Studio Schicketanz Brings Sensitive, Sustainable Design to the Monterey Bay

STUDIO K's design for BIÂN, Chicago's premier 25,000-square-foot health and social club, continues to exemplify a holistic and collaborative approach three years after its inception. Located in a bi-level commercial building, BIÂN integrates fitness, recovery, nutrition, alternative therapies, socialization, and spa services, offering a comprehensive "biosphere for living." The design prioritizes supporting the provided services rather than merely serving as a backdrop for social media content, distinguishing it from facilities that focus on fleeting trends. The interiors of BIÂN eschew popular, temporary design trends in favor of a timeless aesthetic that complements the club's offerings. Karen Herold, designer and principal of STUDIO K, emphasizes the extensive use of natural materials such as wood, leather, textiles, and lime plaster, layered to create a sense of warmth and welcome. The design team addressed the challenges posed by the industrial architecture by incorporating highly textural, soft, and light materials, accented with elements of black wood and steel. A talented lighting designer contributed to washing the entire space in a soft glow, enhancing the overall ambiance. This fusion of maximalist textures with minimalist interventions results in what is described as "industrial zen," where historical elements are subtly articulated to create a visually rich yet calming environment. Upon entering BIÂN, guests are greeted by a round apothecary table, setting the tone for the journey through various programs. The design employs a neutral palette of creams, whites, and taupes, with subtle shifts and accents of inky blue furnishings and living greenery, guiding members seamlessly from one area to another. The use of different textiles, such as linen and wool, manipulates light and transparency, while variations in slatted surface treatments and wood grain patterns manage the acoustic vibrations within the rooms. Each distinct ecosystem within BIÂN is designed to cater to the specific moment while facilitating an artful transition to the next, creating a cohesive and enriching experience for members. Notable features include a 6-foot round table at the entrance, combining a white oak reception desk with a full-sized concrete sink for skincare sales. The social lounge utilizes white oak and beechwood to foster a warm and calming atmosphere, featuring a 14-foot custom communal table and a main bar finished in leather. A staircase with wood louver screens connects the social lounge to the gym and spa facilities, discreetly concealing the medical facility behind. The lower level hosts a sushi counter adjacent to the gym, characterized by blue vinyl upholstery and plaster raked columns. A sound-insulated listening room, available for rent, provides members with a private space featuring a specialty entertainment system and a rotating selection of vinyl records. Locker rooms offer amenities like a steam room, cold plunge, and customized shower experiences, while a relaxation lounge on the lower level provides custom-designed chaise lounges for patrons awaiting or recovering from treatments. Patient rooms within the medical office suite maintain a serene, spa-like interior while adhering to standard facility regulations. The club also boasts multiple reformer studios for Pilates and custom gym cubbies and seating outside the main fitness studio. An expanded 10,000-square-foot co-working space, extending from the main social lounge, offers members areas for work and relaxation. This new area includes a rust-colored leather-wrapped bar inspired by sushi counters, serving food and beverages. The successful design elements, including architectural finishes, furniture, decorative lighting, and curated artwork, are consistently echoed throughout these new spaces. Mar Soraparu, Co-Founder & Chief Wellness Officer of BIÂN, highlights that the design's integration of philosophies, unique features, and thoughtful lighting choices create a luxurious and comfortable environment that enables members to pursue a more vital life. #IndustrialZenDesign #WellnessCenter #InteriorDesign #HealthClub #NaturalMaterials #BiLevelCommercialSpace #StudioK #ChicagoDesign #HolisticDesign

Dana Esser, an interior designer and creative, discusses her business, Dana Michele Design, and its profound impact on the daily lives of occupants in the spaces she designs. Esser highlights the significance of her work in creating therapeutic environments, such as offices for therapists and psychiatrists. These projects involved extensive research into layout, audio and visual privacy, color, texture, and furniture selections to ensure patients feel welcome, calm, comfortable, and safe. The insights gained from designing these therapeutic spaces are now applied to all her projects, ensuring they enhance the well-being of occupants and meet functional needs. Dana Michele Design distinguishes itself through an unwavering commitment to clients, with Esser acting as a 'client advocate.' With eight years of corporate interior design experience, she is now directly involved in every project, ensuring personalized attention and expertise for each client. The design process at Dana Michele Design integrates spatial intelligence with creative intuition, focusing on solving complex puzzles and understanding human needs to create spaces that resonate deeply. This process begins with in-depth client engagement to understand their aspirations and challenges, leading to designs that are not only aesthetically pleasing but also supportive of their present and future needs. Esser emphasizes the importance of professional integrity and personal well-being, stating a rule to only accept projects where her team is respected and valued, especially as a female entrepreneur in a male-dominated industry. Looking ahead, Esser plans to launch a non-profit arm of Dana Michele Design. This initiative will focus on community engagement by partnering with organizations that provide housing and support to vulnerable communities, aiming to create nurturing environments that empower individuals to thrive. The success of Dana Michele Design is attributed to human connection and the transformative power of thoughtful design, driven by a commitment to clients and the wider community. Outside of her professional life, Esser shares recommendations for enjoying Los Angeles with a visiting friend. Her ideal week would include coffee from Primo on Montana Street, brunch at Courtyard Kitchen in Santa Monica, leisurely strolls along the boardwalk, and beach volleyball. Nature excursions would involve hiking the Los Leones trail in Pacific Palisades for panoramic ocean views. Cultural experiences would include visiting the Broad or Hammer museum exhibits. Evenings would feature live entertainment at venues like the Hollywood Bowl or Aviator Nation’s Dreamland in Malibu, or attending a comedy show. Dining options range from Fia in Santa Monica to Osteria Mozza, followed by a night out in West Hollywood or Hollywood. Esser acknowledges several individuals who have significantly influenced her journey. She credits her family for providing essential physical and financial security and unwavering love. Her high school art teacher is recognized for channeling her creativity and introducing her to interior design at 16, a pivotal moment in discovering her passion. Lastly, she highlights the continuous inspiration, encouragement, and love from her closest friends, whom she considers her chosen family, calling them her backbone and biggest cheerleaders, especially when she experiences imposter syndrome. #InteriorDesign #CreativeEntrepreneur #TherapeuticSpaces #ClientAdvocacy #CommunityImpact #FemaleEntrepreneur #NonProfitInitiative #LosAngelesLifestyle #PersonalDevelopment

Schenkar Luxury Homes, in collaboration with Bogota-based GA Arquitectura y Construcción, has completed a custom, sustainable residence in Guatapé, Colombia. The 3,500-square-foot home, featuring 5 bedrooms, 4 baths, a media room, an office, and over 2,000 square feet of outdoor deck, is situated on a 1.5-acre private shoreline overlooking a freshwater reservoir. This project, located approximately 6,200 feet above sea level in the Andes mountains, exemplifies a blend of luxury, customization, and environmental consciousness. The development and construction process spanned roughly 3.5 years and involved nine phases. Due to the challenging and inaccessible topography of the location, traditional heavy machinery for excavation, concrete pouring, or piling was not feasible. Consequently, the construction relied heavily on manual labor and skilled handcraft. The design integrates interior and exterior spaces through the use of floor plates, ceiling surfaces, and extensive glass walls. The material palette includes concrete, steel, Colombian stone, and Italian marble, harmonized with white, black, and gray tones, and accented by warm wood paneling. All linens and furniture were custom-made and locally sourced from Bogota, incorporating fabrics and colors that reflect the region’s vibrant architectural style. Sustainability was a core tenet of the project, integrated through various high-tech and low-tech solutions. The dwelling is fully insulated to optimize heat management and features solar panels for renewable energy generation. Recycled materials were incorporated into certain structural elements of the building. A comprehensive rainwater management system collects runoff in cisterns for irrigation purposes and further filters it to provide potable water. Even the selection of fixtures, from sanitaryware to lighting, was made with a focus on reducing the carbon footprint and overall environmental impact of construction. Alex Schenkar, Principal of Schenkar Construction, emphasized that their approach differs significantly from prefabrication, which often offers limited customization. Schenkar’s custom homes are designed to meet the exact specifications, style, and functional requirements of their clients. The environmental context of each home is thoroughly considered to implement diverse sustainability strategies. Beyond the physical construction, Schenkar Construction actively supports local economies by employing thousands of local trade professionals and conducting regular training clinics for partner companies. They also contribute raw materials like steel and concrete for local road construction, and Alex Schenkar personally leads training sessions to introduce new construction techniques and styles that are economically sensitive to the regions where they operate. This project represents a significant step in normalizing and prioritizing sustainable practices within the luxury home construction sector, demonstrating that bespoke design and environmental responsibility can coexist. The collaboration with GA Arquitectura y Construcción highlights an international effort to achieve these objectives. The finished residence stands as a testament to meticulous planning, skilled execution, and a deep commitment to sustainable architecture in a challenging natural environment. #SustainableHomes #LuxuryHomes #CustomArchitecture #SustainableDesign #Architecture #Colombia #SchenkarLuxuryHomes #GAArquitecturaYConstruccion #ResidentialDesign

This article celebrates Suzanne Tick's induction into the Interior Design Hall of Fame, highlighting her multifaceted career as a material innovator, textile designer, and artist. Tick's work is characterized by a forward-thinking approach, integrating sustainability, advanced technologies like 3D knitting, and concepts of transparency and digitalism into woven surfaces for commercial interiors. Her textile brand, Luum, for instance, launched its 'Fabric of Space' collection with patterns inspired by celestial phenomena, coincidentally aligning with the public release of images from the James Webb Space Telescope. Throughout her four-decade career, Tick has collaborated with prominent brands such as Tarkett, Tandus Centiva, 3form, and Skyline Design, creating a diverse range of products including upholstery, drapery fabrics, high-performance carpeting, broadloom, cement-tile, LVT flooring, and etched glass panels. Beyond her commercial endeavors, she maintains an active fine-art practice, producing tapestries and experimental handweavings for clients like the Gates Foundation and BlackRock. Before establishing her independent studio and Luum, Tick served as an in-house design lead for Knoll Textiles, Unika Vaev, and Brickel Associates. However, she values the autonomy and risk-taking opportunities afforded by her entrepreneurial path. This independence has enabled her to innovate, as seen in Luum's pioneering contract industry fabrics made from postconsumer-recycled biodegradable polyester and discarded garment waste. Her journey began in the early 1980s after earning textile design degrees, where she quickly sought to understand the entire production process, learning everything from fiber sourcing to pattern implementation, an experience that shaped her holistic approach. Sustainability has been a cornerstone of Tick's philosophy, encompassing raw material development, structural innovation, and manufacturing method revitalization. At Luum, the focus is on developing new fibers and constructions, resulting in distinct fabrics. Her handweavings also incorporate novel and salvaged materials, such as dry-cleaning hangers, shredded ledgers, and cut-up paint sample discards. Tick attributes her salvage mindset to her upbringing, influenced by her father's scrap-metal business and her mother's creative pursuits and Eastern philosophy interests. Meditation has also profoundly influenced Tick's creative process and studio culture. After a period of personal dissatisfaction, she embraced Vedic meditation seven years ago and now teaches it, crediting it with enhancing collective creativity and clarity within her design teams. This practice has also reinforced her commitment to social responsibility, leading to free weaving workshops and involvement with The Light Inside, an organization teaching meditation to prison inmates. Tick's dedication extends to environmental stewardship, evidenced by her role in creating Resolution, the first solution-dyed panel fabric for Knoll Textiles, and her studio's textile waste recycling efforts. Her work consistently pushes boundaries, merging technology, craft, and human ingenuity to promote circularity in design. #SuzanneTick #InteriorDesignHallOfFame #TextileDesign #MaterialInnovation #Sustainability #LuumTextiles #KnollTextiles #SkylineDesign #VedicMeditation #ArtInstallation

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

Krysti Lyn, a whole home designer, discusses her career journey, design philosophy, and personal experiences. She reveals that her career in design began at the young age of seven, identifying it as an innate gift for "seeing in scale." This ability allows her to visualize how objects fit within a room beyond their aesthetic contribution, a skill she considers a designer's superpower. Despite not actively choosing this path, she expresses gratitude for the opportunity to fulfill her purpose daily, serving clients who benefit from her unique perspective. Lyn specializes in a transitional design aesthetic, which involves blending and merging various design styles and periods. She emphasizes her versatility and ability to select appropriate materials for her clients, attributing her success to this client-centric approach. Her professional journey, however, has not been without challenges. She openly shares that her personal and work life was significantly impacted by domestic violence. This experience, while difficult, ultimately strengthened her resolve, teaching her the importance of self-advocacy and re-focusing on her future. She highlights that this period of adversity made her more determined and taught her to establish boundaries, including learning to say "no." Her professional goals include maintaining her status as an authority on design options, continuously integrating new products, tools, and styles into her practice. She prides herself on creating timeless designs for her clients, understanding that her work involves a significant degree of responsibility and trust. These two elements, she notes, are fundamental to her profession. She considers the ability to build and maintain trust with clients as paramount to her success. When asked about her recommendations for a friend visiting Los Angeles, Lyn outlines a personalized itinerary. This includes a casual meal at In-N-Out Burger, followed by a three-day staycation at her home in Palm Desert, complete with a hot tub, private massages, charcuterie, and Malbec red wine. The trip would also feature a short visit to Las Vegas for a show and a stay at a luxury hotel, interspersed with visits to quaint local spots for improv or murder mystery dinners. A morning drive to Malibu for breakfast to enjoy the scenic views is also on the list. For those interested in Hollywood, she mentions a visit to a famous celebrity cemetery. Significantly, she emphasizes introducing her friend, Kathy, to as many clients as possible, revealing Kathy's integral role as a faithful assistant, confidante, and source of support throughout her career. This acknowledgment underscores the importance of personal relationships in her professional life. Lyn also touches upon the role of mentorship in her career, stating that she did not have a traditional mentor. Instead, she navigated her early career through prayer and faith. She acknowledges one instructor from Harrington design college who authored a notable Modern Furniture Resource Book, and expresses that being recognized by Harpo Studios for her participation in "The Ugliest Room Contest" was a pivotal moment, making her feel understood and appreciated early in her career. This recognition served as a validation of her unique talent and approach to design. #InteriorDesign #HomeDecor #TransitionalDesign #DesignPhilosophy #Entrepreneurship #PersonalJourney #CreativeProfession #ClientRelationships #LosAngeles

This blog post features an interview with Jason Apilado, a Senior Interior Designer, who offers insights into the interior design industry, discusses his notable projects, and shares his recommendations for cultural experiences, dining, shopping, and community engagement in Los Angeles. The interview begins by addressing common misconceptions about interior design, highlighting the blend of creativity and business acumen required for success. Apilado emphasizes the technical skills involved, including mathematics, geometry, engineering for cost calculation and collaboration with architects, and deep dives into psychology, history, and cultural studies for robust conceptual development. He also touches upon the challenges of navigating new design languages and effectively communicating these to various stakeholders, all while managing logistics and meeting deadlines. Apilado stresses the importance of artistic restraint and balancing imagination with practicality, without compromising design values. He introduces his '3 R's' approach—Recognize, Reassess, Recalibrate—to prioritize time management and support creative discipline, a skill he developed over 14 years in the field, including a significant period as a freelancer. Resilience, problem-solving, and leading with confidence without ego are also identified as crucial for designers. Apilado then shares details about some of his favorite projects, including a brutalist home/event space in Eden, Utah, designed in collaboration with Tom Wiscomb Architects and Benchmark Modern. This project features art installations and furniture by renowned artists and designers such as Jónsi, James Turrell, Rick Owens, Vibha Galhotra, Naama Tsabar, Pedro Reyes, and MAD Architects. Other significant works mentioned are the Soulmate Restaurant in West Hollywood, a G550 jet interior, and a contemporary residence in the Hollywood Hills, developed with Belzberg Architects and Dobkin Construction. The discussion also covers his recent ventures into dealing antique furniture, launching a textiles collection, and selling curated goods online. The interview shifts to local recommendations for Los Angeles. For cultural experiences, Apilado suggests Casa Perfect Los Angeles 3.0, Anat Ebgi gallery, Vardan Gallery, Arcana Books, and the Endeavour space shuttle. Dining recommendations include Santa Monica Seafood Market, Santa Monica Farmers Market, Spoon & Pork, Kang Ho Dong, and Siam Night Market. Shopping highlights feature H. Lorenzo and the Rose Bowl Flea Market. For community engagement, he recommends In Sheep’s Clothing hifi, Ambient Church, Brain Dead Studios, Aroma Golf Range, and the LA River West Bank Bike Trail. Finally, Apilado expresses gratitude to numerous individuals who have inspired and supported his career. He acknowledges fellow designers and craftsmen, emphasizing the importance of community and mutual support among artists. He specifically thanks his parents for fostering his creativity, his brothers for their support, and his high school teachers and college mentors for seeing his potential and never giving up on him. Special recognition is given to Sean Leffers for trusting him to build a design studio, and a list of influential figures such as Riza Stillwell, Scott Pennington, David Waggoner, David Goggins, Bjarke Ingels, Ridley Scott, The Wachowskis, Craig Green, and Richard Feynman are mentioned for their impact on his professional journey. #InteriorDesign #CreativeProcess #DesignProjects #LosAngelesCulture #BusinessAcuemen #ProfessionalJourney #ArtisticRestraint #CommunitySupport

Architect and homeowner Cherie Goff, founder of CGModern, designed her personal residence outside Golden, Colorado, with a strong emphasis on space and energy efficiency. The 1,800-square-foot mountain-modern home is nearly net-zero, demonstrating a commitment to sustainable design principles and a deep connection to its natural surroundings. Goff, along with her husband, works from home, necessitating a design that maximizes functionality within a compact footprint. The house incorporates several key sustainable features, including solar panels, an all-electric system, and strategic shading. Given its mountain location, air conditioning is deemed unnecessary. The design prioritizes comfort and a strong connection to nature, with distinct experiences offered in different rooms despite the home's modest size. The layout is described as an "economy of space," featuring an open-plan kitchen, dining, and living area on the upper story, and a shared office on the lower level. A critical aspect of the design, influenced by the prevalence of wildfires in the Western United States, is the use of highly fire-resistant materials. These include a concrete base, corrugated metal cladding on the second story, and a composite deck. The surrounding trees were also cleared to mitigate fire risks. Goff consciously chose exposed concrete for its visual weight, similar to stone or wood, but as a more economical option. This material forms a heavy base that integrates with the landscape, with a deck wall extending into the grade to anchor the structure. Floor-to-ceiling windows on the second level break up the metal cladding, providing an expansive connection to the outdoors, even in smaller spaces. The first floor is designed to be cozier and more connected to the earth. For the interiors, Goff adopted a minimalist aesthetic with clean lines. Concrete floors are used throughout, complemented by black window frames and a plywood ceiling that adds warmth without the wear and tear associated with wood floors or exterior applications. In a departure from traditional design, the kitchen features a window backsplash instead of tile, enhancing natural light and maintaining the minimalist theme. Bathrooms incorporate playful splashes of color through high-quality, though pricey, chartreuse tile from Heath Ceramics downstairs and green tile from Fireclay Tile upstairs, serving as some of the few decorative elements in the home. A notable design element is the steel spiral staircase, which functions as both a space-saving mechanism and a sculptural artistic statement. Wider than standard models at six feet, it offers comfortable access between levels. Goff's favorite design element is the cantilevered living room. This feature allows the room to extend over the hillside, providing occupants with a profound sense of immersion in nature, described by Goff as feeling like being in a "bird's nest" looking out. The home's HERS (Home Energy Rating System) Index score of 29 indicates its near net-zero status, striving for the gold standard of zero energy consumption. The project involved Cherie Goff of CGModern for architecture and Cottonwood Custom Builders for construction. The house exemplifies a thoughtful approach to modern mountain living, balancing aesthetic appeal with practical considerations for sustainability, efficiency, and safety in its unique environment. #SustainableDesign #NetZeroHome #MountainModernArchitecture #FireResistantMaterials #SpaceEfficiency #MinimalistInteriorDesign #CherieGoff #GoldenColorado #ArchitecturalInnovation

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

Michael Jantzen's Interactive Circular Pattern Forming Pavilion merges the architectural concept of pavilions with the contemplative practice of Japanese sand gardens. Unlike static architectural structures, this pavilion actively shapes its environment through innovative mechanical systems, providing a unique and engaging experience for visitors. The pavilion's design centers around a circular structure featuring concentric composite cement rings that extend outwards from a central solar array. This solar array serves a dual purpose: it provides natural shade and powers the entire interactive system, ensuring the structure operates on clean, renewable energy. Eight painted steel columns support the layered roof, beneath which a large disc-shaped solar light is suspended. This area also includes a communal table and bench seating, inviting visitors to relax and engage with the space. The core interactive element lies in the space between the central pavilion and an outer perimeter wall, where fine white gravel acts as a dynamic canvas. A narrow footbridge, mounted on steel rails, can rotate around the entire structure. This movement is facilitated by solar-driven gear motors that allow for variable speeds, enabling a range of pattern creation. Attached to this rotating bridge are thirteen adjustable rods and tubes. These components can be positioned at different heights and angles, and as the bridge rotates, they drag through the gravel, forming intricate patterns. The nature of these patterns is directly influenced by user interaction, including the speed of rotation, the specific positioning of each rod, and the back-and-forth motion of the entire assembly. To ensure a continuous flow of creative possibilities, a blade is mounted at the front of the footbridge. This blade consistently smooths out previously formed patterns, providing a fresh surface for each new design. The experience offered by the pavilion combines ancient meditative practices with modern technology. Visitors can manipulate the rods from the central table, observing how their adjustments translate into flowing patterns in the surrounding gravel. This process encourages both individual contemplation and collaborative creativity, as multiple users can work together to produce complex and beautiful designs. The pavilion addresses contemporary concerns regarding sustainability and user engagement. Its solar integration allows for off-grid operation, while the interactive elements transform passive observation into active participation. Visitors become co-creators of the landscape, leaving temporary imprints that are eventually reset for the next group. Jantzen's design represents an evolution in architectural thought, demonstrating that structures can be both contemplative and dynamic, blending traditional principles with innovative approaches to user experience. This concept suggests a future where buildings are not merely shelters but actively involve individuals in shaping their inhabited spaces. Such participatory architecture opens new avenues for understanding the relationship between people, technology, and the built environment. #ConceptDesigns #SolarPowered #Zen #InteractiveArchitecture #SustainableDesign #UserEngagement #ArchitecturalInnovation #EnvironmentalDesign #MeditativeSpace

Worrell Yeung, a Brooklyn-based architecture practice, designed the Springs Artist Studio, an 800-square-foot, two-story addition to an existing home in East Hampton, New York. This project was developed for a painter/creative director and a florist who possess an extensive collection of art and objects. The upper floor of the new structure is dedicated to a painting studio, while the ground level serves as a flexible exhibition space, a single-car garage, and includes a powder room. The project faced significant design challenges due to the neighborhood's strict zoning regulations and the site's environmental sensitivities. To minimize its impact on the natural landscape, Worrell Yeung meticulously positioned the addition within the smallest possible footprint, ensuring that no existing trees were removed during construction. The studio's deliberate integration into the wooded environment means it gradually reveals itself to visitors, appearing subtly through the dense tree canopies and being only slightly visible from the road. A fully glazed connector links the new addition to the existing home, allowing for uninterrupted views of the lush, surrounding woodland. This connector also provides a transitional space between the home and the work environment. The foyer features plywood cladding and a matching plywood staircase that leads to the upstairs painting studio. A refurbished vintage David Weeks chandelier is installed above the staircase, adding a touch of sophisticated design. The upper-level painting studio is distinguished by a 360-degree panorama of four-foot-tall ribbon windows. These windows offer views of the dense tree canopies, and to the west, Hog Creek and osprey nests. The design maximizes natural light while framing unique views from every direction with unobstructed glass corners. To achieve this continuous ribbon window effect, Worrell Yeung collaborated with Silman Structural Engineers to incorporate small steel columns that match the window mullions and feature steel rod cross-bracing for lateral support, creating a visually floating roof structure. Birch plywood boards cover the studio floor and extend four feet up the walls, meeting the base of the windows. This plywood finish is both efficient and utilitarian, contributing natural warmth to the space. A plywood-clad peninsula of cabinet space, located near the staircase landing, provides storage for the artist's materials and includes a sink for diluting paints. The walls and vaulted ceiling above the ribbon window are painted white, reflecting natural light throughout the space and creating an optimal environment for painting and art exhibition. Four minimal uplights provide diffuse illumination, complementing the abundant natural light. The ground floor's flexible space serves as both an exhibition area and a garage, capable of housing the homeowner's 1966 Chevy Impala Supersport Convertible. Plywood-lined walls in this area allow for the installation of artwork, transforming it into a temporary gallery. The powder room is also clad in plywood, but it is stained with a semi-sheer Yves Klein blue, which allows the natural wood grain to remain visible. From a distance, the studio presents itself as an abstract volume with minimal horizontal windows. However, upon closer inspection, the textured wood and varied plank sizes break down the building's scale, adding richness and detail. Worrell Yeung's design choice to vary the facade emphasizes the firm's interest in creating objects and materials that can be read at different scales, and in developing architecture with minimal environmental impact. The Springs artist studio appears to effortlessly float above the ground, and when illuminated at night, it transforms into a glowing lantern within the trees. #ArtStudioDesign #ArchitecturalAddition #WorrellYeung #SustainableDesign #PlywoodInteriors #NaturalLight #EastHamptonArchitecture #EnvironmentalIntegration #ModernDesign

Colton Dixon Winger, cofounder and owner of the styling agency Cuniform, has expanded his expertise from personal wardrobe curation to sustainable home design. Winger’s approach, rooted in the philosophy of repurposing existing items and sourcing vintage or pre-owned goods, mirrors his successful strategy in fashion. His venture into interior design began with "rearranging services," where he would reorganize a client's current furniture and decorative items to create more cohesive and intentional spaces. This hands-on method stems from his lifelong interest in architecture and interior arrangement, a passion he cultivated since childhood by constantly reconfiguring his own room. Now, Cuniform Interiors operates with a dedicated head of design, Bethanie Jones, and offers comprehensive services, including 3D renderings, structural modifications, and full kitchen remodels. A significant challenge in this expansion has been adapting the sustainable ethos from clothing to home furnishings, as the logistics of transporting and sourcing larger items differ considerably. However, the core principle remains consistent: prioritize what a client already possesses and, when new items are necessary, seek out sustainable and second-hand options. One notable project involved Mia Malave, a long-standing styling client of Cuniform, who sought Winger’s help when moving into a midcentury modern home in West Seattle. Malave desired an open, interconnected living space where conversations could easily flow between the living room, dining room, and kitchen. Her existing kitchen, however, was enclosed by walls and low-hanging cabinets, obstructing the desired open-plan feel. Winger collaborated with Casual Surveying Co., a local design-build firm, to dismantle these barriers, creating an open-concept kitchen furnished with midcentury-appropriate walnut cabinets and a central oak island. For Malave's guest room, Winger skillfully repurposed her existing rug, table, and other decor, augmenting them with unique finds like a vintage metal ladder from Epic Antique to serve as a blanket holder. The furniture for the ground floor was meticulously sourced, with nearly every piece being vintage or recycled. This commitment to intentional, sustainable sourcing often requires patience, as clients may need to wait longer for the perfect, ethically acquired item rather than settling for readily available new products. For instance, a Parisian desk was acquired from local antique dealer Kassie Keith, and a large bamboo dining table was found on Craigslist for a mere $100, complemented by refurbished German chairs. After several attempts to find a suitable sofa, Bethanie Jones located an investment-quality 1970s Milo Baughman piece from her warehouse, which became a central element in Malave’s living room. Malave, still searching for a coffee table, has embraced the deliberate pace and vintage aesthetic, acknowledging that her preference for timeless, well-preserved older items aligns perfectly with the midcentury character of her home. The process highlights Cuniform's dedication to functional design and conscious consumption, demonstrating that beautiful, meaningful spaces can be created through thoughtful selection and repurposing rather than relying solely on new purchases. #HomeDesign #InteriorDesign #SustainableDesign #VintageFurniture #MidcenturyModern #Repurposing #ConsciousConsumption #WardrobeCurator #SeattleInteriors

Fefostudio, a local design firm, and architect Kamilla Csegzi have collaborated to design "The Ephemeral Table," a large table crafted primarily from mycelium. This innovative piece was featured at the Collectible design fair in New York. The table's composition includes 50 percent mycelium substrate mixed with various organic waste materials, such as paper and leaves. The project, named Acts, is structured as a three-part series, with the Collectible presentation being the second iteration. The initial part involved a studio dinner during NYCxDesign in May, and the third act is planned as an outdoor dinner. Fernando "Fefo" Aciar, the founder of Fefostudio, explained that the use of mycelium in this project represents a collaboration with nature. This design questions the inherent value traditionally assigned to material culture, emphasizing its transient nature and continuous transformation, much like natural processes. Aciar highlighted that the creation is fleeting, showcasing the positive cycle from decay to growth, akin to everything in the natural world that evolves and transforms over time. He further elaborated that by partially relinquishing creative control and allowing nature to influence the design, the mycelium table transforms into an evolving, living entity that facilitates a trio of gatherings. The table's form was created by molding it around objects found within the studio. Subsequently, the voids left in the table were utilized to develop molds for the amber-colored glassware that accompanied the presentation. Fefostudio and Kamilla Csegzi aimed to establish a "dialogue" between the materials employed and the circular production methods integrated into the design. Aciar underscored that the mycelium table itself acts as a mold for new objects, thereby initiating an interactive exchange between "positive and negative," "content and container," and "natural and artificial" elements. By reversing these roles, the installation accentuates the perpetual circularity inherent in their creative process. For the final stage of the project, Aciar intends to leave the table at the location of the last dinner. This act, described as "Act III," symbolizes the project coming full circle, returning the piece to nature to disintegrate. As the table merges with the ground, it is expected to foster the growth of new plants, which will, in turn, facilitate future communal gatherings. Over the past decade, mycelium has gained increasing recognition in various design applications, with designers exploring its potential. This material has been successfully incorporated into the creation of diverse objects, including bicycle helmets, lampshades, and even stage sets for concerts. "The Ephemeral Table" stands as a testament to the potential of biodegradable materials and circular design principles in contemporary furniture design. The project challenges conventional notions of permanence in design by embracing natural processes of growth and decay. It serves as a practical demonstration of how art and design can intertwine with ecological concepts, offering a sustainable alternative to traditional material consumption. The collaboration between Fefostudio and Kamilla Csegzi exemplifies a forward-thinking approach to design that prioritizes environmental consciousness and the inherent beauty of natural transformation. This initiative not only presents an artistic creation but also sparks a broader conversation about sustainability, material innovation, and the cyclical relationship between human creation and the natural world. #MyceliumDesign #EphemeralTable #Fefostudio #KamillaCsegzi #CollectibleDesign #BiodegradableMaterials #CircularDesign #SustainableFurniture #NewYorkCity

The article features an interview with Leo Cesareo, an interior designer, discussing his journey, artistic influences, and personal recommendations for exploring Los Angeles. Cesareo recounts his decision to start his own business after years of working for other designers. He describes a pivotal moment at his last firm, where a negative interaction with a junior designer led him to quit on the spot and establish Leo Cesareo Design seven years ago. This experience highlighted his desire to focus on design rather than office politics and bureaucracy. He notes that this decision was a positive one, as he has not encountered similar issues with his own clients. Cesareo attributes his artistic inclination to his family background. His grandfather was an illustrator and 'Ad Man' in Buenos Aires during the 1950s and 60s, creating hand-drawn advertisements for magazines like Time and Life. His father was an architect and contractor, and Cesareo credits learning to draw by observing his father's work at a drafting table. He humorously mentions learning three-point perspective by kindergarten, much to his elementary teacher's surprise. His artistic education continued at the Visual Arts program at LACHSA and then at RISD, where he studied Film and Art History. During his film studies, he developed an interest in set design, focusing on 'world-building' and the psychology behind characters and their environments, which ultimately led him to transition into interior design. At Leo Cesareo Design, his firm aims to create unique, tailor-made interiors for contemporary individuals and households, drawing on his visual arts background to influence spatial composition and light. When asked about local spots in Los Angeles, Cesareo, a native, emphasizes approaching the city through its individual neighborhoods due to its spread-out nature. He suggests that framing LA in this way makes visitors more open to experiencing different areas, even if it involves traffic. He highly recommends The Cara Hotel, praising its transformation from a 1950s motel into a chic, European-feeling establishment with elegant rooms and a stylish courtyard. Its central location is also a plus for accessing both the East and West Sides of the city. For shopping, he points to Departamento in Downtown LA, highlighting the area's growth into a vibrant, walkable neighborhood with interesting shops and cafes. His favorite Korean BBQ spot is Dan Sung Sa, valued for its unique interior design with cubby booths and graffitied walls, which contributes to its 'frenzied cool' atmosphere, making the long wait worthwhile. For an authentic LA experience, he recommends late-night taco trucks, particularly those on Sunset in Echo Park, and diners like Norms and the iconic Johnie’s Broiler (now a Bob’s Big Boy), noting the historical significance of Googie Architecture and fast food in LA's development. For nightlife, he suggests El Cid, Akbar, and underground or gay bars, describing a quintessential LA experience involving secret passwords and unexpected celebrity sightings in unusual locations. Cesareo concludes by giving credit to his alma maters, the LA County High School for the Arts (LACHSA) and the Rhode Island School of Design (RISD). He emphasizes that these institutions provided him with the foundational experiences, work ethic, and community that have supported him since he was 15 years old. The article also provides contact information for Leo Cesareo Design, including his website, Instagram, LinkedIn, and Facebook profiles. #InteriorDesign #Entrepreneurship #LosAngeles #ArtisticInfluence #CreativeJourney #BusinessStartUp #LocalCulture #DesignPhilosophy #RISDEducation

This article highlights Metricon, an Australian home builder, and its focus on creating energy-efficient and eco-friendly homes. Metricon aims to help individuals build their dream homes, incorporating luxurious features while also contributing positively to the environment. The company emphasizes the importance of energy efficiency not only for reducing long-term costs but also for environmental sustainability. Metricon has received approval from Sustainability Victoria for its first zero net carbon display home, showcasing its commitment to sustainable building practices. Metricon offers a diverse range of home designs, including single-storey, double-storey, dual occupancy, and split-level options. These designs are available across various Australian states, including Victoria, New South Wales, Queensland, and South Australia. Specific links are provided for exploring designs in Melbourne, Sydney, and Queensland, indicating a broad geographical reach. The company also provides a design suite called Studio M, which allows customers to tailor their future homes to their personal styles and preferences, ensuring a personalized touch to their sustainable living spaces. The collaboration with Sustainability Victoria underscores Metricon's dedication to meeting high environmental standards in the construction industry. The zero net carbon display home serves as a tangible example of how modern homes can be built to minimize their environmental impact, promoting a future where residential properties are both luxurious and environmentally responsible. This initiative aligns with broader trends in sustainable development and green building, which seek to integrate environmental considerations into all aspects of construction. The article positions Metricon as a leader in sustainable home building in Australia, offering practical solutions for those who desire a high-quality home that also contributes to planetary well-being. By combining aesthetic appeal, functional design, and innovative green technology, Metricon provides options for homeowners to enjoy modern comforts without compromising their environmental values. The company's comprehensive approach, from diverse home designs to personalized customization options, aims to make sustainable living accessible and desirable for a wide range of customers. For additional information about Metricon's offerings, readers are directed to the company's official website or can contact them via a provided phone number. This information is presented as a promotional piece, guiding potential customers toward Metricon's services and highlighting the benefits of their sustainable home designs. The article serves to inform and attract individuals interested in building a new home with an emphasis on energy efficiency and environmental consciousness. #SustainableHomeDesigns #Metricon #EnergyEfficiency #EcoFriendlyHomes #ZeroNetCarbon #AustralianHomeBuilders #GreenBuilding #SustainabilityVictoria #InnovativeDesign

The article presents an interview with American architect Rick Joy, conducted by Vladimir Belogolovsky, focusing on Joy's architectural philosophy, design process, and the unique characteristics of his work, particularly his houses. Joy's architectural style is described as a progression from purist European villas and mid-20th century modern houses to a vernacular Modernism that is deeply responsive to climate and landscape, especially evident in the American Southwest. He is noted for reviving traditional building techniques, notably the use of rammed earth walls. Joy's early career began in Tucson, Arizona, after studying architecture at the University of Arizona. He gained experience working with Will Bruder Architects before establishing his own practice in 1993. His initial projects, such as Convent Studios (1997), Catalina House (1998), and his own studio (1999), garnered significant media attention for their innovative application of rammed earth, a technique that has since been adopted globally. His firm, now employing over 30 architects, has expanded its portfolio beyond Arizona to include projects in New Mexico, California, Idaho, Vermont, the Caribbean, and even urban centers like Mexico City and Princeton, New Jersey. Notable works include the Amangiri Resort and Spa in Utah, a collaboration with Wendell Burnette, and the Princeton Transit Hall and Market. Belogolovsky questions Joy about the advantages of practicing architecture in the countryside versus urban environments, to which Joy clarifies that his initial focus on countryside projects was not a deliberate choice but rather a response to client demand. He emphasizes that his design approach remains consistent across all projects, whether urban or rural, aiming for bespoke, site-specific, and rooted designs. Joy highlights the benefit of working with one's hands in rural settings, which facilitates a deeper understanding of materials and the environment. The conversation delves into Joy's reputation as "the rammed-earth guy." He explains how he discovered and championed the exposed use of rammed earth walls in the early 1990s, realizing its inherent beauty and thermal properties, contrasting with the then-common practice of plastering over it. While the technique initially faced skepticism, it soon gained acceptance and became a coveted feature, though it has become a costly method. Joy also shares that while rammed earth is fashionable among wealthy clients, he observed a stigma associated with it in modest-budget projects, where dirt was unfortunately linked to poverty, even in places like Chile and the Caribbean. Joy discusses his design process, which is primarily driven by narrative rather than form. He describes architecture as a verb, emphasizing the experience of looking through and inhabiting a space, focusing on creating atmospheric qualities and staging a lifestyle. He illustrates this with examples such as the Sun Valley House, where steeply folding roofs collect water, and the Desert Nomad House, designed to capture specific light events. For Joy, architecture is a form of storytelling, and his process involves dreaming and talking through ideas before any sketches are produced. He recalls how this narrative-driven approach led to a more ambitious and gratifying outcome for the Princeton Transit Hall. Finally, Joy elaborates on the deep relationship between his architecture and the environment, describing his buildings as "propositions for a way to live in the landscape." He notes that his designs allow occupants to track time through the sun's movement within the building, fostering a heightened awareness of nature. This continuous learning process, where architecture teaches about nature, aligns with his stated intentions of creating crafted spaces with nuanced observation, sensory attenuation, and a strong connection to place, encapsulating the idea of "slow architecture"—a concept he attributes to Peter Zumthor. #RickJoy #Architecture #RammedEarth #VernacularModernism #SustainableDesign #ArizonaArchitecture #DesignProcess #SiteSpecificDesign