been on a slower path to economic growth and becoming more inviting to visitors. As a chef with a long list of accolades, and a community curious to learn his next endeavor, the client deliberately rejected the idea of another anticipated restaurant within the city of Seattle, in hopes of speeding the trajectory growth in White Center with a space to enjoy great food without the trappings or stiffness of traditional fine dining. With the design, the team responded by creating a space remarkable enough to feel like a destination–a place worth traveling to- for both food and ambiance.
What is your favorite detail in the project and why?
One of my favorite elements in the project is a custom, handmade 80-foot linear wood fixture that traces the entire length of the restaurant. The layout of the restaurant invited a reference to an evening in one of the endless alleyways of Japanese cities; the custom fixture beautifully connects this space without cluttering it.
How have your clients responded to the finished project?
We loved seeing that since opening, the restaurant has immediately begun outperforming their projections, with a booked solid calendar bringing hundreds of people to the neighborhood every single evening.
How do you believe this project represents you or your firm as a whole?
Tomo is a reflection of Graypants’ emphasis on the interplay between light and architecture. They always inform one another, and in Tomo, the lighting is felt much more than seen. With the exception of the linear fixture, which is very visible even as it is quite understated.
Is there anything else important you’d like to share about this project?
The cost per square feet of this project is, conservatively, 35 percent below the benchmark, largely due to the team’s ability to make simple, touchable materials feel chic in a monochrome palette. The team used a design/build approach for the project, fabricating much of the primary design elements such as fixtures and furnishings, cutting out suppliers and shortening the timeline significantly.
Team Members
Seth Grizzle, Bryan Reed, Caleb Patterson
Consultants
Fin Design Shop
For more on Tomo, please visit the in-depth project page on Architizer.
Ford Calumet Environmental Center – Once a dumping ground from nearby steel mills, Big Marsh park opened in 2016 on the southeast side of Chicago. The Chicago Park District asked Valerio Dewalt Train to design an environmental center that serves as an education hub and a gateway to eco-recreation opportunities throughout the region. The design responded to the park’s past by marrying the industrial with the natural. The exterior is clad in a rain screen of weathered steel that recalls the site’s steel mill history, with an exposed mass timber interior. Two large rooftop light monitors, clad in exposed Nail-Laminated-Timber, flood a double-height exhibition area with daylight.
Architizer chatted with Tom Daly, Project Manager and Joe Valerio, Design Principal at Valerio Dewalt Train, to learn more about this project.
Architizer: What inspired the initial concept for your design?
Tom Daly: Historically, Chicago’s Southeast Side has been burdened with the effects of industrialization and left with remnants of steel production in the region of the city. The building’s materiality serves as a metaphor to the site’s industrial past and forward-thinking future: the corten steel that wraps around the building is an acknowledgement of that past, while the two wooden forms cantilever dramatically to both mark the entry and frame a view of the interior, while from the inside they focus your attention on small but significant vignettes of the restored natural landscape. They deliver a message about an environmentally responsive and conscious future.
This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?
The design serves as an example for a progressive future of building in the City of Chicago, a city known for design innovation. The center was the first wastewater wetland system in the city, and the first mass timber building for the Chicago Park District. The building also actively improves living conditions for its surrounding inhabitants. Its highly bird-safe design rates a 4 out of a 100 level scale, with 0 being the highest, and provides a resource for the surrounding communities who have suffered from a lack of investment and park services for decades. It’s sculptural form and rich materiality serve as a gateway to the park at large.
What was the greatest design challenge you faced during the project, and how did you navigate it?
The overall project budget was $6.6M, and was made possible by a major contribution from the Ford Motor Company. The Design Team was immediately challenged when it was discovered that the nearest sanitary sewer line was 1.6 miles from the site. The cost of bringing a sanitary sewer to the site was $2.0M – threatening the viability of the entire development. Working with our civil and plumbing engineers, we developed a design for an on-site black water treatment system where the outflow was clean water. The Ford Calumet Environmental Center is the first time a wastewater wetland system has been permitted by the City of Chicago.
How did the context of your project — environmental, social or cultural — influence your design?
The project’s environmental, social and cultural context are intertwined. Historically, Chicago’s Southeast Side has been financially underserved and burdened with the effects of industrialization. The Ford Calumet Environmental Center is a bold statement of how we can re-inhabit landscapes destroyed by 20th Century technology. A major focus were local residents of the four surrounding neighborhoods including South Deering, Pullman, Trumbull Hill and Hegewisch. Our Media-Objectives Studio reached out to community leaders and developed an award winning exhibit which focuses on their past and optimistic future. Through environmental education and eco-recreation, the center serves as a community resource and cultivates advocacy for positive change across the Calumet Region.
What drove the selection of materials used in the project?
The building’s materials reinforce its mission. The 20th Century industries that so damaged this region were major sources of carbon released in the atmosphere. The weathered steel cladding is recycled – which has a low level of embodied carbon compared to other building materials. The decision with the most impact is the use of a mass timber structure. The embodied carbon is lower than almost any other material, in addition the timber sequesters carbon leading the way to an environmentally-responsive future.
What is your favorite detail in the project and why?
Early in the design process our focus was on creating an open and welcoming architecture with a daylit interior. Big Marsh Park is also on one of the major migratory routes for birds, drawing attention from an important constituency for the Park – bird watchers.
The two wooden forms that cantilever over the corten facade, bring daylight from above into the exhibit space. The eight foot cantilever results in eliminating the reflection of the sky in the large clerestory windows, bird safe glass is also used for these window. There are six large windows around the perimeter that bring daylight into all the interior rooms. Each is equipped with large doors, covered in perforated corten steel. In the open position, the doors shade the glass reducing the reflection of the sky. During the migratory season, the doors are kept closed, with the perforated metal still providing adequate light
How important was sustainability as a design criteria as you worked on this project?
Sustainability was a driving factor in the design and overall project mission. Sustainable features like the wastewater wetland system are put on display, demonstrating how it takes inspiration from the marshes’ natural processes to treat the building’s blackwater and release clean water back to the site via a leach field. Renewable resources in the project include Nail Laminated Timber, giving the building warmth and a lower carbon footprint. An eco-friendly alternative to aluminum, weathered steel has a lower carbon footprint as well, reducing the building’s overall embodied carbon while providing a durable layer of protection with a beautiful orange patina.
In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?
Collaboration was critical to the success of the FCEC. It began with the Chicago Park District who were willing to explore new solutions to old problems. In addition, from the beginning one of the Districts goals was to engage the adjacent minority communities.
Designing and permitting the wasteland wastewater system involved many members of the design team, the Park District, and the Chicago Building Department.
Finally, our Media-Objectives Studio brought leaders and residents of the surrounding neighborhoods into the design of the exhibit which includes the history of these communities including photographs of some of the residents including their own words about the past and future of the region.
Were any parts of the project dramatically altered from conception to construction, and if so, why?
There were a number of changes, but nothing that represented a dramatic change.
How have your clients responded to the finished project?
The FCEC is one of the most widely recognized buildings completed by the Chicago Park District. Among the awards and publications the most significant is first place in the yearly Driehaus Foundation Award for Architectural Excellence in Community Design was established to recognize the importance of great architecture and craftsmanship to city life.
How do you believe this project represents you or your firm as a whole?
Good design is always the answer.
Team Members
Steffan Schoenauer – Project Manager (Chicago Park District); Joe Valerio – Design Principal Mark Dewalt – Principal-in-Charge, Tom Daly, Alexander Raynor – Project Manager, Lauren Shelton, Matt Gamache, Michael Johnson, Susan Crockett, Nina Cackovic, Haydyn Jones, (Valerio Dewalt Train); Joe Lawton – Principal, Allison Rokusek, Jacob Goble, Rafael Barontoni, Stephen Killion – Graphic Designers (Media–Objectives)
Consultants
Chicago Commercial Construction – General Contractor; Primera – Civil Engineer; Jacobs Ryan Associates – Landscape Architecture; Matrix Engineering – Structural Engineering; dbHMS – MEP Engineering; Tom Harris – Photography; TetraTech – Environmental Consultants; BioHabitats – Green Infrastructure
The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates.
Architecture and cacti may seem worlds apart. But on closer inspection, both are defined by structure and repetition, and whether simple or ornamented, they are shaped by their context. When García-Germán Arquitectos set out to design Desert City, the team wanted to celebrate xerophytic plants and a growing culture of interests and events around them. The result is an elegant and uplifting architecture that parallels the beauty and structure of diverse cacti from around the world.
Sited in San Sebastián de los Reyes, GGA’s soaring cactus complex is an infrastructural design between highway and forest, harboring a “twin oasis for cactus exhibiting and growth” with a mixed eco-cultural program. The project showcases sustainable and ecological approaches alongside educational spaces. At Desert City‘s heart is a large garden and greenhouse that house a range of leisure activities and presentations to small conventions, workshops and exhibitions.
The success of the project lies in its airy, soaring roof and a series of inventive structural solutions. The project’s plants and program are sheltered by a big, lightweight container that responds, in terms of scale and materiality, to the nearby A-1 Highway. It also features a double-layer ETFE cushion system on the roof that mitigates variations in temperature.
GGA designed the project alongside builder Isolux Corsán, as well as structural engineer Felipe F. Sanz and the greenhouse roof engineer Arenas Ingenieros. Together, they created a cloister-like cactus garden and a cable roof inspired by tensegrity structures for a “billboard-building” alongside the highway. As architect Eduardo Prieto noted, the design features a “powerful steel bridge that extends 40 meters above the cacti, its span constituting the most spectacular moment of the building. The bridge synthesizes the building’s main argument: the image of a machine hovering over the garden to produce a picturesque, if not Surrealist, contrast between opposing geometries.”
Desert City is a large complex that includes an exhibition and sales space, as well as a restaurant, shop, storage, and office areas. It is organized internally by a sequence of symmetries around the cactus garden, which receives newcomers, and the greenhouse space. As the team notes, despite its hybrid program, the complex’s construction is systematized through repetition, modulation and prefabrication of elements.
The structure takes on the form of a huge, abstract and stretched out skeleton. The idea was for the building to communicate its inner workings and the veiled presence of greenery as seen from the passing car through a tinted, watery glass façade. As the team explains, the architecture incorporates sustainable solutions such as transparent photovoltaic glass, geothermal power, water recovery systems, solar controls, and extensive plantings in the site, which was originally a wasteland.
Overall, the project was designed to overlap activities that range from the exhibiting, growing and breeding of cactus from around the globe. As GGA stated, the overlapping of apparently excluding situations, such as “commercial exploitation of leisure events vs. exemplary “green” business; building as sole infrastructure vs. atmospheric and “soft” finishes; size vs. fragility; and oasis by the highway” created a new opportunity. It also includes a significant commitment to R&D, undertaken in collaboration with international universities.
An interplay between light, structure and cacti, Desert City embodies a highly refined and well-executed approach. The building has become a filter between the harsh infrastructural condition of the highway and the limit of the huge green pocket formed by the Parque Regional de la Cuenca Alta del Manzanares on the other side. In turn, it showcases how architecture can be inspired by nature while being created for and with it.
The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates.