alber+grandits' conceptual housing for T.U. vienna school of architecture

BaseCamp, founded by Armon Bar-Tur, emerged as a solution to the scarcity of well-designed student accommodation throughout Europe. Bar-Tur's vision was to combine the community-centric living popular in America with European design sensibilities, emphasizing interior design and comprehensive amenities. The first BaseCamp facility opened in 2016 in Copenhagen, occupying a historic building that once housed the Danish Royal Guards. Due to the building's historical significance, structural modifications were minimal. In contrast, the latest BaseCamp location in Leipzig, Germany, near the University of Leipzig, offered the opportunity for new construction. For this project, BaseCamp collaborated with Berlin-based industrial designers Studio Aisslinger to create the interiors. Studio Aisslinger's design for the Leipzig location features multi-functional and streamlined living spaces, ingeniously integrating built-in storage solutions. The aesthetic is contemporary, incorporating vibrant splashes of color in specific areas while maintaining an overall minimalist approach. This design strategy aims to foster both serene and comfortable private spaces, alongside encouraging community interaction. Studio Aisslinger characterized their work as "a deep dive into colour-blocking and graphic abstracts," where a modern interpretation of Optical Art engages with solid-colored furniture, creating a dynamic environment. The Leipzig BaseCamp offers 385 rooms, varying in size from 19 sq m at €495 per month to 27 sq m at €595 per month. These rental prices are competitive with typical room or studio rentals in the city. Some rooms are equipped with kitchenettes, and a selection of rooms offers enhanced accessibility to cater to diverse needs. Historically, student housing in Europe has often been an afterthought, with existing buildings repurposed for university use without adequate consideration for student requirements and preferences. BaseCamp seeks to redefine this by purposefully designing spaces with students' needs at the forefront, encompassing both functional facilities and appealing aesthetics. This initiative places BaseCamp among other forward-thinking student housing projects in Europe, such as Urban Rigger's partnership with Bjarke Ingels Group in Copenhagen. Beyond Leipzig, BaseCamp currently operates facilities in Copenhagen, Potsdam, and Lodz. With rising rental costs across Europe, the availability of quality student housing is increasingly critical. BaseCamp addresses this challenge by providing accommodation that not only offers high-quality amenities but also integrates clean and thoughtful design aesthetics, demonstrating a successful model for student living. #StudentHousing #InteriorDesign #EuropeanArchitecture #StudioAisslinger #CommunityLiving #MinimalistDesign #AffordableHousing #LeipzigDesign #UrbanDevelopment

The article discusses the Auerbach House, one of only six private residences designed by Walter Gropius before he left Germany in the mid-1930s. This villa, commissioned in 1924 by physics professor Felix Auerbach and his wife Anna Silbergleit in Jena, reflects Gropius's modular system, which he termed “Baukasten im Grossen” (Big Construction Kit). The house is characterized by a two-story volume for main living areas interlocking with a taller structure housing service functions, creating an asymmetrical architectural composition. The design showcases Gropius's innovative approach to spatial organization and form, embodying the principles he developed at the Bauhaus. A significant aspect of the Auerbach House is its innovative use of color. Alfred Arndt, a Bauhaus student who had just completed his journeyman’s exam in wall painting, was responsible for designing the villa's interior color palette. Arndt implemented color constructively, extending hues across entire room surfaces rather than restricting them to individual walls or ceilings. This technique created an immersive experience of transitions and contrasts, challenging the common misconception that Bauhaus interiors were exclusively monochromatic in shades of gray and white. Arndt's original scheme comprised 37 pastel colors, which were subsequently obscured over time due to various renovations and changes. The villa underwent a meticulous restoration after being acquired in 1994 by Barbara Happe and Martin Fischer, an academic couple dedicated to design preservation. Their commitment led to the reinstatement of the house’s original vibrant color scheme. The restoration was made possible by the survival of Arndt’s detailed plans, which provided precise documentation of the initial color choices and applications. Happe and Fischer documented their restoration project in a 2003 book, "The Auerbach House by Walter Gropius with Adolf Meyer," which has since been updated and reissued. Their work not only brought the house back to its original splendor but also provided a tangible refutation of the idea that Bauhaus design was devoid of color. The owners' personal preference to not live in "white-painted rooms anymore" underscores the importance of the color restoration. The article also features several illustrations that provide a visual tour of the restored interior and exterior. These include a photograph of new linoleum replicating the original flooring, an image of Walter Gropius himself, a view of a Rikizo Fukao painting and a Le Corbusier chair in the house, a Louis Poulsen pendant fixture in the dining room, a red staircase highlighting Arndt's color scheme, and an exterior shot of the interlocking volumes. These images collectively demonstrate the architectural vision and the colorful interior design that defined Gropius’s work and the Bauhaus aesthetic during that period, as meticulously revived by Happe and Fischer. #WalterGropius #Bauhaus #GermanArchitecture #JenaGermany #ArchitecturalRestoration #InteriorDesign #AlfredArndt #ModernArchitecture

This article highlights seven distinctive apartment buildings across the United States, showcasing how luxury and affordable housing developments are moving away from standardized designs to embrace unique character, eco-consciousness, and a wealth of amenities. Each featured building, from East Coast to West, Florida to New York, demonstrates innovative architectural and interior design strategies. In Tampa, Florida, the Asher residential complex, designed by Morris Adjmi Architects, stands out for its massive scale and LEED Gold certification. The 22-story building offers 490 rental and extended-stay units, conceived with price-conscious tenants in mind, starting at 380 square feet. Despite the compact size, the interiors feature high-quality materials such as American oak, terrazzo, brass, and Venetian plaster, complemented by art from contemporary artists like Windy Chien, William LaChance, and Thomas Trum. An impressive amenity deck includes a 74-foot pool, underscoring a commitment to luxury even in smaller units. The Astor in New York, a historic Upper West Side property dating back to 1901, was revitalized by Pembrooke & Ives and Ash Staging. The renovation transformed 25 residences into luxurious condominiums, ranging from studios to five-bedrooms, while preserving original features like the entry's heavily veined marble. The redesigned units boast contemporary kitchens, oversized main bathrooms, and marble fireplace mantels, with model units and the lobby curated with furniture and artwork by Ash Staging, blending historical charm with modern sophistication. In Alameda, California, the Launch residential mid-rise, designed by Vida Design, incorporates maritime architectural influences, reflecting the city's island setting and naval air station history. The 13,000 square feet of amenity and public spaces, including a distinctive noir mailroom, feature a color palette inspired by the sea, utilizing Benjamin Moore & Co.’s Polo Blue and Space Black. Furnishings, such as custom nautical-hued sofas and Blu Dot loveseats, are chosen for their aerodynamic and shipshape qualities, creating a cohesive thematic environment. The Suffolk, a 30-story building in New York's Lower East Side designed by JG Neukomm Architecture, reflects the area's diverse cultural tapestry through its common areas and unit finishes. The lobby, inspired by historic Guastavino vaults, features artisanal plaster, terrazzo floors, and custom 9-foot pendants. Amenity lounges offer a continental feel with Calacatta Viola risers and Patricia Urquiola seating, while coworking spaces adopt a punk aesthetic with black-and-white photography and Area Environments wallcoverings, showcasing a rich blend of materials and moods. South E8 in Raleigh, North Carolina, by Lorcan O’Herlihy Architects, addresses the city's rapid growth by adding eight rental residences to a previously single-unit lot. The three-story building is characterized by its dramatic, environmentally conscious design, featuring an angular facade that transitions from white-painted brick to black standing-seam steel paneling. Interiors prioritize passive design strategies, including cross ventilation, energy- and water-efficient fixtures, ample daylighting, and outdoor access, promoting both sustainability and tenant well-being. The Wellsmith Apartments in Richmond, Virginia, designed by Hickok Cole, focus on enriching tenants' lives and promoting well-being. This 349-unit new-build rental property features a graphic white-brick and black-aluminum exterior. Inside, a large botanical mural by local painter Naomi McCavitt, along with other stress-relieving art, enhances the aesthetic. Elevated finishes such as quartz, chrome, porcelain tile, and polished concrete are used throughout, while airy communal spaces connect to pools, courtyards, and green areas, offering a front-porch experience with urban benefits. The Allan & Geraldine Rosenberg Residences in Freeport, Long Island, Studio Libeskind’s first affordable-housing project, is specifically designed for seniors. All 45 units include accessible ceramic-tiled bathrooms. Common areas are dynamic and accessible, featuring a rooftop walking track with precast-concrete pavers and an internal courtyard. Brightly colored doorways within the courtyard aid resident orientation, all enclosed by a StoTherm ci Mineral facade punctuated with geometric apertures, ensuring both functionality and aesthetic appeal. #ApartmentDesign #ResidentialArchitecture #InteriorDesign #SustainableDesign #LuxuryApartments #AffordableHousing #UrbanDevelopment #ArchitecturalInnovation #AmenitySpaces

The architectural studio 2XJ designed a two-story family apartment in the old town of Vilnius, Lithuania, named "Greetings From Rome." This 140-square-meter apartment is located in the city's Užupis neighborhood, occupying the second and third-floor attic space of a three-story building. The central design challenge and inspiration for the project was an existing structural stone wall that traversed the entire length of the apartment. This wall, initially perceived as a complication due to its immovability and "complex" layout, featured three arches on the ground floor, which serendipitously reminded the architects of the Colosseum in Rome. This humorous association ultimately gave the apartment its distinctive, playful name. Since the structural stone wall was integral to the building and could not be removed, 2XJ embraced it as a central feature of the design. They decided to clad it in Italian travertine slabs, a material choice directly inspired by the actual Colosseum. This decision was pivotal in transforming a structural constraint into an aesthetic and functional cornerstone of the apartment. The architects aimed to enhance the historical "old town" feeling within the interior using modern design approaches, and the arch motif, combined with the stone wall, perfectly served this objective. The wall became the primary axis of the project, dictating the spatial organization and separating the home into distinct active and restful areas. The wall functions practically by dividing the lower floor into social and private zones. One side features a main living area that integrates an open-plan kitchen, living, and dining space. The other side houses two children's bedrooms and their corresponding bathrooms. The main living space also provides access to a compact home office, designed with sliding doors for privacy, and a large terrace offering views of Vilnius's baroque churches. A hallway positioned between the children's bedrooms and the travertine wall incorporates built-in storage solutions, maximizing functionality within the design. The apartment's upper level is dedicated to the primary bedroom, a small bathroom, and a landing area that doubles as a library, accommodating the owners' extensive book collection. The material palette chosen for the apartment complements the travertine wall, featuring a neutral selection of white and natural wood throughout. This harmonious selection creates a cohesive and serene atmosphere. The staircase connecting the two floors is a notable design element, divided into two distinct sections. The base features a "monumental" wooden section, which establishes a visual link with other wooden elements such as the dining table and a console. The upper portion of the staircase is constructed from white-colored steel, designed to evoke a sense of lightness and optimize space, further reinforcing its connection to the central stone wall. The arch motif, a recurring theme derived from the structural wall, is subtly echoed in various smaller design details, including custom door handles, the dining table, and other curved furniture pieces. The project demonstrates a thoughtful approach to interior design, where an inherent structural element is ingeniously transformed into a defining characteristic. By integrating the old with the new and using a consistent material and thematic language, 2XJ successfully created a modern and functional living space that respects its historical context while delivering on its practical requirements. This renovation contributes to a broader trend seen in Vilnius, where other studios have also reinterpreted and modernized existing historical elements in 19th-century apartments, such as ŠA Atelier’s use of partitions and Kristina Lastauskaitė-Pundė’s emphasis on arched doorways. #ApartmentInteriorDesign #VilniusArchitecture #TravertineCladding #StructuralWallIntegration #ModernRenovation #ResidentialDesign #LithuanianArchitecture #ArchedMotif #SpacePlanning

The Behavioral Sciences Building at the University of Illinois at Chicago (UIC) is an architectural anomaly that evokes comparisons to an M.C. Escher drawing due to its unconventional design, featuring octagonal stairwells, windowless classrooms, and seemingly illogical hallways. This structure is a remnant of the university's ambitious endeavor to establish an ultra-modern urban campus, conceptualized by architect Walter Netsch. Netsch's unique aesthetic, known as "Field Theory," diverged from the prevailing rectilinear architectural forms of his era, embracing instead a highly conceptual approach. He described his theory as being akin to the repeated, organic shapes found in a field of flowers, which is visually echoed in the building's blueprints and aerial views, showcasing a dense array of simple octagons and complex eight-pointed stars. Netsch, a trailblazing architect, first gained prominence in the mid-1950s with his avant-garde design for the U.S. Air Force Academy in Colorado. In the early 1960s, he was commissioned to design the UIC campus, intending to create an environment distinctly separate from the surrounding urban landscape. His vision included a network of buildings interconnected by elevated walkways, with the Forum, a large amphitheater, serving as a central feature. Field Theory was applied to three UIC buildings: Art and Architecture, Behavioral Sciences, and Science and Engineering South. However, only the Behavioral Sciences Building fully realized the intricate and challenging aspects of Netsch's theoretical framework, with the other two buildings featuring a more constrained application of his design principles. Despite Netsch's radical architectural intent to foster a complex, maze-like experience, the building’s design has presented challenges for its occupants, with former students like Evette Ocasio describing it as "confusing and inaccessible." Over time, UIC has implemented interior signage to aid navigation. Significant external modifications have also occurred since the building's construction. In the 1990s, the campus underwent renovations aimed at fostering a greener, less urban aesthetic. This initiative, much to Netsch's dissatisfaction, involved the removal of the second-story walkways and the introduction of extensive landscaping, including lawns, shrubs, and trees. These renovations left the Behavioral Sciences Building with peculiar features, such as a concrete plaza protruding from the structure and external walkways that now appear purposeless, no longer connecting to the once-unified second-story system. Remnants of Netsch's original vision for an elevated outdoor realm can still be observed in the form of concrete pyramidal benches, or excedra, which were designed as informal meeting spots for academic groups. These elements stand as a testament to Netsch's pioneering, albeit sometimes perplexing, architectural philosophy and the subsequent evolution of the UIC campus. #UICBehavioralSciencesBuilding #WalterNetsch #FieldTheory #ModernArchitecture #UrbanCampusDesign #ArchitecturalHistory #CampusRenovation #ChicagoArchitecture

The Bauhaus was an influential art school founded in 1919 in Weimar, Germany, by architect Walter Gropius. Its core mission was to unify all arts, reimagining the material world to reflect this synthesis. Gropius articulated this vision in the Proclamation of the Bauhaus, proposing a utopian craft guild that integrated architecture, sculpture, and painting into a singular creative expression. The curriculum was designed to produce artisans and designers capable of crafting functional and aesthetically pleasing objects for a new way of living, blending fine arts and design education. Students from various social and educational backgrounds began with a preliminary course focusing on materials, color theory, and formal relationships. This foundational training, often led by artists like Paul Klee, Vasily Kandinsky, and Josef Albers, prepared them for specialized workshops including metalworking, cabinetmaking, weaving, pottery, typography, and wall painting. Initially emphasizing the unification of arts through craft, Gropius later adjusted the school's focus in 1923 due to financial impracticalities, shifting towards designing for mass production under the new slogan "Art into Industry." In 1925, the Bauhaus relocated to Dessau, where Gropius designed a new building embodying modernist architectural principles. Features such as steel-frame construction, a glass curtain wall, and an asymmetrical pinwheel plan optimized for efficiency and spatial logic became hallmarks of the movement. The cabinetmaking workshop, directed by Marcel Breuer from 1924 to 1928, revolutionized furniture design by reducing forms to their minimal existence. Inspired by bicycle tubing, Breuer pioneered lightweight, mass-producible metal furniture, with some pieces used in the Dessau building's theater. The textile workshop, under Gunta Stölzl, created abstract textiles for Bauhaus interiors. Students explored color theory, design, and weaving techniques, experimenting with unconventional materials like cellophane, fiberglass, and metal. The commercially successful fabrics generated vital funds for the school and provided vibrant, abstract visual interest to Bauhaus buildings. Notably, while women primarily comprised this studio, they were often discouraged from other areas. Prominent textile artist Anni Albers was among its notable graduates. Metalworking was another highly successful workshop, alongside cabinetmaking, in developing design prototypes for mass production. Designers like Marianne Brandt, Wilhelm Wagenfeld, and Christian Dell created modern lighting fixtures and tableware. Brandt, the first woman in the metalworking studio and later its director, produced iconic Bauhaus designs such as her sculptural silver and ebony teapot, which, despite not being mass-produced, exemplified the school's emphasis on industrial forms, functionality, and ease of use. The typography workshop, initially a lower priority, gained prominence under László Moholy-Nagy and Herbert Bayer. It treated typography as both empirical communication and artistic expression, prioritizing visual clarity. This led to a stronger connection between typography, corporate identity, and advertising, with Bauhaus promotional materials featuring sans serif typefaces and integrated photography, establishing them as symbols of the avant-garde institution. Leadership changes occurred with Hannes Meyer succeeding Gropius in 1928, emphasizing mass-producible design, social function, and the public good over private luxury. Under Meyer, advertising and photography continued to grow in importance. Political pressure led to Meyer's resignation in 1930, and Ludwig Mies van der Rohe took over, reconfiguring the curriculum with an increased focus on architecture. Lilly Reich directed the new interior design department, while other departments included weaving, photography, fine arts, and building. Due to Germany's escalating political instability and the Bauhaus's precarious financial state, Mies relocated the school to Berlin in 1930, operating on a reduced scale, and ultimately closed it in 1933. During World War II, many key Bauhaus figures emigrated to the United States, profoundly influencing generations of architects and designers through their work and teaching. Breuer and Gropius taught at Harvard, Josef and Anni Albers at Black Mountain College and Yale, Moholy-Nagy established the New Bauhaus in Chicago, and Mies van der Rohe designed and taught at the Illinois Institute of Technology, spreading the Bauhaus legacy globally. #Bauhaus #WalterGropius #ModernDesign #ArchitecturalHistory #GermanArt #DesignEducation #Craftsmanship #MassProduction #TextileDesign

The author, Hanya Yanagihara, reflects on the concept of 'home,' noting that her transient upbringing across nine cities and 20 residences prevented her from associating the idea with a single physical space. Instead, her sense of rootedness is derived from an accumulation of specific details, rooms, furniture, and light from the various places she inhabited. This personal reflection introduces a broader exploration of diverse relationships with the notion of home, as presented in T Magazine's Design Issue. The article highlights several distinct examples of family residences, each offering a unique perspective on what constitutes a home. One featured residence is a mountain compound in Brazil, meticulously constructed by furniture designer Etel Carmona and her grown children. This compound is designed to accommodate three generations, balancing communal living with the need for individual privacy for each family member. This arrangement demonstrates a contemporary approach to multi-generational living, where shared spaces coexist with distinct personal areas. Another case study involves an English art dealer in Italy who decides to rededicate himself to Venice, a city with which he has a complex relationship. His new apartment, situated in a 17th-century palazzo, surprisingly turns out to be a place he was familiar with during his teenage years. This narrative explores the serendipitous return to a place that held previous personal significance, illustrating how history and personal memory can intertwine with one's definition of home. The story suggests that familiarity and a sense of connection can transcend the novelty of a new dwelling, transforming it into a deeply personal space. The cover story of the Design Issue focuses on the three residences created by the Swedish painter Carl Larsson and his wife, Karin, located north of Stockholm. Their first house, Lilla Hyttnäs, has been maintained by their descendants since the 1940s, with parts accessible to visitors and others remaining private. This home, more than a century after the Larssons' passing, continues to preserve their artistic legacy, furniture, and overall spirit, while also adapting to the improvisations and additions introduced by subsequent generations. This longevity and evolving nature of the Larsson home exemplify a living history, where a residence becomes a vessel for enduring family heritage and creative expression. The Larssons' original vision for their home was revolutionary for its time, rejecting the perceived monotony of bourgeois design characterized by dark furniture and neo-Renaissance styles. Instead, they championed folk art, craftsmanship, vibrant colors, and a sense of coziness. Their intention was to create an environment that felt inherently like a 'home,' rather than merely a 'house.' This distinction underscores the emotional and experiential qualities that define a true home, emphasizing comfort, personal expression, and a departure from conventional, often sterile, architectural norms. The article concludes by reinforcing the idea that a home is not just a structure but a dynamic entity shaped by personal histories, family connections, and artistic values. #HomeDesign #FamilyResidences #InteriorDesign #ArchitecturalStyle #BrazilianDesign #VenetianApartment #SwedishArt #MultiGenerationalLiving

Anastasia Mirzoyan, founder of Kyiv design firm Anastasia Mirzoyan Bureau, addresses the modern need for individualized housing that meets residents' contemporary lifestyles. Her recent project involves a 650-square-foot apartment within a house built in 1874 in Kyiv's historic district, designed for a client who identifies as a 'citizen of the world' and appreciates both the Bauhaus aesthetic and Kyiv's vibrant art scene. The client sought a flexible home base that could accommodate a minimalist lifestyle, described as one that 'should fit into a backpack.' Mirzoyan's design strategy involves a primary bisection of the apartment into distinct public and private zones. Further division within these zones is achieved through strategic furnishing and custom installations. For instance, open shelving units are custom-designed to separate the sleeping area from the social spaces, optimizing the apartment's compact footprint. A significant feature is a monumental green marble island that serves multiple functions: it discretely separates the kitchen from the bathing area and cleverly conceals all necessary appliances, contributing to a streamlined and uncluttered aesthetic. In homage to the apartment's historical context, Mirzoyan intentionally left certain enclosing structures exposed to showcase the original brickwork. This decision integrates the apartment's past with its modern design, creating a dialogue between old and new. The central element of the home is a custom wood table, positioned in the apartment's core. This versatile piece functions as a hub for various activities, including socializing, working, and dining, embodying a modern approach to multi-functional living spaces. Throughout the apartment, the design incorporates a blend of vintage and contemporary furniture and lighting. A vintage sofa is illuminated by a Muuto floor lamp, while a custom bed by Woodwerk is complemented by a Hay lamp on a Muuto table. The dining area features an &tradition; pendant light hanging above the custom table, which is paired with chairs by Enea. Artistic elements are also present, with a painting by Masha Reva adorning the dining area wall, near a rug by Massimo Copenhagen. The kitchen cabinetry is custom-made by UA Makers, reinforcing the bespoke nature of the design. The use of distinctive materials further enhances the aesthetic. The green marble island, sourced from Guatemala, acts as a focal point, providing both visual interest and practical utility. Graphic floor tiles by Topcer are used in certain areas, adding a modern touch, while green tiling by Detiles Mosaic Tiles define the powder room, maintaining a cohesive color palette and luxurious feel. The overall design successfully marries the client's desire for a Bauhaus-inspired, minimalist, and adaptable living space with the historical character of the building, creating a contemporary yet respectful renovation. #BauhausAesthetic #ApartmentDesign #KyivArchitecture #ResidentialDesign #SmallSpaceLiving #InteriorRenovation #CustomFurniture #HistoricPreservation

George J. Kacek Hall, an Illinois Tech residential building, opened in August 2020. Named after alumnus George J. Kacek (EE ’54, M.S. ’55), the hall represents a revitalization of a legacy Ludwig Mies van der Rohe building. The renovation was overseen by alumnus and College of Architecture Professor Dirk Denison. The building integrates classic modernism with contemporary living standards, primarily catering to first- and second-year students. Its design emphasizes social interaction and academic support, featuring two large lounges on each floor. The 'social lounges' are situated on the south side of the building, while the 'study lounges' are located on the north side, offering views of downtown Chicago. Kacek Hall provides a variety of living arrangements, including single-, double-, and triple-occupancy rooms, all sharing common-use bathrooms. Each residential space is furnished with a twin-size bed, a desk, a chair, a dresser, and closet space for each resident. The beds are designed to be bunkable, providing flexibility for room configuration. The facility ensures student safety and convenience with 24-hour staffing by Community Desk Assistants, requiring HawkCard tap access at the main entrance and community desk. Beyond living spaces, the hall offers comprehensive amenities designed to enhance the student experience. These include lounge areas on every floor for relaxation and community building, as well as laundry and fitness facilities conveniently located in the lower level. High-speed internet access and cable TV services are provided by Comcast, ensuring students have reliable connectivity and entertainment options. The hall's commitment to creating a well-rounded living environment is further supported by its unique architectural design. The residential floors are configured in a “pod-style” arrangement, where student rooms are organized around central study and social lounge areas. This innovative layout allows corridors and shared spaces to receive natural light and views from all four sides of the building. This design choice aims to mitigate a common drawback of traditional dormitory living—the lack of natural light—thereby creating a more inviting and comfortable atmosphere for residents. The hall's room dimensions are approximately: Single Room: 9' 8" wide X 11' 6" deep X 8' high, with a closet of 41" wide X 22" deep X 7' 1" high. Double Room: 9' 5" wide X 11' 6" deep X 8' high, with a closet of 52" wide X 22" deep X 7' 1" high. Triple Room: 9' 10" wide X 22' deep X 7' 1" high, with a closet of 18' 9" wide X 11' 7" deep X 8' high. #StudentHousing #UniversityLife #ArchitecturalRenovation #ModernistDesign #CampusAmenities #ResidentialLiving #IllinoisTech

The Savannah College of Art and Design (SCAD) offers a distinct first-year housing experience at its Hive complex, a significant departure from traditional college dormitories. Unlike the varied, traditional-style options at institutions like RISD, the majority of SCAD's first-year students are accommodated in the Hive, a modern, co-ed facility designed with a boutique hotel aesthetic rather than a typical student residence. The complex is composed of eight identical four-story buildings, each bearing a bee-themed name, such as Apiary, Bumble, and Honey. While Colony is reserved for upperclassmen and Dance for transfer students, the remaining buildings primarily house freshmen. Each suite within the Hive is designed for four students and features two double-occupancy rooms. A notable aspect of the design is the thoughtful layout that addresses common dormitory inconveniences. Specifically, the shower, toilet, and main bathroom sink are strategically placed in separate rooms, mitigating congestion and allowing multiple students to use facilities simultaneously. Additionally, a small kitchen sink adjacent to the bathroom offers an alternative for tasks like teeth brushing, further enhancing functionality. Each suite also includes a living room furnished with a couch, end tables, a coffee table, and a wall-mounted shelf suitable for a flat-screen TV. Individual residents are provided with an extra-long twin-size bed, a desk and chair, and a wardrobe with drawers, ensuring personal space and storage. Beyond the individual suites, the Hive complex boasts a comprehensive array of amenities. Every building is ADA-compliant, ensuring accessibility for all students. Common facilities include a dining hall and a coffee shop, catering to students' culinary needs. For recreation and convenience, the complex features an on-site fitness center, a swimming pool, and laundry facilities with both SCAD Card and coin-operated machines. Vending machines for drinks and snacks are also available. Recognizing the importance of connectivity and modern services, the rooms are equipped with wireless internet access and cable television service. Furthermore, given Georgia's climate, all rooms are air-conditioned, and the Hive even functions as an Amazon Locker location, adding an extra layer of convenience for package deliveries. On-site security measures are in place to ensure a safe living environment for all residents. This meticulous attention to design and a wide range of amenities positions the Hive as a residential complex that prioritizes both functionality and comfort, offering an elevated living experience for SCAD's first-year students that aligns with contemporary living standards rather than conventional dormitory expectations. #SCAD #StudentHousing #DormDesign #ModernArchitecture #InteriorDesign #CampusLife #DesignEducation #ResidentialAmenities

The increasing amount of time spent at home, largely due to remote work and restricted travel, has profoundly altered the relationship individuals have with their living spaces. This shift necessitates residences that offer greater flexibility and foster creativity. Responding to this contemporary need, K.O.T Architects undertook the design of an apartment in Tel Aviv, specifically conceptualizing it as an ideal 'home-base for the new urban lifestyle.' Kfir Galatia Azulay, the architect and interior designer at K.O.T Architects, approached the project with the vision of creating a hotel-like apartment. The design aimed to achieve a meticulous balance between public and private zones, illuminated and shaded areas, and transparent versus concealed elements. Galatia Azulay drew inspiration from a quote by poet Rupi Kaur, 'I am not a hotel room. I am home,' to infuse the apartment with a perpetual vacation-like ambiance. This aesthetic was tailored for the young bachelor owner, and the apartment is situated in the Florentine neighborhood within a modernist residential building. Initially, the apartment's layout suffered from insufficient natural light due to numerous enclosed rooms. To remedy this, the renovation involved the removal of all interior walls, allowing for a complete redesign. The newly conceived space now encompasses an open-plan living room, dining area, and kitchen, alongside a private bedroom, bathroom, and a covered terrace. This extensive demolition and reconstruction facilitated a more open and fluid spatial arrangement. The apartment's functional design begins with a compact entryway that transitions into a hallway. This hallway is equipped with custom-built, floor-to-ceiling cabinets, ingeniously integrated to provide ample storage. The utility of these cabinets adapts to the adjacent room; for instance, the closet is positioned opposite the bedroom, while the laundry area is situated across from the bathroom. This continuous cabinetry extends along the wall, seamlessly leading into the open kitchen, maximizing both storage and spatial efficiency. At the core of the apartment, a new bathroom has been installed. This central placement is notable for its use of two corrugated glass panels, which introduce a degree of transparency, allowing for visual connections from both sides. The bedroom, though inherently compact, gains a sense of spaciousness and openness through the inclusion of sliding glass doors, enhancing the overall flow and luminosity of the apartment. #apartmentDesign #TelAvivArchitecture #urbanLifestyle #modernInteriorDesign #flexibleLiving #openPlanLiving #customCabinetry #hotelInspiredHome #KOTArchitects

This Stuttgart house, built in 2000, is currently on the market for €3.5 million through Baden-Wûrttemberg Sotheby’s International Realty. The property features a distinctive architectural style that blends elements of Bauhaus, futuristic design, and Zen aesthetics, encompassing a brutalist interior that is amply illuminated by natural light. From the front, the five-bedroom villa presents a warehouse-like appearance with its windowless facade, contributing to its unique character. The interior of the house is characterized by a box-shaped gallery with soaring ceilings. A floor-to-ceiling glass wall, a prominent feature, offers expansive views of the surrounding trees and foliage, simultaneously allowing an abundance of natural light to flood the expansive internal spaces. This design choice creates a seamless connection between the indoor environment and the lush outdoor scenery, which can be enjoyed from most rooms within the property. Spanning three storeys, the home maintains a minimalist aesthetic with clean lines and a consistent material palette. The interiors are defined by buffed, bare concrete walls and grey tiled stone flooring throughout. The master bedroom and a roof terrace also adhere to this design language. The entrance hall introduces an industrial touch with gritty-looking perforated steel plate flooring, complemented by wire cord balustrades on the staircase. In contrast to the predominantly muted and raw material palette, the kitchen features a burnt-orange island, injecting a vibrant and playful pop of color into the space. The overall design emphasizes spaciousness and light, creating a serene atmosphere despite the brutalist influences. The combination of Bauhaus volumes and futuristic elements, alongside the Zen-inspired tranquility, defines this Stuttgart property as a unique architectural offering. The integration of the natural surroundings through extensive glazing enhances the living experience, providing picturesque views and contributing to the home's 'lightbox' quality. #GermanProperty #StuttgartArchitecture #LuxuryRealEstate #ModernDesign #BauhausInfluence #BrutalistInterior #ZenArchitecture #ArchitecturalVilla #OnTheMarket

The Hans & Werner Kantine, a restaurant project located on the modernist Siemensdam campus in Berlin, Germany, was completed in 2021 through a collaboration between van Baal interior design and Tomasz Budnicki. The project, spanning 480 square meters, involved transforming the ground floor of an old factory building into a vibrant dining space. The design approach focused on creating a "canvas for human interaction" rather than a self-contained space, blending the architectural heritage of the modernist campus with the contemporary character of Berlin's new office district. Yves Sucksdorff provided the photography for the project, and Forbo was a key manufacturer. The restaurant's interior emphasizes an open and flexible layout to foster various forms of social interaction among its patrons. The designers aimed to create a welcoming and dynamic environment suitable for both casual dining and more structured gatherings. The choice of materials, lighting, and furniture contributes to this atmosphere, ensuring functionality while maintaining an aesthetic connection to the building's industrial past. The 480 m² area allowed for distinct zones within the restaurant, accommodating different dining experiences and traffic flows. The design considerations extended beyond mere aesthetics to the practical aspects of a high-traffic restaurant environment. Key design elements include the strategic use of natural light, which filters through large windows, enhancing the sense of openness and connecting the interior with its surroundings. Artificial lighting is integrated to complement the natural light, ensuring a comfortable ambiance throughout the day and evening. The furniture selection features a mix of communal tables and smaller, more intimate seating arrangements, providing versatility for various group sizes and preferences. The color palette and finishes were chosen to reflect a modern yet timeless appeal, harmonizing with the existing architectural features of the factory building. The project demonstrates how an adaptive reuse approach can breathe new life into historical structures, transforming them into functional and aesthetically pleasing contemporary spaces. The collaboration between van Baal interior design and Tomasz Budnicki was central to achieving this balance, bringing together expertise in interior aesthetics and architectural principles. The Hans & Werner Kantine serves as a model for integrating new functions into old buildings while respecting and enhancing their inherent character. Its location within a prominent modernist campus further underscores its role in the evolving urban landscape of Berlin, offering a contemporary social hub within a historically significant context. The design process involved a detailed assessment of the existing factory structure, identifying opportunities to preserve its industrial charm while incorporating modern amenities and design trends. The goal was to create a space that feels both historic and current, inviting and efficient. This balance is crucial for a restaurant, which must cater to the practical needs of service and operation, as well as the experiential desires of its customers. The successful execution of the Hans & Werner Kantine highlights the potential for interior design to act as a catalyst for community and interaction within urban environments, showcasing a thoughtful interplay between past and present. #HospitalityArchitecture #RestaurantDesign #BerlinArchitecture #InteriorDesign #AdaptiveReuse #ModernistCampus #UrbanRenewal #ArchitecturalHeritage #TomaszBudnicki

Steven Tan, the president of SM Supermalls, showcases his meticulously designed home, which reflects his global experiences and creative vision. Having lived in Paris, Taipei, and Shanghai, Tan drew inspiration from a modernist Parisian aesthetic, fulfilling his lifelong fascination with French culture. His home subtly transports visitors to the Paris of his dreams, a nod to his Francophile nature. Tan, who holds an MBA from the Paris School of Management, was even recognized by the Embassy of France as an outstanding alumnus. Tan shares his multi-level home with his life partner, Dos Quong, and their two silver-grey poodles, Khloe and Kylie. The home exudes good energy, bathed in natural light and filled with music, movement, and plants. The couple describes their home as an amalgamation of cherished memories from their childhood and influences from their extensive travels. This approach is evident in the unique blend of elements throughout the space, such as the subtle, special scent that permeates the rooms. The design process for their home was a collaborative effort. Upon entering, guests are greeted by stunning grey Breccia marble floors with a subtle leather finish, a shade that serendipitously matches their poodles’ fur. The open-plan layout demonstrates a strong sense of order, with every space thoughtfully utilized. An architectural firm was engaged to bring their vision to life, and the couple worked closely with suppliers and contractors to execute the interior design. Every detail, from the selection of materials to the placement of objects, was carefully considered. The couple emphasized that communication was vital throughout the building and decorating process. They continually discussed their preferences and referred to photos and notes from their travels over the past decade to streamline their design references. They even spent a month analyzing their daily habits to ensure the home's flow aligned with their lifestyle. Dos Quong, proprietor of Florian Studio, contributed his creative insights, making the decor a truly collaborative venture. They meticulously chose each piece, ensuring mutual agreement on its placement, viewing their home as a continuously evolving, lifelong project influenced by their travels. Locally, Studio Dimensione is a preferred source for their home furnishings. Tan, recognized as one of Tatler’s Asia’s Most Stylish in 2022, applies his fashion sensibility to his home design, valuing clean lines, color plays, and luxurious fabrics. He sees fashion and living as harmonious concepts, injecting an element of the unpredictable into his interiors. The front entry features a handmade Portuguese oak console with British racing green lacquer and polished brass pulls, adorned with books and fresh flowers, and an RM de Leon artwork gifted by Hans Sy. The neutral-toned living room combines brutalist and mid-century pieces, including a custom sofa, an Arne Jacobsen Egg armchair, and a Warren Platner for Knoll, complemented by cowhide and zebra rugs from Africa and sleek Lumina Dot pendant lamps by Foster and Partners. The global influences extend to a vase from Georgia (the country, not the American state). The dining area boasts a double-height ceiling with a customizable metal and fluted glass chandelier, designed to resemble the northern lights the couple once saw. It is paired with a Bo Concept Augusta dining table and Fritz Hansen Series 7 chairs. The kitchen, from Valcucine’s Forma Mentis line, features richly paneled wood in cool browns, angel skin white cabinet doors, and honed Carrara marble counters. Cookbooks hint at their culinary passion, and a pendant light by Occhio Mito Sospeso hangs above the kitchen counter. The powder room offers a delightful surprise with Arabescato marble flooring, Ice Jade marble for the sink wall, Venetian Marmorino plaster, and an antique mirror from a Parisian flea market. Crittal-style windows ensure natural light, while Russian Oak and glass stairs lead to a lower-ground entry accented by a cobalt blue terracotta candelabra from Mexico and a vintage steel pendant lamp from Italy. The garden, designed in a New Perennialist style, incorporates endemic plants and trees against a backdrop of Turkish limestone and Ceppo Italian marble. The rooftop lanai features a Renor Marquila marble and limestone checkered floor, with Draceana plants for privacy, offering views of green fields. Tan’s home is a living, breathing environment, constantly evolving, where form and function intersect. It is a testament to his well-traveled and well-lived life, reflecting both his and Quong's style and substance. #StevenTan #TatlerHomes #HomeTour #InteriorDesign #ModernistArchitecture #GlobalInfluences #LuxuryLiving #ArtfulHome #DesignInspiration

XS Studio, an architectural firm based in Tel Aviv, Israel, has recently redesigned an 89-square-meter apartment, introducing an innovative 'loop' floor plan that significantly enhances freedom and flexibility within the living space. Traditionally, Tel Aviv apartments often feature layouts with numerous passageways and enclosed rooms, which can restrict movement and connectivity. XS Studio's renovation addresses this by creating a continuous, open flow that allows residents and guests to navigate seamlessly through the apartment. The core concept of the redesign is a circular path that links various functional areas. This means one can move from the kitchen and dining area directly into the children’s bedroom, and from there, proceed to the master bedroom before entering the living room. Conversely, the path can be taken in the opposite direction, starting from the living room, moving into the master bedroom, and then accessing the children's bedroom. This interconnected design eliminates dead ends and rigid divisions, fostering a sense of openness and adaptability within the relatively compact footprint of the apartment. The central, multi-purpose space created by this looped circulation effectively becomes the functional and social heart of the home, promoting interaction and diverse usage possibilities. The apartment’s interior design also incorporates clever space-saving and versatile elements. For instance, the kitchen features a movable island, offering flexibility in layout and utility. The living room includes a hideaway television, allowing for a cleaner aesthetic when not in use and adaptability for different activities. The children's bedroom and playroom are designed with future needs in mind, featuring elements like a crib and a pull-out bed, along with a bookshelf, demonstrating a commitment to long-term functionality and growth. These design choices collectively support the overall theme of flexibility and efficient use of every square meter. Beyond the innovative floor plan, the apartment showcases a modern aesthetic with practical details. The main bedroom incorporates a striking blue closet, adding a pop of color and providing ample storage. Wall shelves are strategically placed to maximize storage without cluttering the floor space. The bathrooms are also designed to be functional and aesthetically pleasing, with one integrating a laundry area, further optimizing the apartment’s utilities. The entrance features a welcoming and organized space, setting the tone for the entire home. This project by XS Studio illustrates how thoughtful architectural design can transform a standard urban apartment into a highly functional and adaptable living environment, even within constrained dimensions. By challenging conventional layouts and integrating versatile design elements, the firm has created a home that supports dynamic living and provides a sense of spaciousness and freedom through its continuous loop circulation. The result is a highly intuitive and flexible living space tailored to modern urban life. #InteriorDesign #ApartmentLiving #FloorPlan #SpaceEfficiency #FlexibleDesign #TelAvivArchitecture #ModernLiving #UrbanApartment

First-time homeowners Kaisha and Joey Flynn embarked on a significant renovation of their unique Bernal Heights home, a property characterized by its unusual setback and hidden nature. Initially, the couple sought to revamp only two bathrooms, a task that proved challenging in San Francisco due to architects' reluctance to undertake small-scale projects. They enlisted Ryan Leidner, an architect who had recently established his own practice. While Leidner agreed to the bathroom assignment, he was immediately struck by the property's challenging layout, which involved descending over 30 stairs to a sunken front yard and then climbing another 20-plus steps to reach the front door. During a conversation, Joey Flynn asked Leidner what changes he would make without any limitations. Leidner, who had been contemplating the property's design throughout the meeting, proposed building a bridge to address the complex entry. This suggestion transformed the project from a modest bathroom renovation into a comprehensive reimagining of the entire property. The renovation, which began before the COVID-19 pandemic, spanned two and a half years. The finished entry now features a new gate that leads to a 30-foot-long footbridge. This bridge dramatically improves accessibility and offers an ideal vantage point to view the house. The property's exterior is clad in charcoal-stained cedar planks, evoking the appearance of redwood weathered by San Francisco's fog, and the landscape, designed by Stephens Design Studio, bursts with lush greenery. The bridge leads directly to the front door, opening into an entry landing illuminated by a skylight that connects to the main living area. The original exposed-beam ceiling has been meticulously restored, and the interiors feature light white oak floors and cabinets, complemented by gallery-white walls, providing a versatile backdrop for the couple's burgeoning art and vintage furniture collection. Both Kaisha and Joey Flynn are product designers themselves, working at Open AI and Instagram, respectively, and share a keen eye for detail. Leidner frequently collaborates with creative clients who are similarly committed to intricate design. The home showcases a blend of modern architecture and vintage pieces, carefully curated by Joey. Notable items include a 1970s patchwork leather sofa by Swiss brand de Sede and vintage Italian dining chairs. An innovative design feature is a cross-beam converted into a ceiling-spanning planter box, adding a touch of nature and a unique aesthetic. The home's design was also influenced by the couple's travels, particularly a record-listening lounge on the lower level, inspired by similar concepts in Japan. This room features floor-to-ceiling white oak, a dedicated turntable station, a comprehensive vinyl collection, a wet bar, and a built-in olive green daybed. The lounge can be fully opened to the front garden through disappearing pocket doors, integrating the indoor and outdoor spaces. The Flynns designed the house as a child-free couple but welcomed their daughter shortly after the renovation's completion, reaffirming their design philosophy that their choices would not have significantly changed even with children in mind, given their initial willingness to embrace the property's unique challenges. #BernalHeights #HomeDesign #ArchitecturalRenovation #ModernArchitecture #InteriorDesign #SanFranciscoHomes #LandscapeDesign #VintageFurniture #CreativeClients