A Conversation with Pamela Tan, the Architectural Designer Challenging Malaysia's Design Perspective

Camille Jobe and Ada Corral, principals of Jobe Corral Architects, a women-owned-and-operated architecture firm based in Austin, Texas, discuss their design philosophy, recent projects, and collaborative working style. The firm specializes in residential architecture and interiors, with a strong emphasis on adapting designs to the unique and often harsh climate of Texas. Their work frequently incorporates sustainable and context-specific building methods, while also maintaining a strong aesthetic. One of their notable projects, River Ranch, is a modern house located in the Texas Hill Country. For this residence, the architects utilized traditional rammed earth construction, a method chosen to conceptually link the structure to the clients' deep appreciation for the land. The rammed earth, composed of decomposed granite, Portland cement, and water, is poured in layers to create distinct, striated walls that are a central design element throughout the home. These walls dictated particular attention to texture, color, and the interplay of warmth and coolness in adjacent materials and furnishings. The interior furnishings for River Ranch were selected to complement the bespoke nature of the structure, focusing on well-crafted items with notable provenance or distinctive assembly, transforming them into new 'artifacts' within the space. Looking ahead, Jobe Corral Architects are engaged in diverse projects. They are designing the architecture and interior for a young company's headquarters in Austin, aiming to imbue the large commercial space with a residential feel. Additionally, they are working on a public restroom project for Lady Bird Lake in Austin, contributing sculptural, boutique-style facilities constructed from terracotta tile, concrete, and steel, featuring a repurposed concrete pipe for the sink. Their working relationship is defined by a clear division of roles: Jobe focuses on the 'big picture,' while Corral manages the details. Both principals reside in post-World War II concrete block houses on the same street, and they jointly designed additions for their homes post-partnership. Their individual backgrounds significantly influence their creative approach; Jobe, from a family of engineers and artists, found her niche in architecture as a blend of rationality and creativity. Corral, hailing from Puerto Rico, where smaller, efficient homes are common due to climate and resources, emphasizes functionality and efficiency in her designs. The Texas climate and lifestyle play a crucial role in their design thinking. The extremes of cold and heat, coupled with high humidity, directly inform architectural forms and how living spaces function. The informal nature of Texas life also influences their designs, leading to considerations like the traditional role of a 'front door' in a casual, expansive environment. The relatively young architectural landscape of Austin, with fewer historical constraints, offers a 'clean slate' for their contemporary designs. Both architects stress the importance of physical activity—Jobe as a rower and Corral as a runner—as a vital component for managing the stresses of an architectural practice and maintaining well-being. #ArchitecturalDesign #ResidentialArchitecture #InteriorDesign #SustainableConstruction #RammedEarth #TexasDesign #WomenInArchitecture #ModernArchitecture #DesignPhilosophy

Dublin Design Week, an inaugural event, is set to highlight the contributions of Irish architects and interior designers to both national and international design. The event aims to showcase the significant global influence of Irish designers. One notable figure participating in this event is Maria MacVeigh, an architect and interior designer. After gaining experience in Spain and Chile, MacVeigh established MMV Design in Dublin in 2004. Her design philosophy emphasizes a rigorous process, detailed construction, and the careful selection of materials and finishes, which is reflected in her sophisticated and award-winning interiors. She has a history of collaboration with experienced professionals in the building industry, contributing to her extensive knowledge in the field. Among her distinguished projects is the interior design of Chapter One, a renowned restaurant in Dublin. For this project, MacVeigh meticulously handled every detail, from the specific green-bronze paint on the walls to the various natural stones utilized throughout the space. Chapter One is designed to offer an intimate dining experience, featuring a main area with several nooks, including a secluded demi-salle. A chef’s table is also part of the design, where diners can observe the culinary process from a semi-circular banquette. A central, sculptural marble-topped piece with an integrated induction hob serves as a focal point in the dining room, housing the Gaggenau Experience, which allows guests to witness fine dining preparations up close. The kitchen itself is a display of aesthetic design, featuring stainless steel, deep brown walls, a basalt table, oxblood floor, and green marble worktops. Chapter One undergoes an annual refresh, during which MacVeigh's focus extends to transforming areas like the cloakrooms. Maria MacVeigh's design approach is characterized by a commitment to timelessness, understated elegance, and personalization, moving away from transient trends. This philosophy was evident in a renovated 1950s home project, where she collaborated with her sister. The design aimed to encapsulate the essence of their family home, with a plan that maximized natural light. The project drew inspiration from mid-century modern aesthetics, not only as a homage to their upbringing but also to complement the architectural character of the surrounding neighborhood. Another significant undertaking involved the restoration of a Victorian redbrick property. This project presented the dual challenge of historical preservation and the integration of a contemporary extension and a new kitchen. For this, MacVeigh partnered with Eoin Lyons of LyonsKelly. Lyons, whose expertise lies in finishes, complemented MacVeigh's strengths in architecture, interiors, and fine detailing. Maria MacVeigh is scheduled to participate in a Design Talk at Anantara The Marker Dublin on Thursday, May 22, from 12 pm to 1:30 pm. During this event, she will engage in a conversation with architect and broadcaster Amanda Bone, where she will discuss how her dual professional background provides her with a distinctive perspective on design. Tickets for this event are priced at €35, with a reduced rate of €20 for students. #MariaMacVeigh #InteriorDesign #Architecture #DublinDesignWeek #ChapterOneRestaurant #HomeRenovation #VictorianRedbrick #DesignPhilosophy #AmandaBone

This article presents an interview with renowned architect Kengo Kuma, focusing on his architectural philosophy, particularly his views on regionalism and the role of architects in the 21st century. Kuma, whose work spans globally and includes upcoming projects in Australia, defines architecture as “an act of producing a thing from a place.” He participated in the 2016 Regional Architecture Conference: Evoke, where Linda Cheng, associate editor of ArchitectureAu, discussed his approach to integrating local and regional characteristics into his international designs. Kuma expresses a strong preference for the term "regions" over "regionalism," which he believes can lead to misunderstandings about the inherent value of a place. He emphasizes that each region offers unique insights that are crucial for architectural design, viewing the region as "the mother of architectural design." He contrasts this perspective with the 20th-century internationalism, which was largely driven by industrialization and standardization. For Kuma, the 21st century demands a focus on individual regions and communities as the foundation for creative architectural endeavors. The interview delves into how Kuma maintains a sense of regional identity within international urban contexts and in a globalized practice. He argues that globalism does not diminish regionalism but can, in fact, enhance its value. Kuma rejects the notion that globalism has killed regionalism, suggesting instead that the world's increasing interconnectedness can highlight the diversity and distinctiveness of various regions. His method involves extensive personal travel and direct engagement with people and communities, believing that real-life experiences and conversations are indispensable for understanding and absorbing the "spirit of the place." He regards the internet as an imperfect medium that can only hint at the value of such real experiences, making physical presence and interaction a crucial first step in his design process for every project. Kuma also reflects on the concept of cultural exchange, drawing parallels with figures like Bruno Taut and Frank Lloyd Wright, who, as foreigners in Japan, illuminated aspects of Japanese culture and history that locals might have overlooked. He applies this idea to his own international projects, citing the Sydney Opera House by Jørn Utzon as an example where an architect found an ideal location that amplified his design concepts. Kuma's own project, The Darling Exchange in Sydney, is another illustration of this principle, where the unique dynamics of the Sydney waterfront and the city's open atmosphere inspired a departure from his previous designs. The interview further explores the relationship between Kuma's writing and designing processes. He considers writing a complementary yet distinct medium from design, noting that design is primarily intuitive, while writing allows him to retrospectively articulate the meaning and thought process behind completed projects. He views writing as a necessary step for clarifying ambiguities and progressing his architectural understanding. Kuma also discusses the importance of self-criticism, recalling his critique of his early M2 building commission, which he sees as pivotal for continuous self-improvement and evolution as an architect. He champions the idea that architects, like artists such as Picasso, must constantly change and adapt to remain relevant and creative. Finally, Kuma addresses the perceived arrogance among some contemporary architects, linking it to his 2008 manifesto, *Anti-Object*, which criticized "self-centred and coercive" architecture. He advocates for architects to embrace humility, warmth, and kindness, describing these qualities as essential themes for 21st-century design. Kuma suggests that architects are sometimes misused as branding tools, leading to an inflated sense of their own value. He contends that architects should emulate craftsmen in their humility, respecting materials and understanding their limitations, which forms a fundamental basis for his own work. #KengoKuma #Architecture #Regionalism #ArchitecturalDesign #CulturalExchange #DesignPhilosophy #SydneyArchitecture #ArchitecturalTheory #Interview

Indonesia's contemporary architecture is a rich blend of historical influences, including Dutch colonial, Hindu, Buddhist, and Islamic traditions, alongside its deeply rooted vernacular building practices and modern design trends. These diverse sources have been skillfully adapted to suit the country's tropical climate and abundant natural landscape. Over the past several decades, Indonesia has emerged as a hub for impressive developments in tropical modernist architecture. This style frequently incorporates local materials such as stone, concrete, and wood, reinterpreting traditional building forms and planning principles through a modern lens. The country has also been a fertile ground for sustainable architectural experiments, particularly in bamboo and mud construction. Notable examples include the Arc by IBUKU at Green School, Bali, and Realrich Architecture Workshop’s Piyandeling project. These structures, characterized by spectacular, intricate shell-forms and large-scale cascading vaults, are setting new benchmarks for low-tech sustainable architecture. Such approaches are crucial in addressing global architectural challenges, particularly those related to climate change. This article showcases seven groundbreaking projects from Indonesia, spanning various architectural typologies, to illustrate the multifaceted identity of its contemporary architecture. The YD House by Isso Architects in Jakarta exemplifies meticulous attention to detail and minimal aesthetics. Built on a compact 87 sqm plot, this concrete and brick residence integrates a distinctive “half-moon” motif, creating an uncluttered, homely atmosphere for a young professional couple. The design prioritizes natural light and functionality, employing a soothing palette of cream walls and wooden accents to achieve a harmonious yet understated living space. Casa Nomada Bali, designed and owned by Erika Calle Crespo and Marco Haberberger, is a 3,000 sq ft Mediterranean-style villa near Berawa beach. Primarily used for luxury fashion and lifestyle content creation, it features two bedrooms with en-suite bathrooms, an open-plan kitchen and dining area with a mezzanine, two rooftop terraces, and a large outdoor pool. The villa’s design consistently maintains a Mediterranean aesthetic throughout, with the outdoor pool area being a particular highlight. K-Thengono Design Studio’s Rice Barn House in Bintaro, Tangarang, reinterprets the traditional _lumbung padi_ (rice barn) typology. This three-story residence, topped with a trapezoidal pyramid roof, blends traditional construction principles with contemporary materials like stone, wood, and concrete. The design emphasizes passive cooling, natural light, and local materials, offering an innovative residential solution tailored to modern lifestyles while respecting its tropical context. Dukuh Haus, or “Hamlet,” by Maximilian Eicke in Bali, serves as the furniture and product designer's personal residence and a “living research and development lab.” Developed during the pandemic, the property comprises a main house and a guest house with contrasting styles. The angular, dark-shingled main house features Eicke's bespoke furniture and fittings, while the white guesthouse presents a minimalist concrete and glass aesthetic. An austere pool pavilion draws inspiration from Javanese Joglo structures, uniting diverse forms into a cohesive and stylish ensemble of steel, teak, and marble. Birdhouses by Alexis Dornier in Ubud, Bali, are elevated structures that appear to float above the rainforest. This project, conceived by a group of friends, includes a guest house, studio, and main house, all connected by a shared pool and fluid walkways within a thoughtful landscape design. The architectural language is tropical modernist, incorporating natural tones of wood and raw concrete, while the pivoting floor plans create adaptable, multifunctional spaces. Finally, WYAH Art and Creative Space by PSA Studio in Ubud is a multifunctional artists' retreat composed of suspended, cocoon-like pods. The design respects the land's contours, incorporating trees within the space to foster a deeper connection with nature. Pipe columns support the pods, lifting them off the ground and creating additional seating areas below. The structures avoid hard edges, featuring rounded, polygon-shaped lookout decks in timber and cascaded roofs covered in _sirap_ (ironwood). Clan Living – The Founder by Ruang Nyaman, also in Ubud, aims to integrate work and vacation for digital nomads. This micro-living space utilizes Balinese architectural language and innovative bamboo construction. An existing building was renovated, and a linear pool divides the site. The communal space on the north side, spanning two levels, is characterized by a massive bamboo roof. The main accommodation unit on the other side, a three-level structure, features a grid envelope with bamboo arches and hanging nets, giving it a distinct vernacular façade. These projects collectively demonstrate the dynamic and inventive spirit of Indonesian architecture in 2022. #ContemporaryArchitecture #IndonesianArchitecture #TropicalModernism #SustainableArchitecture #BambooArchitecture #ResidentialDesign #MinimalArchitecture #BalineseArchitecture #ArchitecturalInnovation

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

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

The Singapore-based interior design firm, Prestige Global Designs, founded by Michael Ong and Jeremy Tay, has garnered international acclaim for its unconventional approach to design. Both founders bring distinct perspectives to their work, with Ong's early aesthetic sensibilities influenced by portraiture and Tay's unexpected entry into design sparked by the elaborate stage presentation of a Faye Wong concert. This diverse background has contributed to their brand's identity, which prioritizes unique and boundary-pushing designs. Ong and Tay draw inspiration from various sources. Ong admires architect Frank Gehry for his commitment to unique designs, innovative shapes, and materials, particularly highlighting Gehry's Knoll’s Cross Check Chair for its blend of form and function. Tay, on the other hand, is inspired by Godefroy de Virieu, the creative director of Petit H, a Hermès sub-brand that reassembles old or imperfect Hermès products into new forms, emphasizing sustainability and creative reuse. This philosophy translates into Tay's own practice, where he transforms items like chopstick rests into wall art or Hermès scarf rings into drawer embellishments, aligning with Gehry's belief in exploring and pushing creative envelopes. Beyond their professional inspirations, the founders share personal interests that subtly influence their design ethos. Both are food enthusiasts; Ong favors Gattopardo Ristorante di Mare for its unique setting in a shophouse and warm Sicilian hospitality, while Tay, who finds cooking therapeutic, appreciates The English House by Marco Pierre White for its colonial-inspired interior and quality food. They describe cooking as analogous to design, involving a careful balance of ingredients and concoctions. Their work attire, ranging from smart casual to formal, reflects a belief in neatness and respect for their work and clients, with Tay highlighting the subtle elegance of an Hermès Fantome jacket. Their design philosophy embraces both vintage and custom pieces, depending on the project's requirements. They aim to infuse character into their designs, often incorporating vintage items like artworks or armchairs, and are open to re-upholstering sentimental client pieces. An example of this is a vintage art deco lamp with a goose-shaped base found on 1stdibs, which they customized with a new lampshade for a showroom kitchen. In terms of personal development, Ong found guidance in Norman Vincent Peale's 'The Power of Positive Thinking' for navigating challenges and staying goal-oriented, while Tay appreciates Vince Poscente's 'The Ant and the Elephant: Leadership For the Self' for its insights into harnessing subconscious potential. Their travel experiences also offer design insights. Ong recalls the Sofitel Paris Le Faubourg, appreciating the architecture and cooler climate of Paris during winter, citing the Louvre Pyramid and Foundation Louis Vuitton as architectural highlights. Tay's preferred destination is Hilton Tokyo in Shinjuku, valuing Japan's blend of old-world charm and innovation, which provides a balance of relaxation and exploration. For them, a house becomes a home when it fulfills basic functional and aesthetic needs while also providing a sense of safety and relaxation, telling a unique story, and fostering memories. They envision the future of design to be increasingly experiential and digitally integrated, with innovations like 'smart walls' that can transform a room's scenery with a touch, offering greater flexibility and an evolving quality of life. #InteriorDesign #PrestigeGlobalDesigns #LuxuryDesign #DesignInnovation #SingaporeDesign #CreativeProcess #ExperientialDesign #FutureOfDesign

Kengo Kuma, born in 1954 in Yokohama, Japan, initially favored modern concrete homes over his traditional wooden childhood dwelling, which featured rice paper screens and tatami mats. His perspective on traditional architecture shifted after being deeply impressed by Kenzo Tange's Yoyogi National Gymnasium, designed for the 1964 Tokyo Olympics, which ignited his passion for architecture. Over time, Kuma developed a profound appreciation for his childhood home's craftsmanship, natural materials, and the unique sensory experience it offered, influencing his architectural philosophy. Kuma's current architectural approach emphasizes harmony with the environment, history, and local traditions, focusing on the use of natural and handmade materials. This philosophy is evident in his diverse projects globally, including the wooden Japan National Stadium in Tokyo and the stone-clad V&A Dundee in Scotland. He begins each project with an immersive site visit to understand its 'spirit,' feeling the breeze and smelling the soil, often spending an entire day there to grasp its essence before selecting the most suitable materials. He believes that finding the 'protagonist material' for a place is crucial for architecture. His recent works demonstrate this material-focused approach. The UCCA Clay Museum in Yixing, China, incorporates handmade ceramic tiles to celebrate the region's pottery heritage, while the CMP Inspiration museum in Taichung, Taiwan, features a green-planted roof seamlessly integrated with partially buried exhibition galleries. For the Banyan Tree Higashiyama Kyoto, Kuma drew inspiration from traditional Japanese Noh theatre, creating an outdoor stage using yellow cedar and Kyoto cypress, highlighting the ethereal beauty of local traditions. In the South of France, Kengo Kuma & Associates designed the World Heritage and Pyrénées National Park House in Gavarnie, emphasizing harmony with the stunning natural landscape through traditional materials. The building's fluid form and glazed walls offer mountain views, while its thatched roof celebrates local haymaking traditions. Kuma actively advocates for the sustainable properties of thatch, using it in innovative ways such as exterior walls in the Yusuhara Marche and an upside-down thatched roof at Greenable Hiruzen, despite the challenges of reintroducing traditional materials into contemporary construction. Kuma has designed over 70 museums worldwide, including the V&A Dundee and the Hans Christian Andersen Museum. He redefines museums not just as spaces for art, but as places for conversation with art, space, and gardens, prioritizing intimacy and a sense of belonging within urban environments. His favorite museum project is the Nezu Museum in Tokyo, which he redesigned to integrate with its gardens, preserving the spirit and lifestyle of its founder, Nezu Kaichiro. He sees the museum as a tender, intimate space with a soft atmosphere, particularly appreciating the small café where Nezu's living room once stood. Addressing challenges in contemporary architecture, Kuma notes the rising costs of projects due to global events. He believes the solution lies in a long-term vision, emphasizing that architecture should create 'treasures' for future generations. He advocates for a return to nature, natural materials, and craftsmanship, which he sees as the foundation of community and economy. Kuma aspires to be remembered as the architect who transformed concrete-centric architecture back to using natural materials, drawing inspiration from the simplicity and sensory richness of his childhood home. He also admires Geoffrey Bawa's work, finds inspiration in Japan's onsens and ryokans for design ideas, and considers the Bamboo House in China one of his favorite projects due to its contrast with the Great Wall. #KengoKuma #Architecture #NaturalMaterials #SustainableDesign #JapaneseModernism #MuseumDesign #CulturalHeritage #ThatchArchitecture #EnvironmentalHarmony

Tali Roth, a Melbourne-born interior designer, has carved out a unique niche in New York's design scene, bringing a fresh, personal touch to interiors, particularly within the city's prevalent rental market. After moving to New York in 2013 with her husband and limited funds, Roth initially faced challenges in securing a traditional design role. Leveraging her background in psychology and fashion, she found an opportunity with a start-up agency that facilitated freelance designers, allowing her to utilize social media to build her own brand. This ultimately led to the establishment of her independent design business and the launch of 'The Playhouse,' her innovative 'shoppable office.' Roth's design philosophy is significantly shaped by New York's renting culture, which contrasts with Australia's emphasis on home ownership. She believes that living in a rental for decades necessitates making it comfortable and personalized, demonstrating that extensive decoration and even reversible renovations are achievable. For instance, she transformed her own Chelsea loft by applying a faux concrete finish to the walls and adding wainscoting in a previous apartment, all with the understanding that these changes could be reversed without issue. Her approach challenges the conventional limitations of decorating rental properties, emphasizing comfort and personalization over strict adherence to original conditions. Over six years in Manhattan, Roth has refined her signature aesthetic, describing it as 'pretty but not overly feminine, clean-lined but with a warm, mid-century edge.' Her design rule dictates that every interior should incorporate a mix of vintage, custom, and affordable or retro-fitted pieces, creating a harmonious and layered look. For artwork, she often draws inspiration from Australia, featuring pieces from artists like Minnie Pwerle, Adam Pyett, Stephen Baker, and Leila Jeffreys, and introducing clients to Australian brands such as Dinosaur Designs and Contemporary Editions, as well as glass artist Amanda Dziedzic. Currently, Roth is engaged in diverse projects, including the design of a flagship coffee venue for Bluestone Lane in SoHo, the offices for AWAY luggage, a multi-residential development in Brooklyn, and numerous private apartments, including one for a high-profile couple in the entertainment industry. Her material preferences lean towards glass, wood, and marble, favoring natural states and avoiding overly stained timber. While clients seek her distinct style, Roth prioritizes integrating their personalities into the space. She avoids being prescriptive, preferring to incorporate client-provided items, such as a grandmother's vase, even if they don't align with her personal taste, believing that these sentimental pieces bring joy and contribute to the overall balance and unique character of a home. #InteriorDesign #NewYork #RentalDecorating #HomeDecor #DesignPhilosophy #TaliRoth #MidCenturyModern #AustralianDesignInfluences #PersonalizedInteriors

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 article details the design and concept behind "Another Smith" by TasteSpace, a second-generation family restaurant in Tak province, Thailand. Building on the culinary legacy of Kapor Pla Rim Moei, known for its fish maw dishes, the restaurant's design merges Thai-Chinese traditions with contemporary aesthetics. The name "Another Smith" derives from the owner's surname, Smithikorn, influencing the branding. The logo, inspired by traditional Chinese family seals, features red for good fortune and blue, symbolizing fish scales and ancestral recipes, signifying both heritage and modernity. The architectural design, a collaboration with Thor Kaichon, specialists in bamboo architecture, stands on an open plot. Bamboo, a material revered in Southeast Asian culture for its resilience and sustainability, is central to the project. An innovative blue dyeing technique applied to bamboo, alternating with natural bamboo, forms a fish-scale pattern on the facade and a striking ceiling in the cafe. This application creates a visual rhythm that integrates tradition with contemporary design principles and promotes sustainable architecture. The restaurant's layout is meticulously planned, comprising three main sections: a restaurant, a cafe, and a jewelry shop. The left wing houses an office and a private dining room, while the right wing accommodates the cafe and main dining area. The kitchen is centrally located for efficient service to all areas. This strategic planning also extends to operational hours, with the cafe opening earlier to cater to morning customers. This thoughtful arrangement ensures a smooth flow for both staff and patrons, enhancing the overall dining experience within a sustainable design framework. The design narrative weaves storytelling with practical functionality. A perforated wall behind the coffee bar prominently features the “SM” logo, and the bar counter's blue diagonal tiles subtly echo the fish-scale motif, reinforcing the cohesive design language. Material selection and spatial organization are deliberate, reflecting the restaurant's identity and connection to nature. The use of bamboo highlights sustainability and craftsmanship. Water, a symbol of life, renewal, and abundance in Thai culture, influences the extensive use of blue in the materials and branding. This choice not only honors cultural traditions but also acknowledges water's essential role in the family’s fish-based cuisine and the wider community. The ambiance is designed for relaxation, with integrated interior and exterior elements allowing diners to connect with their surroundings. The designers aimed to create a visually appealing, functional, and adaptable space that welcomes guests. "Another Smith" represents a modern evolution of a family-owned establishment, where design serves as a powerful medium for storytelling, alongside food. TasteSpace's philosophy prioritizes balancing aesthetics with practical considerations, evident in how the space facilitates interactions among owners, staff, and customers. The project integrates cultural symbolism, innovative materials, and thoughtful spatial planning to create a timeless yet contemporary dining destination that respects its heritage while looking towards the future. It demonstrates how design can honor culinary legacy and embrace modernity, creating a unique identity for the restaurant. #RestaurantDesign #ThaiArchitecture #BambooArchitecture #SustainableDesign #CulturalHeritage #ContemporaryDesign #HospitalityDesign #Craftsmanship #ArchitecturalInnovation

Yuan Architects has designed a new home, named "Lan Villa," located in Taipei's mountainous Xindian district. This 2,390-square-foot residence features a prominent central, curved wall that ascends through all three stories, mirroring the surrounding natural landscape visible through expansive glass windows on the back facade. The wooden-slatted wall begins on the ground floor, where a kitchen, dining area, and a large deck are situated, and continues its upward sweep, following the two staircases to the uppermost floor, which houses the bedrooms. The second level of the home contains the main entrance and a mezzanine. The architectural design emphasizes a connection between the interior living space and the outdoors. The curved wall serves as a dynamic element that captures and reflects the seasonal changes occurring outside, including variations in light and color from the rolling hills. This interaction creates shifting light patterns and hues within the living areas, integrating the natural environment into the home's aesthetic and experience. Yuan Architects describes this bowed wall as a representation of "the flow of life through an architectural structure," highlighting its role as both a collector of external visual elements and an interface for the interior living experience. The design successfully merges modern architectural principles with an appreciation for nature, providing residents with a continuous visual and atmospheric link to their mountainous surroundings. The choice of wood for the wall's cladding further enhances this connection, adding a natural and warm texture to the contemporary structure. The home's layout, with different functional areas spread across the three levels, is unified by this central architectural feature, creating a cohesive and visually striking interior. The project exemplifies how thoughtful design can integrate a building with its specific geographical and environmental context, offering a unique living experience that responds to its location in Taipei's Xindian district. The focus on a singular, dominant architectural element, the curved wall, defines the home's character and its relationship with the outside world. #YuanArchitects #LanVilla #TaipeiArchitecture #CurvedWallDesign #ModernHomeDesign #ArchitecturalInnovation #WoodArchitecture #InteriorDesign #MountainViewHome

The Fish Tail Tea Room, a 70 m² structure completed in 2024, is an integral component of the Intaaya Retreat, a project conceptualized and executed by Pablo Luna Studio. Situated on the rugged cliffs of Nusa Penida, Bali, the tea room's design is a direct architectural response to its surrounding environment, with a strong emphasis on sustainability. The construction process was meticulously adapted to the natural terrain, and a core principle guiding the design was the exclusive use of locally sourced materials to minimize environmental impact. This approach ensures that the structure harmonizes with the landscape while adhering to eco-conscious practices. Key design decisions for the Fish Tail Tea Room were driven by a commitment to blending architecture with nature. The studio focused on creating a building that not only respects but also enhances its natural setting. The selection of materials was particularly important, favoring those readily available in the local area to reduce transportation footprints and support the regional economy. This commitment to local sourcing extends to all aspects of the building's material palette, contributing to its sustainable profile. The project highlights a successful integration of modern architectural design with a deep respect for environmental preservation and cultural context. The Intaaya Retreat, of which the tea room is a part, represents a broader vision of sustainable development and architectural sensitivity. The design team, led by Pablo Luna and including Fillologus Iryono, Adhi Guna Dharma, Raditya Manggala Hutama, Krisnantara Putra, and Muhammad Yusron Saputra, collaborated with Imaaya Creatives for interior design, further ensuring a cohesive aesthetic and functional outcome. The tea room functions as a space for wellbeing and relaxation, reflecting its category as a project focused on sustainability and health. Its location in Indonesia, specifically Bali, provides a rich cultural and natural backdrop that the design endeavors to complement rather than overpower. The studio's work demonstrates how contemporary architecture can be both innovative and environmentally responsible, setting a precedent for future developments in sensitive ecological areas. #WellbeingArchitecture #Sustainability #LocalMaterials #NusaPenida #Bali #PabloLunaStudio #TeaRoomDesign #EnvironmentalImpact #ArchitecturalDesign

This article explores ten extraordinary homes in Malaysia, showcasing innovative interior design and architectural concepts. It highlights various residences that blend luxury, elegance, and functionality, drawing inspiration from natural surroundings and traditional aesthetics while incorporating modern elements. The homes featured range from serene oases to structures that challenge conventional design, each offering unique features and an immersive living experience. The R House, designed by Dr. Ar Ken Yeang, integrates indoor and outdoor spaces with an open courtyard, a prominent tree, and a surrounding pool. Its design emphasizes privacy, entertainment, and a strong connection to nature through elements like a fish pond and pockets of greenery throughout the corridors. The Garden House, a creation by Inchscape, is a minimalist linear accommodation nestled in a tropical jungle. Measuring just 3.6 meters wide, it features a semi-walled garden, steel ponds, and waterfalls that create soothing sounds. This eco-friendly home seamlessly blends with nature while offering a cozy and enchanting interior. The Kami House by Paperspace exemplifies modern farmhouse elegance with a gable roof and sweeping lines. Its unconventional land size allows for a central side courtyard, a large garden that cocoons a home office, an open floor plan with a reoriented staircase, and a skylight for natural lighting. A private garden at the rear enhances the kitchen area. The Cave House, by Fabian Tan Architect, features a striking semisphere concrete structure that stands out with its industrial elegance and dramatic form. It prioritizes natural ventilation and light, with a hierarchical arrangement of spaces and smooth concrete curves that create an organic presence and offer varied views. The Grand Javanese House, designed by Farah Michelle R. Kimball and Andre Osman, fuses traditional Javanese aesthetics with modern design. Key features include teak wood furniture, stonework, a freestanding riverstone bathtub, and a gravity-defying structure that appears to float above the landscape, offering lake views from a tower and lavish marble details. The Floating Mansion, by 29 Design Consultancy, is a three-story residence built on a steep slope, offering panoramic views of forested hills and sunsets. Its design focuses on blurring indoor and outdoor boundaries, ensuring fluent cool breezes and providing views of both the cityscape and nature, with an exterior adorned with stone and solid wood. The Window House, a Formzero design, challenges traditional architecture with its irregular shapes and a perforated concrete outer layer for thermal and privacy control. It incorporates a multi-level landscape that blurs indoor and outdoor perceptions and features a telescoping concrete shell that frames forest views. The interior boasts lavish marble details and state-of-the-art finishes. The Lee Mansion, by S/LAB 10, is characterized by its sophistication and grandeur, evident in its lavish marble details and state-of-the-art finishes throughout. It features a culinary kitchen with a marble island, bedrooms designed as tranquil sanctuaries, spa-like bathrooms with marble walls, rain showers, and jacuzzis, and an unblocked view of a private lap pool. The Floating Treehouse, also by Inchscape, is a three-story residence on a steep slope, providing dramatic panoramic views of the forested hill and sunset. It emphasizes integrating indoors and outdoors, utilizing strategic orientation to capture cool breezes and offer residents close proximity to nature. Finally, The Ledang Escape, a palatial estate by S/LAB 10, exudes architectural magnificence with an exterior of pristine stone and solid wood pillars. It welcomes guests with a wide pivot door, reveals a semi-indoor courtyard, and features a stunning swimming pool overlooking a green landscape. Its unique facade provides a prismatic glow and acts as a sun-shading device, enhancing the estate's ambiance and efficiency. #InteriorDesign #Architecture #MalaysiaHomes #LuxuryLiving #SustainableDesign #ModernFarmhouse #TropicalHomes #InnovativeArchitecture #ArchitecturalMarvels

The author explores the concept of "Design with a capital D," a term coined by T magazine editor Pilar Viladas, which refers to high-end, statement-making interiors. While admiring such designs, the author questions the necessity of always making a bold statement in a room, noting that rooms can become "rudderless" if too safe. The author's personal approach is to seek an "anchor" rather than a "statement" in design. The author discusses the pitfalls of the "statement wall," suggesting it can lead to a sense of completion prematurely. An experience is recounted where a client had invested heavily in De Gournay wallpaper for a dining room, leaving the rest of the apartment undone. The author's solution was to elevate the surrounding decor to match the grandeur of the wallpaper, emphasizing that complete overhaul isn't always necessary to transform a space. The author also touches on situations where decor becomes too tasteful, requiring a "punch" to disrupt the complacency. A personal anecdote illustrates this: while designing her own sitting room with elegant, understated elements, she introduced a zebra linen fabric to add an unexpected jolt. The author reflects on the influence of style icons like Lee Radziwill, whose tiger silk velvet sofa served as an inspiration, but also cautions against "statement seating" becoming a design cliché. The author advocates for introducing bold elements later in the decorating process, after a sense of balance has been established, to prevent them from dominating the entire space. Balance is highlighted as crucial, comparing it to cooking, and a trick for achieving harmony between rooms with strong patterns involves using a complementary color from the wallpaper in the adjacent room. The author admits to a lack of restraint in her own decorating preferences, contrasting it with the admired minimalist approach of interior designer Joanna Plant, who expertly curates a few perfect items. This personal struggle stems from a desire to possess many beloved items. Ultimately, the author emphasizes that rooms are not meant to be static but should evolve, bringing life to otherwise inoffensive interiors. The author dismisses the worry of rooms becoming boring, stating that their primary purpose is to serve as a backdrop for living, not to constantly entertain. The underlying message is to have fun with decorating, allowing for playful elements without overthinking cleverness, as seen in the September 2025 issue of Elle Decor. #InteriorDesign #Maximalism #DecoratingTips #HomeDecor #DesignPhilosophy #RitaKonig #StatementDecor #RoomBalance

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

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

The Dhsac Residence, located in South Jakarta and designed by Bitte Design Studio, showcases a fusion of midcentury modernism with traditional tropical architectural elements. This private house is characterized by its two primary elements, arranged at a 90-degree angle: a brick box on the ground floor and a louvered and slatted first floor, all unified under a shallow pitched roof. The design prioritizes material texture, evident in the patterned brickwork and the rhythmic use of slatted timber panels. Large openings on the ground floor connect the interior to the garden, while the oversailing roof provides protection from tropical rains. The entrance features a tall door beneath the overhanging first floor, with a double carport forming a cavernous space within the brick structure. This area acts as the 'front of house,' containing service areas, a powder room, and a study. A pathway, bordered by a linear pond, leads into the main living space. These primary living areas boast higher ceilings and a lighter material palette, encompassing an open-plan kitchen, dining area, and sitting room. A large glass sliding door allows these spaces to open completely onto a full-length terrace that overlooks the garden. The main bedroom suite is also located on the ground floor, offering a generous space with a dressing area and a private terrace. The en-suite bathroom, concealed behind sliding doors, features a long stone sink and another sliding door that opens to a private plunge pool within a lush courtyard. An open-tread main staircase, illuminated by a large skylight, connects the two levels. Beneath the staircase, a reflecting pool creates dynamic, rippling light patterns that dance across the white walls. The upper floor includes a galleried landing that overlooks the double-height living room, providing a dedicated study area with garden views. This level also houses two en-suite bedrooms and a spacious roof terrace. The glass-walled bedrooms on the first floor are enveloped by a facade of vertical louvres, offering privacy and solar control. The interior design incorporates simple geometric patterns alongside a rich array of natural materials. Ceilings are adorned with thin strips of wood, and two walls of the double-height sitting area are lined with square bookshelves. These modular elements extend to the floor above, functioning as shading devices for the balcony and contributing to effective air circulation. The broad roof further shields the interiors from direct sunlight. Fittings and fixtures within the residence include iconic midcentury modern pieces such as Eames loungers, Marcel Breuer dining chairs, Louis Poulsen lamps, Arne Jacobsen stools, and an Isamu Noguchi coffee table. Additionally, lighting and accessories from Bitte Design Studio's own collections are seamlessly integrated into the scheme. Bitte Design Studio, founded in 2012 by Chrisye Octaviani, Agatha Carolina, and Seno Widyantoro, is an award-winning firm specializing in hospitality design, often providing comprehensive architectural, furniture, and interior design solutions. The Dhsac Residence exemplifies a refined approach to midcentury design, utilizing light, screening techniques, and thoughtful planting to create a series of intimate and sophisticated spaces. #tropicalArchitecture #midcenturyModernism #SouthJakarta #BitteDesignStudio #residentialDesign #materiality #sustainableDesign #interiorDesign #architecturalInnovation

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion