Atelier l'Abri embraces "expressive potential of construction" with Quebec shed

The 'Faire le vide' public art installation is situated on a rocky promontory on Island no. 22 within Poisson Blanc Regional Park in Notre-Dame-du-Laus, Quebec. This installation is the inaugural piece in a series of artistic interventions planned for the park's islands, aiming to transform the reservoir area into a cultural and outdoor destination. The project originated from Poisson Blanc Regional Park, indicating a strategic effort to integrate art into the natural landscape and enhance visitor experience. Designed by a team comprising artist and architect Luca Fortin and Atelier mock/up, 'Faire le vide' was the winning entry in a design competition. The artwork manifests as a wooden cube, characterized by a minimalist and monolithic exterior. In contrast, its interior features sculpted, flowing curves and intricate textures, creating a juxtaposition between its outer and inner forms. This dual aesthetic is central to the installation's artistic expression. The design process for the monolith was deeply influenced by its insular environment. The installation is only accessible by water, typically via canoe or kayak, underscoring its remote and integrated nature. From the lake, its form and materiality serve as a subtle landmark, designed to pique curiosity and encourage visitors to explore Island no. 22. This integration with the natural setting highlights a thoughtful approach to site-specific art. Logistical constraints of the remote island location informed innovative construction methods. The structure was entirely prefabricated off-site to avoid the need for heavy machinery. Each wooden slab was transported by boat and then assembled manually on-site, demonstrating a commitment to minimizing environmental impact. The installation's design and placement were carefully considered to ensure minimal disruption to the rocky outcrop and the surrounding natural landscape. Constructed from CNC-milled laminated cedar, the structure showcases two distinct geometric expressions: an orthogonal exterior shell and an organically shaped inner chamber. The exterior walls are clad with vertical slats, intended to visually harmonize with the surrounding forest. The interior surfaces retain the marks left by the milling tool, creating textures that evoke the natural ripples of wind on water. These toolpaths are the result of meticulous experimentation, illustrating how industrial processes can be leveraged to produce perceptual and poetic experiences. 'Faire le vide' represents a confluence of place and craft, where artistic vision and fabrication techniques are intertwined. The installation fosters a dialogue between human intervention, natural materials, and the rhythms of the landscape. It functions as a threshold, bridging the visible and invisible aspects of the environment and celebrating the poetic qualities of both place and time. The project emphasizes that art can emerge in unexpected locations, prompting a re-evaluation of how individuals perceive their surroundings and find meaning in the simplicity of the present moment. #PublicArtInstallation #ArchitecturalDesign #EnvironmentalIntegration #PrefabricatedConstruction #CNCmilling #CedarWood #QuebecArchitecture #RemoteInstallation #SiteSpecificArt

The Montreal-based architectural firm Atelier Boom-Town has completed a holiday residence in La Malbaie, Quebec, aptly named Driftwood Chalet. This getaway home, situated with views of the Saint Lawrence River estuary, features an exterior clad in untreated cedar planks designed to naturally silver over time due to exposure to sea air, creating an aesthetic that mimics aged driftwood. The architects envisioned the dwelling as a humble and discreet haven, blending with the opulent natural beauty of its surroundings. The design of Driftwood Chalet draws inspiration from traditional Canadian farmhouses, manifesting as two intersecting volumes. The roof and accent details are crafted from dark sheet metal, providing a contrast to the cedar cladding. This choice of material for the exterior ensures that the building's facade will evolve, developing a distinctive silvery patina characteristic of seaside structures through oxidation from contact with marine air. Inside, the residence adopts a minimalist Scandinavian approach, characterized by monochrome tones and strategic use of wooden accents. The ground floor incorporates polished concrete slabs, creating two split levels that efficiently expand the living space. This thoughtful layout is designed to meet the practical needs of its occupants while maintaining a clean and uncluttered aesthetic. The social areas of the home, including the open kitchen, living room, and dining room, are housed within one of the intersecting volumes. This section is oriented perpendicularly to the river, featuring a full-height window that frames panoramic views of the estuary and the surrounding landscape. The main entrance is positioned where the two volumes converge, with a few steps leading down to the living area. Along the southern facade, sliding glass doors open onto a terrace, which is elegantly enclosed by the two wings of the house. A corridor extends from the main living space, leading to the home's three bedrooms. Along this corridor, a built-in reading nook is strategically placed to face the picturesque landscape, offering a tranquil retreat. Atelier Boom-Town prioritized a compact and efficient layout, reflecting their commitment to minimizing the environmental impact of the construction. The Driftwood Chalet spans 122 square meters, showcasing innovative space utilization, such as a mezzanine play area for children accessible via a movable ladder near the reading nook. This project aligns with the firm's philosophy of ecological building, which questions how to occupy space without imposing excessively on the natural environment. The compact design of the chalet helps preserve the site's natural appearance, allowing it to integrate harmoniously with the landscape. La Malbaie is a region that has seen several vacation homes designed to capitalize on its natural beauty, with other notable examples including an "abstract and intriguing" home by Alain Carle Architecte and a contemporary extension to a historic property by Anik Péloquin. The architectural and interior design for Driftwood Chalet was managed by Atelier Boom-Town, with structural engineering by Geniex and general contracting by Habitat Écoconstruction. Key materials and suppliers included Juste du pin and Mac métal architectural for cladding, Solarcom and Novatech for doors and windows, Simard for cabinets, and Ramacieri Soligo for plumbing and tiles. Photography was provided by Maxime Brouillet, capturing the essence of this unique holiday home. #HolidayHome #QuebecArchitecture #CedarCladding #MinimalistInterior #WaterfrontProperty #SustainableDesign #CanadianHouses #AtelierBoomTown

The Sonoma-based interior design firm Hommeboys, led by Alex Mutter-Rottmayer and Austin Carrier, has opened a new studio and launched three new capsule collections for their furniture line, Haus of Hommeboys. The firm is known for its thoughtful design approach and hands-on craftsmanship, blending classic Wine Country aesthetics with a modern, refreshing twist. Mutter-Rottmayer and Carrier, who have been married since 2019, have previously garnered acclaim for their designs in projects such as Healdsburg’s Marine Layer tasting room and Sonoma’s Valley Bar + Bottle restaurant. The new studio, which also houses a woodshop and cabinetry studio, is situated just off the plaza in downtown Sonoma. This expansion represents a significant step for the Hommeboys, fulfilling a long-held ambition to establish their own showroom. Mutter-Rottmayer expressed a mix of excitement and apprehension about the venture, acknowledging the risk involved in showcasing their unique design vision to a wider audience, but emphasizing their consistent desire for a dedicated space. The Hommeboys’ design philosophy is characterized by an emphasis on mixing materials and incorporating organic and natural elements. They experiment with various shapes in plaster, stone, and wood, aiming for a look that is both earthy and deeply connected to the Californian landscape. This approach is reflected in their furniture line, which features organic and natural materials. One of their new capsule collections for Haus of Hommeboys draws inspiration from rustic themes. This collection includes dark, ebony-stained, hand-notched cedar furniture, designed to evoke a raw, rustic, and edgy feel. The shapes within this collection are described as anthropomorphized, influenced by the golden hills of California. The design process at Hommeboys is driven by creativity and a desire to have fun. Alex Mutter-Rottmayer highlighted an instance where green velvet from a photo shoot was spontaneously used to cover a bedroom’s walls, illustrating their adaptive and playful approach to design. This method emphasizes utilizing available resources and embracing unexpected inspirations to shape their distinctive interiors. #InteriorDesign #Sonoma #DesignStudio #FurnitureDesign #HausOfHommeboys #WineCountryDesign #OrganicDesign #Craftsmanship

In Fairfax, California, ceramicist and Pilates instructor Annalisa Chasan and general contractor Alex Martin transformed a large, unused grass yard on their double lot into a functional accessory dwelling unit (ADU) during the pandemic. The couple sought a dedicated space for Annalisa's sculpture practice, previously confined to the main house's basement, and for hosting private Pilates classes. This dual-purpose brief was presented to Obata Noblin Office (ONO), a San Francisco-based architecture and design firm cofounded by Tyler Noblin and Max Obata. The architects approached the design by focusing on orientation, strategically angling the building around an existing magnolia tree. This created a boomerang shape that naturally divides the art and workout spaces while also forming an interior courtyard with the main house. The ceramics workspace features large sliding glass doors that open to the landscape, providing Annalisa with a visual connection to her family. On the street-facing side, a row of clerestory windows, custom-made in Sacramento with powder-coated yellow aluminum frames, allows afternoon sunlight to flood the space. The entire window set, a significant design element, cost $55,000. Noblin and Obata drew inspiration from precedents such as Ryōan-ji, the rock viewing garden in Kyoto, to emphasize views of nature. The Pilates area, similarly, incorporates floor-to-ceiling panes to capture the morning sun, fostering a meditative atmosphere. The homeowners' specific design requests included post-and-beam construction, the distinctive bright-yellow windows, and decks with overhangs. Functionality was also paramount for each internal area. The sculpture studio required a robust sink, integrated into a 12-foot-long zinc countertop, an easy-to-maintain plaster floor from EcoStucco, a dedicated kiln nook, and display areas for Annalisa’s artworks. The Pilates studio needed ample natural light, wood flooring, and space to accommodate a Pilates wall unit and floor mats. These distinct functional requirements informed the unique ambiance of each space. The Pilates studio was designed with neutral tones to create a quiet, intimate, and relaxing experience, while the art space is energetically separate, featuring pops of color in its built-ins and freestanding furniture. A folding screen door physically divides these two zones, but a continuous tongue-and-groove bleached wood ceiling unifies the overhead space. The exterior features cedar shingles on the street-side facade, chosen to blend with the neighborhood's vernacular and the main house's 1912 architecture, with the lemon-hued window frames offering a vibrant contrast. The architects aimed to imbue the ADU with an element of surprise, noting how the building’s personality shifts as one moves around the courtyard. Max Obata, whose mother was also a ceramic artist, expressed a personal connection to designing the light-filled studio for a working artist. The ADU also offers practical versatility, with a tadelakt-clad three-quarter bath designed to serve the Pilates studio but also capable of supporting future use as a guesthouse. A small room off the ceramics wing can be easily converted into a bedroom, and bespoke blue cabinetry provides multifunctional storage, seating, and shelving. Annalisa describes the building's geometries as special and inspiring, fostering a significant burst of creativity for her work. #ADUDesign #CreativeSpace #ArchitecturalDesign #FairfaxCalifornia #ObataNoblinOffice #PilatesStudio #CeramicsStudio #CustomWindows #SustainableDesign

For the past three decades, Imprimerie du Marais (IdM) has been the go-to printing house for Paris' discerning brands, handling a variety of intricate projects, including offset-printed invitations for Dior's haute couture show and magazine production for Samuel Ross with unique printing techniques. As of June 2021, the company has relocated from its historical Marais district base to a new 1,500 sq m facility in Cité Griset, a 19th-century industrial complex in the 11th arrondissement of Paris. This new home, a former foundry and factory building, has been meticulously redesigned by the French architecture studio Ateliers Saint-Lazare (ASL). Mélody Maby-Przedborski, IdM’s communications director, refers to the new location as a “forgotten treasure.” The building, originally opened in 1825 by Antoine Griset, a renowned precious metal founder, was a purpose-built operation that included worker apartments and industrial spaces. After Griset moved in 1920, Cité Griset was segmented into various factories and workshops. IdM specifically took over a former cardboard box factory that necessitated a full structural overhaul. They commissioned Ateliers Saint-Lazare, co-founded by architect Antoine Ricardou, who is also a long-standing client of IdM. ASL, known for its comprehensive approach spanning branding, architecture, and interior design, has an impressive portfolio that includes prominent establishments such as the Merci concept store and Le Pigalle hotel in Paris, and the NoMad hotel in New York. Ricardou drew inspiration from IdM’s “audacious courage” in establishing a center of craftsmanship within central Paris. His vision was to create a contemporary creative factory that honored the building's historical roots while simultaneously looking to the future. Maby-Przedborski highlights Ricardou’s intention to restore the building’s manufacturing purpose, utilizing wood and glass extensively instead of steel. ASL designed and incorporated precise bespoke cabinetry, contrasted against pristine white walls and exposed ductwork, resulting in a bright, modern interpretation of a pre-war workshop that avoids mere imitation. The renovated building functions as a grand atelier, comprising eight interconnected workshops capable of handling a wide array of printing techniques, including lithography, foiling, embossing, four-color printing, letter pressing, and screen printing. This interconnectedness was a primary driver for the relocation, facilitating a seamless flow of work between different processes. Beyond its functional aspect, IdM’s new home also serves as a showcase for advanced printing and paper-based arts. A significant structural modification implemented by Ricardou was the introduction of a large, open staircase. This design not only connects the building’s three levels but also enhances natural light and provides a unique viewing platform, immediately immersing visitors in the dynamic energy of the workshops. The expanded space is designed to host live events and discussions exploring the intersection of art and craft. Crucially, the design emphasizes collaboration; IdM aims to provide a transparent environment where clients can observe the printing processes, grasp the capabilities, and engage in creative partnerships with the printers. This approach allows clients to be inspired by IdM’s expertise, fostering a collaborative atmosphere where ideas can evolve through interaction and observation. Surrounding the workshops, Ricardou designed a series of wood and glass offices, offering both views of the industrial activity and a comfortable, warm working environment. Maby-Przedborski notes that Ricardou successfully balanced industrial function with creative inspiration, aligning with the creative energy found in leading fashion, design, and music studios. The additional space also enables brands to document the workshops through videos, allowing them to share and promote their dedication to craftsmanship with a wider audience. IdM recognizes that in an increasingly digital world, printed materials have become critical tactile touchpoints, symbolizing craft, care, and materiality. This focus on the physical experience of print, especially evident in the performative nature of unboxing videos on platforms like YouTube and Instagram, highlights the enduring value of high-quality printing and packaging. IdM’s expertise is deeply rooted in Paris’s local economy, where luxury brands consider packaging and printed materials integral to their brand identity, demanding the same level of precision and artistry from their printers as from their seamstresses. Founded in 1971 by Charles Przedborski, IdM initially focused on books and stationery. His son, Jacky, joined 20 years later, steering the company toward creative experimentation, tackling complex commissions for leading fashion and luxury brands. IdM has since expanded its reach, establishing relationships with creative agencies and galleries globally, including an outpost in London and plans for expansion into the US. Maby-Przedborski emphasizes IdM’s commitment to innovation and sustainability, showcasing samples of unique materials like paper made with glucose (to attract bees), compostable wood fibers, seed-impregnated paper, and paper derived from powdered stone. The company also utilizes natural inks for screen-printing and upcyclable foils, offering new tactile and sensory experiences that enrich the printed product and align with modern environmental values. #ArchitectureRenovation #IndustrialDesign #ParisArchitecture #AteliersSaintLazare #ImprimerieDuMarais #PrintingIndustry #SustainableMaterials #Craftsmanship #InteriorDesign

The "K-Town" project by Steven Fong Architect addresses the economic challenges faced by small businesses within diasporic communities, particularly those operating in narrow storefronts of approximately 4.5 meters (15 feet). These businesses, often found in low-rise main street areas adjacent to residential neighborhoods, typically occupy single or two-story buildings. The project aims to provide a sustainable architectural model that can be replicated across various diaspora communities in cities like Toronto, where numerous such enclaves exist. The core concept involves transforming these modest commercial spaces by adding residential units above. This strategy allows the property owners to generate additional income from rental housing, thereby reducing the financial burden on their businesses. The architectural design integrates commercial activities at the ground level with residential living above, promoting a mixed-use typology that fosters both economic stability and community vibrancy. The design considers the unique characteristics of each site while adhering to a broader framework that supports small-scale commercial enterprises. This approach aims to preserve the cultural and economic fabric of these communities by offering a viable alternative to purely commercial ventures, which are often more susceptible to economic fluctuations. The project emphasizes efficient use of space and resources. By layering residential functions over commercial ones, it maximizes the utility of limited urban plots, a common constraint in dense urban environments. The design process likely involved careful consideration of building codes, zoning regulations, and the specific needs of both business owners and residents. Materials and construction methods would have been selected to ensure durability, cost-effectiveness, and aesthetic compatibility with the existing urban context. The integration of light, ventilation, and access for both commercial and residential components would have been crucial design considerations. Furthermore, the "K-Town" model offers a solution for urban revitalization. Many low-rise main streets in Toronto and similar cities face challenges such as aging infrastructure, changing consumer habits, and rising property costs. By introducing new residential components, these areas can attract more residents, increasing foot traffic for local businesses and contributing to a more active and secure streetscape. This dual functionality helps to create more resilient urban environments that can adapt to evolving economic and social pressures. The architects likely engaged with community stakeholders to ensure that the proposed interventions were culturally sensitive and met the needs of the target population. The successful implementation of this architectural solution could serve as a precedent for similar urban areas globally, offering a practical framework for supporting small businesses and fostering sustainable community development. The project aims to empower small business owners by providing them with diversified income streams, allowing them to thrive in increasingly competitive urban markets. This model not only secures the future of individual businesses but also contributes to the overall economic and social well-being of the broader diaspora communities, helping them to maintain their distinct identities and continue contributing to the cultural richness of their cities. #MixedUseArchitecture #CommercialArchitecture #ResidentialArchitecture #UrbanDevelopment #DiasporaCommunities #Toronto #Canada #SmallBusinessSupport #ArchitecturalSolution

This article details the latest project by Open Studio, an emerging Australian architectural practice, focusing on an artist's studio located in Flemington, a suburb of Melbourne. Established in 2005, Open Studio specializes in designing combined and separate live and work environments. The firm is recognized for its innovative and clear approach to architecture, which was crucial for the success of this particular commission. The project originated from two relatives owning adjacent properties in Flemington who decided to remove the dividing fence between their backyards. This action freed up an unusually wide and largely unused garden area, creating the necessary space for the new artist studio. The unconventional placement of the studio, situated between two existing properties, posed a significant challenge for the architects due to Melbourne's strict planning regulations. To navigate these regulatory hurdles, Open Studio devised a solution that involved designing the building as two distinct structures, which were then combined into a single volume. Heribert Alucha, a partner at Open Studio, explained that this approach aimed to reinforce the concept of shared backyard space. The specific positioning of the new building and its angular design elements were intentionally aligned with the actual title boundaries of the properties. The careful placement of the studio within the site resulted in the creation of three distinct landscaped areas: a playground, a vegetable patch, and a seating area. The studio's unique, distorted box-shape, characterized by its angular resections and curves, plays a functional role in defining these separate outdoor zones, contributing to a harmonious integration with the surrounding landscape. The interior of the Artist Studio is meticulously designed, featuring a brightly lit painting studio, a substantial storage and workshop area, a garden shed, and a garage. The internal spaces are characterized by their clean and neutral aesthetic. Although the indoor and outdoor areas maintain their distinct identities, they are aesthetically unified through the generous openings incorporated into the painting studio space, fostering a sense of continuity and connection. Flexibility and clarity are core principles of Open Studio's design philosophy, and these are evident in the Artist Studio project. The Melbourne-based architects have successfully delivered a compact yet beautifully conceived studio on a site that might initially seem challenging. This project exemplifies how thoughtful design can overcome site-specific constraints to create functional, aesthetically pleasing, and well-integrated architectural solutions. #ArtistStudio #ArchitectureDesign #MelbourneArchitecture #OpenStudio #ArchitecturalInnovation #UrbanPlanning #ResidentialArchitecture #AustralianDesign

Once confined to mountain cabins, 1990s basements, and Swedish saunas, cedar walls are experiencing a significant resurgence in modern interior design. This wall treatment, historically associated with rustic aesthetics, is being reimagined by contemporary designers to offer warmth and a subtle evergreen scent without the dated appearance of its past iterations. The key to this modern revival lies in a strategic approach to finish, color palette, and accompanying decor. Traditionally, cedar paneling in its less desirable form was characterized by a glossy, orange-red tint, often paired with elements like Tiffany lamps and laminate flooring, contributing to an outdated look. However, a new generation of designers is proving that the natural beauty of unpainted timber—whether pine, cedar, or oak—can be elevated to create sophisticated and inviting spaces. The core principle for modernizing this material involves opting for a light, matte finish that preserves the natural texture and color of the wood. This approach moves away from heavy stains and glossy treatments, allowing the wood's inherent character to shine through in a more refined manner. To prevent the wood paneling from appearing overtly rustic or reminiscent of a bygone era, designers are integrating vibrant textiles, bold paint colors, and striking art pieces. These contrasting elements serve to modernize the space, injecting a fresh and contemporary feel while leveraging the warmth that wood naturally provides. The juxtaposition of natural wood with modern furnishings and decor creates a dynamic and visually appealing environment that transcends traditional cabin aesthetics. Max Humphrey, a Portland, Oregon-based designer known for his Americana aesthetic, exemplifies this trend by staining wood in lighter tones and pairing it with pale furniture. This method brightens the space and updates the classic wood-paneled look. Similarly, French designer Pierre Yovanovitch has adopted this style in projects like Le Coucou in Méribel, France. He maintains a monochrome palette, such as a rusty red-dotted carpet complementing a painted ceiling in the same hue, to update quintessential Alpine pine paneling. This cohesive color strategy allows the wood to integrate seamlessly into a sophisticated, contemporary design. Frances Merrill of Reath Design embraces the cabin vibe, enhancing the rusticity of wood planks with elements like checkered table skirts, oil paintings, and patchwork quilts. Crucially, she ensures the overall design remains current by incorporating furniture with clean, modern lines. This thoughtful balance prevents the space from feeling dated, instead creating a harmonious blend of rustic charm and contemporary elegance. The renewed interest in wood wall treatments signifies a shift towards natural materials and an appreciation for their inherent beauty when thoughtfully integrated into modern design schemes, positioning them as a compelling alternative to popular finishes like shiplap. #WallTreatment #InteriorDesign #CedarWalls #HomeDecorTrends #WoodPaneling #DesignInspiration #ModernRustic #HomeRenovation #MaterialRevival

Los Angeles architecture studio CHA:COL undertook the renovation of an apartment for a novelist and game designer, transforming a previously cluttered space into a functional live-work loft. Located in LA's Arts District, the project aimed to create a serene and inspiring environment for the creative couple, moving away from the apartment's former ornate and theatrical aesthetic. The renovation involved a significant simplification of the interior, strategically dividing the space to accommodate both private living areas and a combined kitchen, lounge, and study space. Upon entering the apartment, a clear division was established, with a private area partitioned to the right of the threshold. The main living space, encompassing the kitchen, lounge, and study, is situated at the end of the entry hallway. This layout was designed to optimize functionality and flow for the occupants. During the renovation process, existing structural elements such as heavy timber posts and ceiling beams were exposed, contributing warmth and character to the otherwise bright and minimalist interior. These wooden elements contrast with white-washed walls, light-colored flooring, and the glossy finishes of integrated furniture, creating a balanced and visually appealing environment. Large windows further enhance the brightness of the space, allowing ample natural light to permeate the loft. Custom-made millwork plays a crucial role in defining the various zones within the open-plan area. A bespoke kitchen unit marks the entrance to the combined living space, while another distinct furniture installation separates the lounge from the dedicated work area. This latter installation, known as "the writer's block," was conceived as a double-sided object, serving to clearly delineate the different functions of the space. One side of the writer's block is designed for more public and social activities, such as entertainment, while the other, more private side, functions as a dedicated writer's desk. CHA:COL principal Apurva Pande emphasized that the studio aimed for the space to be both motivating for creative pursuits and suitable for the clients' daily living habits. Adding a whimsical and inspirational element, a large geometric graphic was applied to the wall facing the lounge area. This intricate pattern extends onto the grey carpet in the form of striations. Where these lines intersect with the writer's block, they seamlessly integrate into three sections of the furniture piece, shaping niches and influencing the angles of the shelving units. Both the color palette and the overall design layout draw inspiration from the popular smartphone puzzle game, Monument Valley. This game is renowned among creatives for its impossible architectural mazes and vibrant, stylized graphics. According to Pande, Monument Valley's unique ability to transform two-dimensional shapes and lines into a surreal three-dimensional landscape resonated with the design team and the clients, given their backgrounds in gaming and animation. The concept of the game, where the central character, Ida, navigates tilted planes and angular walls, directly influenced the design of the loft. The architects envisioned the clients moving through the central creative area into the lounge in a similar fashion, translating the game's interplay between 2D and 3D into the physical space. Despite the modern transformation, subtle nods to the apartment's past remain, with gargoyles from the original interior painted over, adding a humorous juxtaposition to what CHA:COL now refers to as a "compact, urban oasis." The project highlights a contemporary approach to residential design, where personal interests and professional needs of clients are deeply integrated into the architectural and interior solutions. By drawing inspiration from unexpected sources like video games, CHA:COL created a unique and personalized living and working environment that fosters creativity and provides a retreat from urban life. This renovation serves as an example of how bespoke design and thoughtful space planning can transform an existing apartment into a highly functional and aesthetically engaging live-work studio for creative professionals. The integration of custom millwork, geometric graphics, and a thematic inspiration from a popular game demonstrates a holistic approach to interior design that goes beyond mere aesthetics to enhance the occupants' lifestyle and work productivity. The blend of exposed structural elements with modern finishes and personalized decor creates a distinctive character for the loft, balancing warmth with contemporary style. #ApartmentRenovation #LiveWorkLoft #CustomMillwork #GeometricGraffiti #MonumentValleyInspired #LosAngelesArchitecture #InteriorDesign #CreativeSpace #ResidentialDesign

Mohammad Ali, originally from Syria, has established a successful drywall and painting business, MSH Drywall and Painting, in Sault Ste. Marie, Ontario. He learned construction skills from his father starting at age twelve and by seventeen, in 2017, he immigrated to Sault Ste. Marie. There, he navigated a new culture and language, teaching himself English while attending high school. During his high school years, Mohammad continued to work in the trades, quickly building a client base through word-of-mouth. He even performed work for his teachers and their extended families. He pursued higher education, earning a Bachelor's degree in English and Visual Art, complementing his 13 years of practical experience in drywall, painting, and renovations. Mohammad emphasizes that while education is valuable, the experience of building a business and pursuing entrepreneurial growth alongside studies is equally important. MSH Drywall and Painting offers comprehensive services for both commercial and residential projects, covering tasks from foundation work to finishing touches. His expertise includes framing, drywall installation, mudding/plastering, interior and exterior painting, spray painting, wallpaper and backsplash installation, various flooring installations (parquet, vinyl), popcorn ceiling removal, and suspended ceiling installation. Mohammad is committed to helping clients find cost-effective solutions by recommending alternative materials that provide similar results without compromising quality. He also educates customers on the significance of proper surface preparation for the durability of drywall and paint. When providing estimates, Mohammad explains that the cost per square foot varies considerably due to factors such as the condition of the space, material requirements, and project complexity. He prefers to conduct in-person evaluations to ensure accurate quotes for painting and drywall projects. Upon his arrival in Sault Ste. Marie, Mohammad faced significant life adjustments. He actively engaged with the community, finding a sense of belonging through local events, supportive neighbors, and acts of kindness. He volunteered at the Sault Community Career Centre, where he assisted other new immigrants with their settlement processes, acting as an interpreter and ensuring they had necessary resources. He also provided interpretation services to students at his high school, recognizing the challenges language barriers pose for newcomers. After nearly eight years, Sault Ste. Marie has become Mohammad's home. His business, MSH Drywall and Painting, has gained a strong reputation for reliability, dedication, skilled craftsmanship, and attention to detail. Initially relying on word-of-mouth, his business now utilizes a Google Business page, website, and Facebook page to reach a broader audience. He leads a team that undertakes projects of all sizes, from minor repairs to extensive renovations. Mohammad aims to innovate in his work, integrating his visual arts background to approach each project with an artistic perspective, ensuring the finished result reflects craftsmanship rather than mere renovation. #Entrepreneurship #Immigration #ConstructionTrades #DrywallAndPainting #CommunityIntegration #SaultSteMarie #SkilledTrades #SmallBusiness #SyrianCanadian

Studio Job, known for its distinctive bold style, has undertaken a comprehensive redesign of the Luxembourg offices of asset management firm Creutz & Partners. This project, titled ‘Always Close’, represents a departure from their usual product, installation, and interior designs, marking their first foray into designing a bank. The installation encompasses four floors of the firm’s 19th-century building, situated in the heart of Luxembourg’s old town. The designers have not only created a functional workspace but have also conceived it as a holistic conceptual artwork, integrating more than 100 new original design pieces and artworks throughout the building. The scope of the project includes various spaces such as an office, a conference room, a shop, and a client meeting area. Each room has been meticulously designed by Studio Job, with every detail from floor to ceiling reflecting their signature aesthetic. This immersive design approach provides a broad overview of their artistic vision while simultaneously offering an irreverent commentary on the influence of money. This thematic exploration is evident in elements like curtains patterned with dollar signs and a carpet shaped like a coin, directly linking the design to the financial core of the client's business. Job Smeets, one half of Studio Job, emphasized the collaborative nature of the project, noting that Creutz & Partners allowed for significant creative freedom, enabling the designers to push boundaries without creative restrictions. He stated that every visual element within the installation is intrinsically connected to the concept of money, which is the fundamental aspect of the firm’s operations. The exterior of the building also showcases Studio Job’s creative energy, featuring a unique composition of elements such as heraldic flags, lightboxes, planters, neon lights, and a handcrafted golden 'Creutz & Partners' sign, transforming the façade into an artistic statement. The ground floor houses a lobby designed to resemble a shop. This space is not accessible to the public but functions as an art installation. The title ‘Always Close’ carries a dual meaning in this context: it refers to the intimate nature of this private art installation and also symbolically alludes to the business concept of 'closing a deal' in the financial sector. Smeets described this project as a unique opportunity to create a functional interior that seamlessly blends art, design, object, and function. He further elaborated that every piece within the installation is custom-made and unique, collectively forming a 'portrait' that reflects both Studio Job’s artistic identity and the client’s corporate essence. The article includes several illustrations that showcase the vibrant and eclectic interiors of the ‘Always Close’ installation. These images highlight the diverse design elements, such as a burger-shaped chair, a rock-shaped coffee table, a bar counter adorned with flame prints, a teddy bear on a side table, and a swirling black and white floor in one room. Other visuals depict a hot dog-shaped sofa, patterned chairs, a glass coffee table, a street lamp-shaped floor lamp, a lounge area with a leopard print sofa, a blue chair, an oval glass coffee table, a tree-shaped side table, a dartboard-patterned rug, and colorful patterned wallpaper. Additional images feature a dining area with a glass table, a white cupboard with a red heart, a money-print rug, a cigar-shaped hanging light, a wall with bull and lion head patterns, chair-shaped coat hangers, a tree trunk-shaped coffee table, skull-shaped chairs, a doorway with a nose decoration and multi-colored lights, a bathroom with lion and bull heads on a blue wall, a toilet with a gold seat and cleaner, and doors with diagonal yellow and black lines or red and white arrows. These images collectively underscore the bold, imaginative, and thematically rich design approach of Studio Job in this project. #StudioJob #DesignInstallation #Luxembourg #CreutzAndPartners #AssetManagement #ConceptualArt #InteriorDesign #FinancialTheme #ArtAndFunction

The article details the design and construction of 80 Atlantic, Eastern Canada’s first mass timber office building, located in Toronto’s Liberty Village. This 8,000-square-metre structure, designed by Quadrangle architects Richard Witt and Michelle Xuereb for Hullmark, serves as a contemporary interpretation of the historic brick-and-beam warehouses prevalent in the area. The project combines a conventional underground concrete parking garage and ground floor retail with four mass timber storeys of open office space, demonstrating a significant shift towards sustainable construction practices. The increasing awareness of embodied carbon and energy use in construction has brought material choices to the forefront of architectural and environmental discourse. Mass timber construction, particularly, is gaining traction as a sustainable alternative due to its ability to offset greenhouse gas-intensive practices and sequester carbon. Canadian architects and engineers, such as Michael Green and Fast + Epp, have played a pivotal role in pioneering and advocating for mass timber, influencing both design trends and building codes across the country. 80 Atlantic stands as a "premium product" designed to attract tenants to Liberty Village, an area that has experienced rapid and sometimes insensitive development. Hullmark's goal was to differentiate this new office building from typical downtown structures by embracing mass timber, not only for its environmental benefits but also for its aesthetic appeal, echoing the architectural heritage of the neighborhood. The building's thoughtful design begins with its urban integration, framing a new landscaped plaza alongside its neighbor, 60 Atlantic, which is a renovated historic warehouse. The mid-block entrance to 80 Atlantic's lobby, situated a half-floor below street level, extends the exterior social space of the courtyard, while the Atlantic Avenue street frontage is dedicated to retail. Connections at grade, including a through-block alley, contribute to the site's porous and inviting character. The building's form is described as straightforward and elegant. The ground floor on Atlantic Avenue features an inset glazed plane, with service and parking entrances consolidated on Jefferson Avenue. The upper office floorplates are clad in a super-scale punched window composition of curtain wall and porcelain rainscreen panels on three sides, abstractly reflecting the surrounding urban fabric. The south face, overlooking the courtyard, features an uninterrupted glass curtain wall, dramatically showcasing the exposed mass timber structure within. This transparency reveals the wood ceilings, beams, and columns, immediately setting the project apart. The structural system of the upper four storeys comprises glulam beams and columns on a 6.1-by-8.5-meter grid, supporting a nail-laminated timber (NLT) floor structure. Steel connections are concealed within the structure for fire protection. The interior ambiance created by the exposed NLT slab, made of grade-2 SPF 2x8s, is warm and airy, with minimal interruptions from sprinklers and lighting. The floor assembly includes plywood sheathing, an acoustic mat, and 50mm of concrete topping for sound reduction and a level surface for a raised access floor. This concrete topping also provides a non-combustible surface within the concealed plenum of the access floor, necessitating a non-combustible gypsum assembly for the lower 400mm of each glulam column. A metal flange then lifts the exposed glulam, ensuring a neat termination above the access floor. While mass timber is central, the project also integrates concrete and steel. The first floor ceiling, a concrete slab on a nine-by-nine-meter column grid, ensures required fire separations between retail and office spaces. The elevator core and fire stairs are structural concrete, providing lateral bracing. Some steel elements were added within the access floor to address deflection in cantilevers. The construction process was notably quieter compared to traditional methods, with wood components craned directly from transport trucks, optimizing space on the urban site. Each floor was erected by a small crew of carpenters in about two days. The nascent mass timber industry in Canada necessitates direct engagement with fabricators, fostering greater integration in the design process. 80 Atlantic's successful deployment of mass timber by Quadrangle highlights the material's potential in addressing the climate crisis and shaping architectural and civic frameworks. The project's success is attributed to a holistic understanding of both its component parts and its broader urban context. #MassTimber #WoodConstruction #OfficeBuilding #SustainableArchitecture #TorontoArchitecture #QuadrangleArchitects #UrbanDevelopment #BuildingMaterials

The Bandy House and Studio, a project initiated in 1974 by architect Col Bandy for himself and his wife Joy in suburban Melbourne, epitomizes Bandy's distinctive 'bush expression' and innovative approach to spatial design. The house, notable for its unfinished state at the time of Bandy's passing in 2009, reflects the extensive time and personal involvement Bandy dedicated to its construction, as he reportedly placed every brick and nail himself. This self-built nature allowed for a unique architectural experiment, a common theme in architects' own homes, enabling them to test ideas and undertake risks that might be impractical for clients. The design of the Bandy House is characterized by its detailed and complex spatial arrangements, despite Joy's description of it as "pretty simple." Bandy's design process was rapid, with the initial concept and a beer-box model created within hours of purchasing the property. The house features numerous nooks and crannies, resulting from its angled geometry, sloping ceilings, and split levels, including a sunken living room. An earlier design included a cantilevered bed in the mezzanine, hovering over the studio space, though this feature was ultimately not implemented. However, the angled timber beams supporting the mezzanine still frame the bed, suggesting a careful negotiation of space. This experimental approach to cantilevering was later realized in a built-in seat in the Lenartowicz house. The final constructed version of the Bandy House exhibits even greater complexity than its original drawings, such as the roof canopy above the front door, which reveals the structure more seductively by cutting the tiling at a forty-five-degree chamfer angle. The house's architectural style, rooted in the 1970s, incorporates exposed concrete blocks and raw timber, linking it to New Brutalism. This, combined with the prevalent use of forty-five-degree angles, aligns it with a local architectural phenomenon often associated with architects like Kevin Borland. Borland's work of the early 1970s, described by Ian McDougall as embodying "anti-formalism, naive lumping of lean-to shapes, bush carpentry and natural timber walls," significantly influenced Melbourne architects, establishing a 'chamfer style' and 'bush romance.' This represented a departure from the earlier modernist steel-and-glass aesthetics, favoring natural materials, indigenous plants, and raw detailing, which resonated with a contemporary Australian cultural identity, even in suburban settings like Albert Park. The construction of the house was a two-stage process. The existing house remained on-site while the first half of the new house was built adjacent to it, after which the old structure was demolished. Bandy's resourcefulness was evident in using the couple's Toyota 4x4 as scaffolding. The house was designed with a solar-boosted gas hydronic heating system, advanced for its time in 1974, though the solar components were never fully connected. This system included copper pipework in the ground floor slab and pipes under a north-facing glass panel on the roof, intended to circulate solar-heated water. Additionally, this water was meant to flow over the copper fireplace surround to augment heating during winter, creating a sculptural aesthetic that Joy admired. The absence of traditional guttering and plumbing on the roof meant rainwater was collected in buckets for garden irrigation. The temporary kitchen remained in use for over three decades, completed only after Bandy's death. Bandy, who opened his own practice in 1976, became known for his residential projects, demonstrating ingenuity with small spaces and novel structural systems. He also designed and built furniture, showcasing his hands-on approach. Despite not completing his architecture degree, he was highly respected in the profession, eventually registering as an architect and being approached for master's studies. He passed away in 2009, leaving behind a legacy that, while not widely published, was significant within the architectural community. His book, "Col Bandy Architecture: A Few Good Projects," offers a glimpse into his work. Joy describes the house as an "unfinished symphony," an ever-evolving project, with her continued efforts to complete elements like tiling the bath, still finding packets of cedar lining left by Col. The article is part of the Houses magazine Revisited series, highlighting a residential project that embodies a unique architectural philosophy and a personal journey of creation. #ArchitecturalDesign #ResidentialArchitecture #SelfBuiltHome #MelbourneArchitecture #BushExpression #ChamferStyle #ExperimentalDesign #ColBandy #SustainableDesign

Alicia Hylton-Daniel is an interior designer and general contractor who has carved a unique path in a field where she often stands alone as a Black woman. Her journey began unexpectedly after a house fire in 2002 prompted her to reassess her career goals. She subsequently enrolled at Meredith College, graduating in 2008 with a degree in interior design. For the first decade of her career, Alicia focused on commercial interior design, gaining valuable experience that would later influence her distinct approach to residential projects. Her transition into general contracting was inspired by her husband, Roger. This step allowed her to manage her designs more comprehensively and to establish her worth within the industry. Shortly after becoming a licensed general contractor, she launched her own design/build company, Hylton Daniel Properties, also known as Hylton Daniel Design + Construction, which has now been in operation for over five years. Alicia's initial goal was to design and construct modern houses for sale, a pursuit that offered her significant creative freedom, free from client constraints. She named her first project 'Modernist 1,' anticipating a series of similar ventures. To date, she has designed and built six modern homes, which she considers her artistic expressions. While Hylton Daniel Properties accepts client work, it primarily focuses on mid to large-sized renovations and additions, with a preference for renovating older homes, particularly those from the Mid-Century Modern and 1970s architectural eras. Alicia intentionally avoids designing and building ground-up houses for clients due to the complexities of client input combined with subcontractor management, choosing to prioritize her creative autonomy. She distinguishes her work from typical 'flips,' which she views as quick and thoughtless, emphasizing a meticulous design and construction process. Her projects involve extensive site study to ensure optimal house placement, visual integration, and consideration of height and scale in spatial layout and exterior design. Her commercial design background also enables her to incorporate non-standard and experimental finishes into her residential projects, offering a unique edge. Hylton Daniel is a small team of five, including Alicia and Roger, handling a maximum of four client projects annually. This controlled workload ensures detailed design, quality construction, and exceptional project management. Alicia emphasizes that she charges for her time and talent, clarifying that her services do not align with the often-unrealistic expectations set by HGTV. She also requires homeowners to vacate the premises for extensive renovations, particularly those involving critical areas like kitchens and bathrooms, to maintain project efficiency and safety. Alicia takes pride in her problem-solving abilities through spatial layout, and her enjoyment of lighting and finishes. She dedicates herself to understanding clients' emotional and cultural backgrounds to achieve successful designs. Alicia recently shared a story of resilience, recounting an incident where she discovered she was being targeted by a neighbor during the construction of her 'Modernist 4' home. She publicly addressed the bigotry, refusing to be silenced or conform to societal expectations of 'professionalism' that she felt had historically disadvantaged Black women. Her outspoken stance garnered widespread support from both Black and white women, validating her decision to advocate for herself. She highlighted the importance of unlearning the societal lesson of 'not talking money,' particularly as a Black woman who, like many, has experienced underpayment. She now unapologetically discusses her rates, refusing to compromise her self-worth. In addition to her design and build work, Hylton Daniel has expanded into a short-stay portfolio, offering a renovated 1940s post-war house and two of her modern homes, 'Modernist 5' and 'Modernist 6,' for short-term rentals, allowing guests to experience her unique designs. #InteriorDesign #GeneralContractor #ModernArchitecture #DesignBuild #ResidentialRenovation #Entrepreneurship #BlackWomanInBusiness #SpatialLayout #Resilience

The home remodeling industry is witnessing a shift towards a more collaborative and personalized approach, with the emergence of design studios as a significant trend. Mosby Building Arts, a prominent player in this sector, recently launched The Mosby Studio in Kirkwood, Missouri, specifically designed to foster a one-on-one renovation experience for homeowners. This initiative is a response to the increasing demand for home remodeling and the challenges homeowners often face in navigating the complex construction industry. Mark McClanahan, president of Mosby Building Arts, emphasizes that The Mosby Studio serves as a dedicated space for conversation and creative exchange. Unlike traditional showrooms that present pre-selected products, the studio's philosophy centers on understanding the homeowner's vision first and then curating products to align with their specific ideas. This approach aims to empower homeowners by making them central to the design process, ensuring their preferences and needs are paramount from the initial stages of planning. The inspiration behind this new model stems from the common frustrations experienced by homeowners during renovation projects. McClanahan highlights that the construction industry frequently ranks among the top sectors for consumer complaints, largely due to the difficulties consumers encounter in understanding and managing the renovation process. The Mosby Studio endeavors to mitigate these challenges by offering a more transparent and accessible remodeling journey, thereby enhancing client satisfaction. Strategic location is another key aspect of Mosby's new design studio model. The initial Kirkwood location is part of a broader plan to establish more studios across the central corridor and further west. This expansion strategy is driven by the desire to be physically closer to clients, whether they reside in the city or surrounding county areas. Proximity allows for easier access to the studios and facilitates the crucial early step of visiting clients' homes to understand their living spaces and lifestyles, which is integral to Mosby's design philosophy. The Mosby Studio aims to transform the renovation experience into a curated process, where homeowners can meet with designers in an inspiring environment to collectively dream and plan their projects. By making the process more visible and accessible, Mosby Building Arts seeks to alleviate the strain often associated with home remodeling, especially in a market with high demand. This model suggests a future where home renovation is less about selecting from existing options and more about co-creating unique spaces tailored to individual needs and aspirations. #HomeRemodeling #DesignStudios #MosbyBuildingArts #HomeDesignTrends #ClientCollaboration #KirkwoodMissouri #ConstructionIndustry #PersonalizedRenovation