He's an architect passionate about sailing, leadership and building communities

The article reviews Scott Johnson's recently published book, "Inside Architecture: A Design Journal," offering insights into his career and architectural philosophy. Johnson, known for his serious approach to architecture, recounts a notable incident involving his meticulously designed Fox Plaza office tower. Completed in 1987, the upper floors of the building were altered for use as a film location for the movie "Die Hard," a revelation that initially concerned Johnson about the tower's architectural integrity. Despite his initial apprehension, the movie's success made the Fox Plaza tower an instant landmark, leading to full occupancy and increased recognition for Johnson's firm. The unexpected publicity from "Die Hard" significantly boosted the firm, then known as Johnson Fain + Pereira, and later Johnson Fain. This exposure led to numerous challenging assignments, including an intriguing offer from Donald Trump to design the world's tallest building in Los Angeles. Johnson declined this particular offer but undertook several other successful projects in L.A.'s Century City and downtown San Francisco. The book delves into the design and development processes of these projects, offering a glimpse into client interactions and the guarded packaging of unique architectural endeavors. A significant portion of Johnson's journey involves the Opus One Winery in Napa Valley. His involvement with this project predates the Fox Plaza incident, dating back to 1984 when the firm won a competition for the joint venture between Robert Mondavi and Baron Philippe de Rothschild. The protracted design process for the winery became a comprehensive tutorial in winemaking and social etiquette, proving beneficial for Johnson and his evolving firm. This project, along with other hospitality assignments, helped Johnson Fain navigate economic downturns and attract an international clientele following the Fox Plaza success. Johnson's book also documents the firm's diverse international commissions, including master planning resorts in Hawaii and Guam, designing office towers in Taiwan, Indonesia, and China, and planning Beijing's central business district. Closer to home, the firm undertook projects like an office tower in Dallas, a Native American museum in Oklahoma City, and several office towers in L.A.'s Century City. Each project presented unique challenges related to clients, site constraints, design considerations, and financial aspects, all meticulously observed and navigated by Johnson, who also demonstrated his skill as a conciliator. The article highlights Johnson's unique involvement in the Christ Cathedral (formerly Baptist Crystal Cathedral) in Orange Grove, tracing his contribution from an apprentice under Philip Johnson in the 1970s to his role as a principal in Johnson Fain during its renovation into a Catholic cathedral decades later. The narrative also explores Johnson's personal architectural ventures, including designing several private residences, four of which were his own. These include a town house, a renovated industrial loft, and two distinct family vacation homes—one in Napa Valley and another in Ojai. These personal projects showcase Johnson's versatility and deep connection to architecture, culminating in his and his wife's move to a pied-à-terre in Harlem, New York City, which he describes with poetic appreciation for its urban environment. Finally, the review mentions Johnson's academic pursuits, including teaching design at UCLA and leading USC's Master of Architecture program. His intellectual contributions are further evidenced by his various publications and his role as an art and architecture design theorist. The book's extensive epilogue features excerpts from these theoretical works, providing a comprehensive view of Johnson's journey as a gifted architect in a demanding profession. #ScottJohnson #ArchitectureDesign #InsideArchitecture #FoxPlaza #DieHardMovie #JohnsonFain #OpusOneWinery #ArchitecturalJournal

The article highlights Jules Stafford, an interior design alumna from George Fox University, and her impactful work at DesignCase, a firm recognized for its community-focused projects. Stafford, a bi-cultural woman with Mexican and Filipino heritage, integrates her understanding of diverse cultures into her design philosophy, emphasizing the creation of hospitable spaces that foster community. A notable project discussed is the Immigrant Food restaurant in Ballston, Virginia, which she helped design. This restaurant is celebrated for its vibrant aesthetic, reflecting various immigrant cultures, and its role as a hub for cultural exploration and community engagement. Stafford's work extends beyond commercial projects to pro bono community initiatives. DesignCase recently revamped teacher lounges in a local K-12 public school, designing intentional spaces for educators across different grade levels. This project deeply resonated with Stafford, who witnessed the profound positive impact these revitalized spaces had on the teachers, reinforcing her belief in the power of design to serve and uplift communities. She views these opportunities as a way to steward her talents and contribute meaningfully to society. The article also delves into Stafford's personal journey, detailing her upbringing in Hesperia, California, within a large family that instilled in her a strong sense of community and a knack for organizing events. Her early experiences with hospitality and planning naturally transitioned into an interest in interior design. As a first-generation college student of color, Stafford faced unique challenges in pursuing higher education. Her family, with no prior college attendees, found the prospect of university cumbersome. She navigated a crossroads between pursuing a design-focused school or a faith-based institution, ultimately finding George Fox University and its Mosaic Scholars Program, which offered both academic and leadership development support. Her transition to George Fox was initially difficult due to the distance from home and financial pressures. Overwhelmed, Stafford considered leaving after only two weeks. However, the unwavering support from university staff, particularly Bryce Coefield and Jenny Elsey, played a crucial role in her decision to stay. They provided her with options and encouragement, demonstrating the strong community ethos at George Fox. Further support came in the form of a nanny position with George Fox’s women’s volleyball coach, Emily Davis, which offered her housing and extended her stay at the university, allowing her to thrive academically and personally. Casey Martin, Stafford's interior design professor, also provided significant mentorship and practical assistance, including helping her secure employment when an initial job fell through. Martin's commitment to connecting students with industry professionals and offering comprehensive support, whether professional or personal, was instrumental in Stafford's success. The collaborative spirit among her peers in the interior design program, where students supported each other through competitions and celebrated collective achievements, further underscored the importance of community. Stafford's story culminates in her securing a position at DesignCase, a moment celebrated by her classmates, symbolizing a shared victory and the fulfillment of her aspirations. She continues to advocate for collaborative design, emphasizing the need for diverse perspectives to create impactful and meaningful spaces, believing that even small organizations can achieve significant positive change. #InteriorDesign #CommunityEngagement #AlumniSuccess #GeorgeFoxUniversity #FirstGenerationStudent #CulturalFluency #ProBonoWork #Mentorship #CareerJourney

The role of the architect is undergoing a significant transformation, moving beyond the creation of iconic buildings to fostering platforms for autonomy, learning, and replicability, particularly in a world marked by climate crises, social inequalities, and rapid changes. This shift highlights a broader understanding of culture, where architecture is not merely a physical structure but an active cultural process that builds relationships, knowledge, and collective meaning. Projects acting as “schools of construction” demonstrate the efficacy of utilizing local materials, adopting participatory methods, and empowering communities to create resilient and meaningful architecture capable of sustaining life and culture in uncertain times. A key aspect of this evolving practice involves the replication of knowledge on a local scale through the use of regional materials and adapted construction techniques. An exemplary project is the Gando Primary School in Burkina Faso, designed by Diébédo Francis Kéré, where compressed earth blocks produced locally were used in construction, engaging community labor. This project not only resulted in a physical school but also established a functioning construction workshop, enabling other communities to adopt similar building practices. Similarly, the CEM Kamanar Secondary School in Thionck Essyl, Senegal, built by dawoffice / Foundawtion, utilized locally molded clay blocks to create thermal comfort and reduce costs. The construction process became a training ground, enhancing traditional building skills among local masons and residents, thus strengthening indigenous practices and resourcefulness. Another project integrating both dimensions is the Lanka Learning Center in Sri Lanka by FEACollective, which used local materials like bamboo and reclaimed wood, built collaboratively by architects, residents, and volunteers, serving as a mutual learning laboratory that fostered technical autonomy and community belonging. These projects illustrate how architecture can transcend mere shelter provision, becoming a catalyst for community transformation by articulating processes of encounter, cooperation, and formation. Architects, in these instances, serve as mediators between technical and local knowledge, turning the building process into a shared learning experience. The Rugerero Health Center in Rwanda, designed by ASA Studio, exemplifies this by engaging the community through participatory workshops and using local materials like adobe bricks and stone, significantly reducing costs. The construction site doubled as a trade school, training residents in various building techniques, which empowered them for future community projects. In Brazil, USINA CTAH’s Mutirão União da Juta project involved families in every stage, from design to execution, leading not just to homes but to a network of solidarity and technical training that redefines architectural practice. The relevance of these approaches is heightened amid global crises, where architects are increasingly called upon to facilitate between diverse stakeholders, identify local material supply chains, train workers, and deliver durable and resource-efficient solutions. These “schools of construction” are invaluable as they propagate knowledge, diminish reliance on external resources, and, crucially, establish a lasting legacy. They underscore architecture’s potential as a regenerative practice, capable of shaping not only physical spaces but also empowering people. Projects by the Asociación Semillas para el Desarrollo Sostenible in Peru, such as the Primary and Secondary School El Huabo and the Technology and Environment Laboratory Mencoriari, showcase this by combining vernacular knowledge with sustainable innovation in remote Amazonian contexts. These buildings, constructed using managed timber and passive strategies, function as educational environments for both students and builders, promoting social and environmental resilience through shared stewardship. Challenges persist, including the time and mediation required to engage real communities, the inherent tension between ideal designs and local realities, and the need for documentation, standardization, and adaptation for method replication. Architects must balance their roles as technical specialists with that of broad facilitators of knowledge. Ultimately, in an era of uncertainty, the architect’s role evolves from merely designing structures to mediating processes and cultivating shared practices, thereby building collective knowledge that is adaptive and enduring. #Architecture #ArchitectsRole #CommunityDrivenDesign #LocalMaterials #SustainableArchitecture #ParticipatoryDesign #EducationalArchitecture #RegenerativeArchitecture #ResilientArchitecture

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

This article features an interview with Cristiano Gatto, the interior designer for Heesen Yachts' Project Altea, a 50-meter all-aluminium superyacht priced at nearly €36 million, with delivery scheduled for May 2021. Gatto, who trained as a sculptor, approaches yacht design with a focus on blending aesthetics and function, viewing each project as a sculpture refined to the smallest detail, incorporating curves, lines, lighting, and patterns to achieve the final result. The process of styling a yacht's interior varies depending on whether it's a fully custom or semi-custom project. For fully custom projects, Gatto collaborates closely with the owner, translating their ideas and emotions into a feasible design over many months. For semi-custom projects like Project Altea, the approach involves anticipating future clients' desires and creating a versatile design that allows for customization without significantly impacting the advanced construction stage. A 50-meter project, from concept to delivery, typically involves approximately 50 to 60 people. The primary brief for Project Altea was to create a yacht with a distinct personality, catering to the lifestyle expectations of 2021, while building upon the experiences gained from its sister ships, “Home” and “Electra.” The goal was to develop a warm and welcoming ambiance, a cocoon where occupants feel pampered and protected. This was achieved through interior design choices such as soft, curvy lines for furnishings and surfaces, a palette of soft colors, and a meticulous selection of materials like wood, various textures, fabrics, and upholsteries to foster a calm and relaxing atmosphere throughout the vessel. One of the main challenges for Project Altea was to imbue it with a new soul and unique interior approach, despite sharing a similar exterior design with its predecessors. Gatto emphasized the importance of ensuring Altea was not a mere replication but a distinct entity. During construction, Gatto maintains a close collaboration with Heesen's team, relying on their organizational structure for quality control and adherence to a tight schedule. This involves numerous meetings to meticulously select materials such as marble and wood, ensuring high-spec, long-lasting quality and a balance between cost and premium standards. Reflecting on his career, Gatto states that his favorite projects are always the next ones, as each vessel holds a unique place in his heart. Currently, he has seven vessels on the design board. Regarding potential future adjustments to yacht design due to social distancing, Gatto believes yachts are inherently ideal for maintaining a healthy and protected environment. He notes that challenges would arise from space limitations, particularly for crew areas, necessitating independent air conditioning systems and dedicated outdoor spaces for the crew. He is also currently restoring a castle in the UK, aiming to return it to its original grandiose state, drawing inspiration from his Venetian heritage. If he were to own a yacht, Gatto indicates it would likely be one he is currently deeply involved with, such as the Aquamarine Project for Heesen, which incorporates Japanese influences and philosophies, focusing on achieving perfect harmony through a "Mushin"-inspired design process. Looking ahead, Gatto expresses a desire for continued travel, viewing it as essential for his creativity and ability to avoid repetitive designs. He maintains a highly personal approach to his work, overseeing each project closely rather than managing a large team or quantity of projects. #CristianoGatto #HeesenYachts #ProjectAltea #YachtDesign #InteriorDesign #LuxuryYachts #Superyacht #NavalArchitecture

The Sea Ranch, an idyllic modernist hamlet located 100 miles north of San Francisco, serves as a significant example of progressive residential development, conceived in the early 1960s by architect and planner Al Boeke. Boeke envisioned a community deeply integrated with its natural surroundings, emphasizing ecological principles and minimal environmental impact. To achieve this, he assembled a team of prominent designers, including architects Joseph Esherick, Donlyn Lyndon, Charles Moore, and Richard Whitaker, along with landscape architect Lawrence Halprin, architectural photographer Morley Baer, and graphic designer Barbara Stauffacher Solomon. Halprin's 1963 master plan for Sea Ranch meticulously studied the local ecology, prevailing winds, microclimates, and topography, aiming to preserve the landscape. The plan incorporated condominiums, single-family residences, recreational facilities, a town center, and an airport, all designed to work harmoniously with the varied terrain, from flat fields to rolling hills and thick forests. Buildings were strategically sited, either grouped for wind protection or positioned to maximize views, adhering to the principle of minimal alteration to the natural environment. The initial prototypes for residences were a cluster of condominiums designed by MLTW (Moore Lyndon Turnbull Whitaker) between 1963 and 1964. Condominium One, in particular, became an iconic representation of the "Sea Ranch" or "Third Tradition" style. Joseph Becker describes this style as a "hybrid modernist and regionalist architectural style" that merges social interest with ecological sensitivity. Situated overlooking the Pacific Ocean, Condominium One is recognized as one of California's most significant architectural designs of the 1960s, embodying the architects' desire to "live lightly on the land." Its design features local redwood siding, timber framing, shed roofs sloping away from the water, an asymmetrical plan with interior courtyards, protected gardens, and thoughtfully placed windows, all contributing to an organic and natural aesthetic. In 2005, Condominium One was added to the National Register of Historic Places, acknowledging its impact on American design and architecture. Subsequent buildings at Sea Ranch continued to blend modern and vernacular design elements, utilizing timber framing, local Douglas fir and redwood exteriors, and muted or unpainted wood finishes. Angled shed roofs were designed to manage wind flow, and baffles were used at windows and exterior lights to reduce light pollution. Landscaping exclusively featured indigenous plants, with building placement dictated by weather and topography. Interiors showcased the timber framing and wood-clad walls, balanced by high ceilings and ample natural light. Over the decades, approximately 1,800 additional homes were built, mostly smaller single-family residences, consistently adhering to the initial design guidelines and vision. Even with evolving demographics and increasing property values, strict design guidelines ensure that all renovations and new constructions uphold the distinctive Sea Ranch architectural style, maintaining its remarkable integrity and fidelity to the original intent across its 3,500 acres. #SeaRanch #ModernistArchitecture #CaliforniaDesign #UtopianCommunity #EcologicalDesign #ArchitecturalHistory #CondominiumOne #LandscapeArchitecture #SustainableLiving

Sabrina MacLean, an interior designer, discusses her journey in balancing work and personal life, managing a family business, and her vision for HinoStudio. MacLean acknowledges her husband's role in helping her achieve a better work-life balance, contrasting with her earlier years as a workaholic. She outlines a structured approach to her workday, beginning with an early start for dog walking and exercise to manage stress and energize her day. Her routine includes team lunches once a week to foster bonding and a strict no-work-calls policy on Friday evenings until Monday to fully disconnect and enjoy time with family and friends. This deliberate separation from work was a challenging but beneficial decision, enhancing her personal life. Hinojosa Design Studio was founded in 2000 in Miami, Florida, by MacLean's mother, Carola Hinojosa, as a high-end interior design company. The business had a long history in Bolivia before relocating to Miami. MacLean gained experience in sales and furniture design at Holly Hunt after graduation before joining her mother's team in 2010. In 2018, upon her mother's retirement, MacLean took over the firm, rebranding it as HinoStudio. This transition presented significant challenges, requiring her to prove her capabilities, execute designs to her mother's high standards, and earn the trust of both existing and new clients. The firm has since diversified its offerings to include a furniture line and a rug collection, with ongoing development of new products. HinoStudio is also engaged in international projects, collaborating with architects worldwide, which provides new learning opportunities. When asked about recommending places in Miami for a visiting friend, MacLean suggests a comprehensive itinerary focused on dining, drinking, visiting cultural sites, and hanging out. For dining, her top choices are Zz's Restaurant and Casa Tua in Miami Beach, both noted for their food, private club atmosphere, and vibrant social scene. For drinks, she recommends Socialista in Brickell, Mila, and Klaw Rooftop, praising their music, ambiance, and diverse crowds. Miami's cultural growth is highlighted with recommendations to visit the Design District, Pérez Art Museum Miami (PAMM), Rubell Museum, and Wynwood, emphasizing the city's rich collection of art and museums. For relaxation and socializing, she suggests Faena, Soho House, and The Standard for their music and atmosphere, and the farmers markets in Coconut Grove and Key Biscayne on Saturdays. MacLean expresses profound gratitude for her mother, Carola Hinojosa, identifying her as the primary mentor who shaped her into the designer she is today. She recalls being immersed in the world of design from a young age, accompanying her mother to the office and furniture factories since she was seven. Working together was initially demanding, as her mother maintained high expectations, demanding 200% effort. She describes her mother as exceptionally talented, with a keen eye for design and proportion, and a continuous ability to reinvent herself. After successfully establishing a design studio and furniture factory in Bolivia, Carola Hinojosa rebuilt her business from the ground up in Miami after their move in 1999, eventually reaching a prominent position in the industry. Her mother's resilience, persistence, and dedication have been constant sources of inspiration for MacLean. Even after her mother retired and moved to Cape Town, South Africa, she continued to contribute to HinoStudio by collaborating with local artisans, which led to the development of a new product line now sold at Holly Hunt. MacLean's leadership, especially through challenging times like the COVID-19 pandemic, has enabled HinoStudio to create acclaimed interiors globally. #InteriorDesign #Entrepreneurship #WorkLifeBalance #FamilyBusiness #MiamiLifestyle #CreativeIndustry #BusinessLeadership #DesignStudio #Mentorship

This article explores the growing trend of living on houseboats, presenting eight unique examples from around the globe. It highlights the appeal of houseboat living, which often stems from a desire for adventure, a connection to nature, and a sense of community. The article also touches upon the practical challenges and environmental considerations associated with these unconventional dwellings, including their potential as a sustainable housing alternative in the face of rising sea levels due to climate change. The author, Portland Mitchell, in her book "Making Waves: Floating Homes and Life on the Water," emphasizes the diversity in design and the individualistic spirit of boat-dwellers. The featured houseboats showcase a range of styles and origins. In the UK, Max McMurdo's "Reetainer" demonstrates the innovative reuse of a shipping container, transformed into a mortgage-free home on the River Ouse. His design incorporates space-saving solutions like a concealed bath and dining table, alongside sustainable features such as solar panels. In France, Agnès Combes Bernageau resides in "Le Cid," a historic transport barge moored in central Paris. Her move from a conventional flat was driven by a desire for a less impersonal life, and she has since fostered a strong community spirit among fellow boat-dwellers. The barge's interior has been elegantly converted into an open-plan living space. Anibal Guiser Gleyzer's "Mini" in Argentina exemplifies a move towards self-determination and an eco-conscious lifestyle. Built from environmentally friendly materials like ferro-cement and wood, his floating home in the Paraná and Uruguay rivers delta is part of an ecological community. In the Netherlands, Jeanne de Kroon's "Zazi Houseboat," a wooden vessel from the 1970s in Amsterdam, reflects her vibrant personality through its saffron and crimson interior. She values the community aspect of boat life, including shared activities and gift exchanges. The Danish couple Lis and Ove Nilsson found their ideal home in "Oldenburg," a 1908 houseboat, which they renovated to include a spacious dining area and comfortable, minimalist interiors, reflecting Lis's childhood experiences on a fishing cutter. In the US, Siva Aiken's "Soggybottom Shanty" is a whimsical pontoon-based boat crafted from recycled and discarded materials, inspired by her childhood fascination with a Disneyland ride and the history of American river people. This houseboat fosters a laid-back lifestyle, with Aiken enjoying playing the banjo on its porch. Rodrigo Martins' "Altar" in Brazil serves as an eco-friendly, off-grid retreat on the Jaguariuna reservoir. This compact yet spacious prefab structure, designed by sysHaus, is made from recyclable materials and features floor-to-ceiling windows, solar panels, natural ventilation, and advanced water-treatment systems, offering a minimalist Scandi-chic aesthetic. Finally, "De Walvisch," a Dutch sailing clipper in East London, is home to artists Zatorski & Zatorski. They have restored the boat with reclaimed materials, such as a submarine washbasin and a porthole from a torpedoed liner, and use it as a creative space for art installations and salons, embodying a life "under the radar" within a cooperative moorings community. The article concludes by highlighting that living on water offers diverse experiences, from eco-conscious retreats to community-focused urban dwellings, all reflecting a unique approach to home and lifestyle. #FloatingHomes #HouseboatDesign #SustainableLiving #AlternativeHousing #EcoConsciousHomes #WaterfrontLiving #CommunityLiving #ArchitecturalInnovation #OffGridHomes

Feri Feryal Turker, an interior designer, began her professional journey five years ago, building on her craftsmanship in furniture, murals, and charcoal painting. Her venture was inspired by her son's encouragement to pursue formal education in interior design and supported by her husband's expertise in consulting engineering. Feri Designs is a family-run company that started with minimal capital but grew through their collective experience and dedication. The company specializes in designing and implementing interior projects for luxury condos, single-family homes, and commercial spaces, working with a team of professional licensed contractors. Feri Turker emphasizes that her unique background, originating from Turkey—a country bridging Europe and Asia—allows her to infuse her designs with contemporary orientalist influences. This distinctive approach differentiates Feri Designs from other firms. Her design philosophy prioritizes reflecting clients' tastes and wishes while subtly incorporating her personal touches, aiming to create living spaces that bring joy and a sense of identity to her clients. She believes that a designer's role is to create happiness through their work. Her personal journey into interior design began at the age of 53, a challenging endeavor given the language barrier in a new country. Despite these obstacles, Feri pursued her education with discipline and dedication, successfully establishing her own business. This experience solidified her belief that perseverance can overcome any objective. When asked about recommendations for visitors, Feri and her husband often suggest St. Augustine, one of the oldest cities in the USA, for its historical significance. They also recommend visiting the NASA Kennedy Space Center for a unique global perspective. For leisure and culinary experiences, the Florida Keys are highlighted for their vibrant life and traditional food culture. In Delray Beach Downtown, their preferred dining spots include La Sorelle, an Italian restaurant known for its cuisine and wines, and Amar Mediterranean Bistro, celebrated for its Middle Eastern dishes and respectful service. For a quiet drink and live music, the Colonial Hotel Bar with its outdoor seating on Atlantic Avenue is a favored choice. Feri credits her husband for imparting foundational knowledge in measurement and construction, and her son for his unwavering support. She also acknowledges the crucial role of friends in Turkey who never ceased to support her aspirations. Furthermore, she expresses gratitude for the recognition and interest shown by publications like Shoutout Miami, which have contributed to the success and visibility of Feri Designs. #FeriFeryalTurker #InteriorDesign #FeriDesigns #Entrepreneurship #DesignPhilosophy #MiamiBusiness #TurkishInfluence

This article presents a Studio Snapshot conversation with Brent Linden and Chris Brown, the founding partners of Linden, Brown Architecture, a Portland, Oregon-based firm. Established in 2018, the studio, recently rebranded as Observation Studio in July 2024, comprises five individuals. The founders met while working on museum projects at Allied Works in Portland and decided to combine their creative energies and desire for collaborative practice, aiming to pursue larger and more ambitious residential and hospitality projects than their individual small firms could handle. They shared a common appreciation for dynamic spaces, rich materiality, and meticulous detailing. The firm operates with a highly collaborative structure, ensuring that both founding partners are actively involved in every project. Three studio associates work closely with Linden and Brown, developing and clarifying core concepts through various methods such as design studies, drawings, and models. The intentionally small size of the firm allows each team member to contribute significantly from the initial concept phase through construction, fostering valuable skill development and comprehensive project experience. The partners expressed a flexible approach to growth, indicating that while they are open to scaling up, any expansion would be intentional. Their primary focus remains on maintaining the high quality of collaborative dialogue among themselves, their colleagues, and clients. They acknowledge the challenges of running a practice in an unpredictable construction climate, particularly balancing design vision with client budgets and project timelines. Despite these challenges, they are supported by trusting clients and a dedicated team. When hiring, Linden, Brown Architecture seeks individuals with curiosity, passion, and an interest in making, materiality, and dynamic spaces. The firm's design philosophy is deeply inspired by the Pacific Northwest's pioneering spirit, robust material culture, environmental reverence, and entrepreneurial ethos. They emphasize collaboration and iterative design, working with real materials from concept to execution to infuse their projects with a physical presence. The practice prioritizes sustainable material use, local sourcing, and experimentation with unconventional construction systems, viewing their role as facilitating a passionate conversation that engages clients, contractors, and craftspeople. The unique architectural context of the Pacific Northwest is highlighted by the founders, who note its rugged frontier, healthy pioneer spirit, and high tolerance for risk-taking, leading to a diverse range of project typologies. The region's commitment to craft results in buildings that are finely made and appeal to both aesthetic sensibilities and the communities they serve. This is coupled with a reverence for environmental conservation and inspiring natural landscapes. The partners also shared their admiration for several local creative practices, including Studio Noyes (apparel design), Grovemade (product design), Spartan Shop (design gallery), and Sequitur Wine (winery), all of whom exemplify high standards in their respective fields. A memorable project mentioned is the Gradient House and Studio in Portland, completed in mid-2020. This project notably integrated a professional design studio into a residential setting, addressing questions of live/work separation even before the global pandemic. The project's success is attributed to its rich material articulation, dynamic spaces, abundant daylighting, and integral relationship to the site and landscape, reflecting the firm's core design principles. The firm describes its practice as observational, conversational, and intentional, and its work as crafted, immersive, and material. #LindenBrownArchitecture #ObservationStudio #PortlandArchitecture #PacificNorthwestDesign #ArchitecturalCraft #StudioSnapshots #SustainableDesign #ResidentialArchitecture #HospitalityDesign

This ongoing series features OPB's columnist-in-residence, Randy Gragg, an expert in architecture and urban planning, as he delves into the evolving design landscape of Portland and the broader state of Oregon. Gragg, formerly an architecture critic for The Oregonian and editor-in-chief at Portland Monthly, now serves as the executive director of the John Yeon Center for Architecture and the Landscape at the University of Oregon. Throughout 2016 and into early 2017, he explores various architectural and design topics, ranging from urban development to sustainable building practices. The series highlights significant projects and discussions. In February 2017, Gragg revisits the Portland Aerial Tram, examining its transformation from a controversial project to an urban icon and a catalyst for development in the South Waterfront area. The January 2017 segment focuses on "Desert Rain," a residential property in Bend that achieved Living Building Challenge certification, showcasing high standards in energy efficiency, power generation, and water management as a model for sustainable living. December's entry presents the Colonel James Nesmith Readiness Center in Dallas, Oregon, as an exemplar of military architecture, noting its modern design in contrast to older armories. In November, the blog discusses the global architecture firm Snohetta's impact on Portland's waterfront. While the firm faced a setback with the James Beard Market project, progress is noted on the Willamette Falls Riverwalk, with substantial funding raised for its initial phase. Snohetta is also engaging the public in the design process for this project. October's discussion addresses a controversial loophole in Oregon's historic preservation laws, where a neighborhood, rather than individual homeowners, can be designated as historic, potentially imposing regulations on property owners without their consent. The specific case of the Eastmoreland neighborhood in Portland is highlighted, where an association sought to designate the entire area as historic. In September, the article explores the innovative use of cross-laminated timber (CLT) in construction, exemplified by Albina Yard, a four-story building in Portland. This project is presented as a national pioneer in using CLT, emphasizing its benefits in terms of construction speed, earthquake resistance, and environmental sustainability. August's entry examines "Yard," a 21-story apartment tower near the Burnside Bridgehead, with architect Jeff Kovel explaining the design choices behind its distinctive form. July features an analysis of Portland's infill development, with Gragg differentiating between effective and poorly designed projects. He particularly praises the Lower Burnside Lofts by architect Don Vallaster as an example of good infill design. Another July post discusses the rapid growth of Portland's skyline, with over 60 buildings exceeding 100 feet in height planned or under construction. Gragg interviews architects involved in three prominent new high-rises: Park Avenue West, the Cosmopolitan, and Indigo @ twelve|west. April's segment compares urban planning strategies in Portland and San Francisco through an interview with Gil Kelley, a former director of Portland's Bureau of Planning and Sustainability, who later became San Francisco's citywide planning director. Another April entry introduces Snohetta's broader vision for reshaping Portland, including their work on the James Beard Public Market and the Willamette Falls Riverwalk, as well as a master plan for the Oregon Museum of Science and Industry. Finally, an earlier February post showcases internationally renowned architect Kengo Kuma's plans to transform the Portland Japanese Garden, aiming to create a unique village-like setting. The series also includes walk-and-talks with mayoral candidates Ted Wheeler and Jules Bailey, where they discuss Portland's architecture and urban functionality with Gragg, reflecting on what works and what does not in the city's built environment. #architecture #design #urbanPlanning #PortlandOregon #sustainableBuilding #historicPreservation #construction #development #RandyGragg

Architects Noam Dvir and Daniel Rauchwerger, founders of the New York-based firm BoND (Bureau of Noam and Daniel), share insights into their design philosophy, creative process, and the unique challenges and inspirations behind their projects. Having met in 2010 at the Venice architecture biennial and later forming BoND in 2015, the duo has become known for their nuanced approach to physicality and use in design, particularly in New York City and Fire Island. The discussion highlights the specific considerations for working on Fire Island, a narrow stretch of land susceptible to environmental factors like climate change and sea-level rise. Dvir and Rauchwerger explain how these environmental realities, combined with the island's rich Modernist architectural legacy, necessitate innovative design solutions. They detail how new ground-up constructions must be elevated significantly, prompting questions about the aesthetics of the house's base when typically seen nestled within dunes. The architects also touch upon the increasing sophistication of buildings and the challenge of incorporating technology without making it part of the problem. Material choices are also evolving; for instance, the rising cost of traditional cedar has led them to explore alternative wood materials, such as a silvery-toned wood from Texas that offers easier assembly and application. BoND's approach to renovating existing Modernist homes on Fire Island involves viewing the house as a cohesive whole rather than focusing on isolated areas. They aim to unify design elements, such as extending cedar siding where it wasn't originally present, and infuse utilitarian spaces like bathrooms with humor and sexiness. Custom furniture design plays a crucial role in re-imagining social conditions within these homes, creating spaces for various interactions, from pre-dinner gatherings to intimate conversations on a rainy night. The architects emphasize the intentional orchestration of social situations in their designs, creating platforms for living and socializing that encourage interaction and engagement. They strive for openness and connectivity between spaces, maximizing the dramatic interplay with the surrounding landscape. Their client relationships are deeply integrated, often stemming from personal connections and shared communities. Many clients are younger, having acquired homes post-Covid, and have specific priorities, such as cooking, which BoND meticulously addresses in their designs for these often smaller spaces. The firm's background in architecture journalism significantly influences their project approach, with a strong emphasis on narrative and storytelling. Each project is seen as an opportunity to create a unique story or fantasy that captures the imagination of their community. BoND does not differentiate significantly between commercial and residential projects, applying a consistent "style of thinking" that seeks unique elements within each program. They find excitement in New York City lofts, particularly in understanding and integrating the existing character of a space into new designs, distilling its core attractive qualities. Art serves as a major driver in BoND's work, viewed as a reflection of cultural attitudes and a source of aesthetic inspiration for color palettes and contextual contrasts. They often select art for their projects, maintaining relationships with artists to stay attuned to cultural trends. While they consider architecture a beautiful craft rather than an art form, they acknowledge art's role as an emotional and personal component of a home. Dvir and Rauchwerger also share insights into their partnership, highlighting their complementary strengths and the collaborative nature of their work, with Noam as the managing partner and Daniel as the creative director, though both are deeply involved in all project phases. Finally, they discuss the concept of "sexiness" in architecture, defining it as a cultural construct and an integral part of their clients' desire topology. This manifests in design decisions, such as the placement of an outdoor shower or views within a house, aiming to create a sense of "flirty intrigue" that makes people look and feel great in their spaces. #BoNDArchitects #NoamDvir #DanielRauchwerger #FireIslandDesign #ModernistArchitecture #SustainableDesign #InteriorDesign #CustomFurniture #ArchitecturalJournalism

Silvana Souza, an interior designer and realtor, discusses her journey into entrepreneurship, driven by a passion for design and a desire for autonomy. With over 13 years of experience in interior design, she aimed to create personalized and functional spaces that reflect each client's individuality. Her decision to start her own business stemmed from wanting the freedom to implement her unique vision and build strong client relationships. Souza's approach focuses on crafting meaningful spaces that bear her distinctive signature. Souza's career is marked by her dedication to high-end, turnkey interior design projects. She holds a bachelor's degree in interior design and has further enhanced her capabilities by acquiring a real estate license. This dual qualification provides her with a comprehensive understanding of both design aesthetics and the real estate market, enabling her to offer clients strategic advice. She assists clients in making informed decisions about designing spaces, whether for resale purposes or for creating their long-term homes, ensuring their investments align with their future goals. Her design philosophy centers on storytelling, believing that every space should narrate the personality and needs of its inhabitants. She strives to create environments that are not only visually appealing but also highly functional and purposeful, collaborating closely with clients while providing expert guidance to simplify their choices. Souza acknowledges the challenges inherent in entrepreneurship, including moments of self-doubt, balancing business growth with family life, and adapting to an evolving industry. She emphasizes that these setbacks served as valuable learning opportunities, fostering persistence, patience, and adaptability. She highlights the importance of a strong support network and mentors in navigating her professional path. A key lesson learned is that success is not linear, and each experience contributes to increased confidence and a clearer vision. Souza is committed to authenticity, creativity, and a genuine desire to enhance lives through design, aiming to create environments that evoke emotion, offer comfort, and reflect unique identities. She assures clients of her dedication, expertise, and care throughout the entire design process. For visitors to the area, Souza suggests a varied itinerary combining relaxation with exploration. A typical week might begin with unwinding at her farmhouse in Fort Pierce, including peaceful walks on private trails. Day two could involve exploring Atlantic Avenue in Delray Beach, known for its boutiques and dining spots. East Boca is recommended for dinner and drinks, specifically Louie Bossie. The Miami Design District offers artistic and architectural exploration, followed by a stylish lunch. Miami Beach's Art Deco district and Wynwood's street art scene are suggested for a vibrant cultural experience. A relaxed day on Boca Lake for boating and grilling, and a general beach day, round out the recommendations. These suggestions reflect a blend of natural beauty, urban culture, and culinary experiences. Souza expresses deep gratitude to her family, particularly her husband, for his unwavering support and encouragement in her entrepreneurial venture. Her children are also recognized for their understanding and patience, which allows her to focus on her business. She extends a special thanks to her mother for providing childcare, a crucial element enabling her professional growth. Additionally, Natalia Britto receives a shoutout for her valuable design business coaching and mentorship. Souza's website (homedesignstudio.us/about/), Instagram (@homedesignstudios), LinkedIn (silvanasouzahomes), and Facebook (homedesignstudiollc) are provided for further information and engagement. Portrait photography is credited to Sue Cervelin of Hello Studios, and project photography to Steve Olmo of Sea Olive Studios. #InteriorDesign #RealEstate #Entrepreneurship #BusinessJourney #DesignPhilosophy #WorkLifeBalance #ClientRelationships #MiamiLifestyle #BusinessMentorship

Sculptor Randy Polumbo has transformed the Orient Point Light, a 19th-century lighthouse situated in Plum Gut Harbor off Long Island, into an artist's residency known as Plum Gut Grotto. Polumbo acquired the historic structure through government websites five years prior, initially searching for old fuel tanks. His vision for the lighthouse is to provide a unique retreat for artists, a "micro philanthropy" where individuals can stay for several weeks to pursue creative endeavors, such as writing. Key to the lighthouse's operation is its complete reliance on off-grid power. Polumbo, an alumnus of Cooper Union and founder of the eco-construction company Plant, has equipped the structure with modern amenities including USB ports, electrical outlets, and appliances, all powered by a newly installed windmill and solar panels. This sustainable approach reflects his expertise in eco-friendly construction techniques, which he has also applied in projects for notable clients like Santiago Calatrava, Lee Mindel, and Maya Linn. The interior design of Plum Gut Grotto incorporates Polumbo's distinctive artistic style. It features a sparkling, galaxy-themed grotto with a large, built-in banquette described as a “topographical human habitat.” A striking illuminated, crystal-clad ball spins outside the structure, serving as a beacon. The bunk house, or grotto, is prominently featured, as is a newly built teak dining table capable of seating six guests. An atelier is furnished with a new teak writing desk designed for two occupants. The internal structure also includes a stair leading to the top of the lighthouse. Further artistic and functional elements include a porthole offering a view into the grotto's 20-foot-long banquette and a ceiling crafted from hand-hammered mirror-polished aircraft aluminum. A significant art piece, "The Oracle of Plum Gut," is a 4-foot-diameter spinning ball made from marine epoxy, crystals, silvered mirror, glass beads, and color-changing LEDs. The exterior features a deck, on which solar arrays are strategically installed to maximize energy capture. The project is supported by tax-deductible donations, highlighting its philanthropic aspect in fostering artistic creation in an environmentally conscious setting. Drone video footage of Plum Gut Grotto is also available, offering a comprehensive view of the converted lighthouse and its surroundings. #LighthouseConversion #ArtistResidency #GreenPowered #OffGridLiving #SustainableDesign #ArchitecturalRenovation #InteriorDesign #RandyPolumbo #EcoConstruction

Adriana Jacir, founder of 2112 Design Studio, details her journey as an architectural interior designer, emphasizing the motivations behind starting her own business and the challenges she overcame. Her decision to launch her own venture was driven by a desire for flexibility as a parent of two young children without local family support, and a dissatisfaction with the traditional architectural firm environment in the U.S. Having emigrated from another country, she found the architectural landscape in the U.S. significantly different, necessitating a new perspective and learning curve. Her path to entrepreneurship was marked by significant personal and professional hurdles. As an immigrant, the process of obtaining U.S. citizenship was demanding and required considerable resilience. She pursued her Master’s Degree in Advanced Architectural Design at Columbia University in New York City, a long-held dream. However, her husband’s career and immigration status led them to relocate to Detroit, a city where she faced cultural differences and her first experiences with discrimination as a highly educated professional not born in the U.S. Despite these difficulties, she gained valuable experience in an architectural office. A subsequent visa requirement necessitated a move to an underserved area of the U.S. for three years, leading them to Yakima, Washington. Unlike Detroit, Yakima offered a more welcoming environment for foreigners. There, she briefly worked for an architectural firm but quickly recognized the need for greater flexibility, both as a mother and as a designer committed to creating functional, well-designed homes. This led her to co-found her first Design + Build firm in Yakima with a like-minded colleague. They obtained a General Contractor license, assembled a team, and successfully designed and remodeled homes, gaining hands-on experience in managing construction projects. After six years in Washington, her husband’s job offer prompted another move to Miami, where she again started afresh. In Florida, she established 2112 Design Studio, an interior design firm specializing in residential design. The studio focuses on creating thoughtful, functional, and aesthetically pleasing living spaces by seamlessly blending architectural principles with interior design. Jacir emphasizes that her unique approach involves considering flow, function, and structure from an architectural perspective, while also integrating the detailed elements that make a house a home. Adriana Jacir attributes her success to resilience, adaptability, and the cultivation of strong relationships. She aims for her story to inspire others, demonstrating that passion and perseverance can unlock significant opportunities even when faced with uncertainty. She credits her husband, Dr. Alberto Jacir, for his unwavering support and belief in her vision, which enabled her to pursue entrepreneurship while managing family life. Her mentor, Cheryl Clendenon, also played a crucial role in shaping her business and design approach. Above all, her children serve as her primary motivation, pushing her to be a better mother and inspiring her to build a meaningful legacy through hard work and passion. #ArchitecturalDesign #InteriorDesign #Entrepreneurship #ImmigrantJourney #BusinessOwner #ResidentialDesign #Miami #DesignStudio #CareerDevelopment